What's up guys Madden is out tonight to now round now Do you have it? Did you move to New Zealand to get Madden a bunch of different things you could have did to play Madden this weekend? And if you're still waiting on the game, that's great because I got one question for all you guys Man, who is the number one card you are going to target once you get your hands on a game? Or that you acquired first when you already had your hands on a game Who is was your number one target for me? It was Patrick Peterson man So let me know who you guys want to go get and I'll give you five names If you guys really not shocking you five guys that I think you guys should add to your team are really important one This Isaiah Simmons card now I know he's probably expensive and the set is a lot so you can't get them I understand so I'll give you some more options Isaiah Simmons, of course also you gotta get this Torrell admins the Steelers Team builder. He's an awesome safety fast. He can hit Grant Delpit I believe is his name Delpit from the Browns team builder He is a 6-3 safe that's also fast and can run and then Torrell AJ Torrell the corner from the Falcons Who's a team builder who's six foot one and 90 speed gonna be able to keep up with Tyree killed day one? Those are all team builders really not that expensive to get those cards man And hey, if you want to drop down a little bit more you can get a Denzel Ward really cheap probably Base elite not that crazy, but he has that 88 speed That's gonna be able to hold you down and you back into your secondary offense cam acres team builder That's my running back in this video team builder for the st. Louis Rams Um, I said I chose my team captain is Ed McCaffrey because he won me a madden belt and madden 17 But if you don't go that route man, maybe you get some receivers I'll be honest. I had Odell. He was cooking for me. I have now.  Let me know. Let me know that one player you're going after if I didn't mention I'm man, but I said this is getting to this gameplay. I stream every single night You guys can watch me play live twitch.tv that link is below any offensive defense I'm working on an e-book right now should be out within the next two days Madden turf comm that link is also below So make sure you guys check that out man And if you get that premium membership for the whole year, it's gonna hold you down man You want to get every e-book I put out every e-book cleft puts out every e-book cc puts out Every single thing the entire site does is you get Long as you play that VIP membership, so check out that link below and let's get into this game All right, so this was against Trey King So it actually was the San Francisco 49ers club series champion last year And if you remember the club series tournament Trey Kings actually gave volt his best game Could have won that game But volt was able to move on in advance and not Trey Kings out of the club championship So he's definitely a decent player one of the one of the bright young players and men So if you guys run into him the leaderboard be ready for a sweat now early in the year I'm tell you right the meta right now is bunch More so than any other formation and man coverage as I hold him to three on the first drive and man coverage So what I'm trying to mix it up I don't want to just run man coverage because I don't think man coverage will have the longevity I don't think it's gonna be around for a long time Maybe two or three weeks, but definitely not the whole season People want to get really used to being man, and they already are kind of getting hip to it So I'm gonna try to mix in a little match a little zone something like that as I hit Tyree kill over there to the sideline Now this game I'm gonna stay in bunch primarily It really just has the best route combos as I hit Bennett, but he drops the ball I can count on one hand how many how many drops drew Bennett has on Tennessee Titans team diamond Absolute goon. I have Bennett. I have McCaffrey, and I have Tyree kill Here we go stepping up in a pocket hitting that post route two or four mentioned Bennett Baja touchdown take that seven to three lead. That's what it's about. So Yeah, and I have your Michael Finley the Packers team builder. That's my tight end I said can makers now I had as he hit this wheel route in front of a I believe that's Tarell I have out there this game. Um, but I said I have Russell Wilson I had him early as I gave him a shot and he's giving me no reason to upgrade or take him out So Russell Wilson is gonna be my quarterback For a while now until he starts messing up. I kind of want to try that Lamar, but as Need to get that football right there. I try to want to try Lamar. We get them to a fourth and ten right here Let's get up off the field. Oh, whoa. He hits that dot right there to rel see I Went and got Troy Vincent for that as he hits a little screen I'll tell you what if you guys are hopping on a game try those screens screens are a lot better this year than they have been in The last couple years But like I said that play at fourth down AJ Tarell might he got him cut because right now I have Troy Vincent at that number one corner spot as he hits the post route to his drill Bennett Right over the middle. He has Alvin Kamara great pass catching running back, but he's so slow I don't think he's a good option as he throws a dot asante just got lost right there I just spent all that time bigging up asante same with you guys in the pregame probably My favorite corner on the game right now. He jumps things that nobody else jumps, but he got lost right there It happens asante is 510 when he gargles 6-5 guys. He's gonna have a little bit of trouble First I've been went down to feel pretty easy the second drive is gonna mix in a lot more zone Get out of that man coverage as we find mr. McCaffrey, but the ball bounces off his face He did not want to catch that one third and three we have nowhere to go with the football We wound up getting sacked get me to a fourth and long We are going to well actually now look at it. That was the end of the half So we are getting a ball starting the third quarter right now. I am down by three But I feel alright Let's just go down the field get seven get this lead back and that that's what it's about for the most part But like I said, he went to zone a little bit more Honestly zone people are in man's so much right now when people mix in zone sometimes it looks bad out Sometimes I don't look crispy as you see right here He's manning some people up putting a couple zones out here a lot of coverage early in the year Where there's manner zone as I dumped the ball off their third and ten flat routes of your Michael Finley Biggest difference as I hit the wheel route to McCaffrey Biggest difference in Madden 20 man 21 is the effectiveness of the flats He sent everybody at me right there McCaffrey over top Russell couldn't get that throw down second and ten. Just he's sending more people at me Yeah, the effectiveness of throwing in the flats this year is gonna make it really tough to guard bunch guard Bunch tight end guard any type of tight formation because you can hit the slots fourth down we're gonna go for it and Paper or plastic because that's an absolute bag. I got boxed Bad drive bad couple plays I strung together man strung together a couple bad plays as he hits this post route over The top in front of Adrian Wilson. We're closing in the end of the third quarter. I got to get off the field here I got to make a play gotta give myself a chance on offense here We're playing great coverage and we get a fumble, but his fat lineman picks it up That's cool because we're gonna give them just third and long right here He's gonna drop back looking for that post route, but give me that Terrell Edmonds. That's the card I told you guys about he's fast. He's tough and we almost get up out of there. I Should have kept going. I don't think Kamara catches me. Maybe Lamar Jackson does I thought too much tried to get too cute right there But we get the big pick So if you're struggling with a user and you can't get the eyes as Simmons make sure you check out that Terrell Edmonds Pittsburgh Steelers team builder. He's a dog especially for the price that he is I think it's pretty good. Oh right there. I had be missed it get sacked right here. Listen There's this one thing in the game They have like auto chew clock it like automatically choose the clock every time you get tackling bounds as you'll see right here I got a snap the ball with 11 right away because I don't have time and I hit this dot just perfect timing Almost a split second too late and it would have been a pick But I caught it in front of them boom now we gotta try to punch this in we have to punch this in second down at four Um and hindsight it's always it shouldn't run a couple times down here, right? At least an inside zone or a base. Maybe even a draw Cuz I can't find anybody go too back in the end zone total tap keep your feet right there Have to settle for tying the game up It's 10 to 10 low scoring game the game's going fast. We got a lot of completions keeping that clock running Let's try to get off the field right here one second. I can go I feel I can get off the field and there It is right there Doomerville. I have Doomerville and Adelias Thomas at my outside linebackers with edge threat So they are coming around the edge right there really fast Boom right there. He does a little corner out right at my face He kind of guessed right there got away with it gonna try to mix in a little run 30 seconds left Two timeouts left for a man. We got to get off the field here He scrambles with Lamar Jackson I feel like my dudes just did not react and we need a fumble right there inside field range almost and I told you Isaiah Simmons is the man to have boom for that reason you see that star under his feet That star under his feet is acrobat and I don't know if I get that pick without acrobat. So 17 seconds left. Let's go get a field wall Stepping up right here, but I crossed the line waste of a play 10 seconds left You guys have seen me do more with less 10 seconds one roll out with Russell hit my manager Michael Finley get up get a Couple yards two seconds left. You have seen me do more with less. I'll dump it off and get tackled There it is. Oh, so enough happens there. We're headed to overtime It would be nice if I could win a toss, but of course I didn't win the toss That's not why they watch it's too easy to win the toss You got to kick the ball take the ball from them then ram it down their throat. You're saying that's from little giants Now I'm gonna you guys might be too too young for little giants Give me a age check in the chat or in the comments.  But we're in overtime got to make some plays scrambles with Lamar That's one reason I might want Lamar over Russell just the pure speed 88 speed for quarterback is really fast Boom he hits me with a dot two-time re-kill post route in front of my safety again Next plate those underneath to Alvin Kamara getting some yards getting it done He's in field all range as long as he doesn't turn it over He will get the lead in this overtime period. We're applying the pressure Lamar Jackson gets out of bounds there Next play rolls out nowhere for him to go with the football looking for the crosser They're all standing out of bounds nowhere to go right there next play He's gonna step up in the pocket and Isaiah Simmons. I'm telling you number one must have card and mutt Isaiah 7 6 4 90 speed Nothing else needs to be said and then Tyree kill might be on a list of Must-needed players and mutt going up top against that cover of one no safety and that man cannot stay with reek Dump it off underneath to my man Akers Getting inside the 15-yard line. I really don't want to kick a ice field. I will be honest with you guys That's why I'm still passing I could run here and kick the field goal really don't want so I'm gonna step up in the pocket and GGs Russell to Drew Bennett Absolute lethal combination that's gonna end this game and send him to the locker room man


The boron dope carbon catalyst reported by the authors provides an environmentally benign route for hydrogen peroxide production with high selectivity and activity, making it a promising solution for the oxygen reduction reaction.


What's going on? If you're a family, welcome back to another video. It's your girl Janice. If you guys are into the channel, make sure you hit that subscribe button and join the family. Guys, today I am going to be pranking Isaiah by making him think that someone is following me on my run. Now, right now Isaiah is downstairs, he's chilling. Bro, how's McDonald's not delivering?  Now guys, I have camera set up everywhere. I have camera set up in his car. I have camera set up in the doorway. I have camera set up literally anywhere you can imagine just so I can see where he goes and we are going to get his reaction wherever he is. So guys, if you are ready for today's video, don't forget to smash that like button, comment down below team Janice and let's get this prank started. Hi buddy, going for a run. No beard. I was going on my run and then I was like going around and then I noticed that he was following me because he kept staring at me and I didn't want to be like in my head about it. He was like following me when I was going around and then he went that way. Okay, what are you doing? Nothing, he was just like whistling at me and stuff like that and then I was just running away and then he kept like I turned this corner and then he turned and I noticed that he was following me. I ran in our house and then he ran that way. Let's go find him, come on. Did he say anything to you? Did he try touching me or something? He was just like whistling at me trying to get my attention and he was like he like reached for me a couple of times but that's about it, like I didn't get to me. I just kept running. What was he wearing? He was wearing like yellow and red. Careful. What do you mean yellow and red? Yellow and red, what? Like he had like, I don't know, like his top was like yellow and red and he was wearing like a long sleeve. Did he go down this street? He went, he kept going straight. He kept going straight down there. Did you see which way he turned at all? No, I just saw him running like all the way over there. All right, so we're gonna circle around the block. What are you gonna do? I'm gonna go up to him.  What did he do to you? He was just like whistling at me. But then he was chasing you down and stuff like that? Yeah, like he was like pointing at me like this, going like that. Did he get close to you at all? He almost got close to me by it, like I told you, like I ran, I ran fast, I ran away from him. I don't know how long he was following me but I know that he knew that I saw him. Because once I saw him, I started darting and I was like running mad fast. I was like trying to get to the house and as soon as I got in the house, his face changed and he was like, like you could tell he was like, oh my God. And then like he kept going but I don't know why he would do something like that. See if you can- I don't see him anywhere. He's probably hiding. But what was, like, what was it like his race? Was he, what was it? I don't know, I couldn't tell. I just know that he had like, like his hair was red too. So I know- His hair was red. Yes, his hair was red. And it was like curly. So I know that we'd be able to like, it's like distinctive. Let's go down the street. Let's see. Bro, we moved to Florida to like being a safer neighborhood and all that. And now we still gotta deal with stuff like this. I know. Look that way and then I'll look this way. Only other thing that I could think of was that he was like really tall and he had on, I think his sneakers were right too. And they were like really, really big. That you can tell like he had like, oversized shoes on. He was like really weird looking like, like he looked like he was crazy. I don't see anything. I'm gonna go back to the house. I'm gonna park the car in front. Uh-huh. I'm just gonna sit in the car for a little bit. And I'm gonna see if he ends up like walking by or like I spotted or something like this. He's probably gone already though. Wait, go over there. Look. What? Can I see something? Go over there. There's no one over there. Look, turn left right here. I think he might have actually like went straight and turned left now that I'm thinking about it. Check over there. There's no one over here for me. I thought I saw something. No, there's no one over here. No one's outside right now. We're gonna go back to the house. I'm gonna sit in the driveway with the car off and I'm just gonna see a free spot or something like that. I think I'm just like paranoid now. I thought it was that. Like I saw like the red bush and I got scared. I thought that it was him. He had red hair? He had red curly hair. He was really tall. His shirt was like yellow and red. I don't know what pants he had on, I couldn't tell. But like he had on like really big red shoes and they were like oversized. Bro, what type of guy were you dealing with? I don't know. What do you mean? What type of guy was I dealing with? I don't even know. He was just chasing me and I was scared. All right, I'm just gonna go back. I'm gonna try harder to find him. Babe, there's no one out here. But he scared me like he was scaring me. Okay, babe, I get that. I understand and I'm gonna be on the lookout for him but I'm gonna sit in the driveway because right now we're just circling around. There's no one outside in the neighborhood. Well, yeah, that's what you do when you look for someone, you circle around. I get that, babe. Like I said, we don't see anyone walking or anything. What if he's home or something like that? Wait, why do you even know he lives around here? I don't know. You don't know that. Oh my gosh. I really feel like he's out here somewhere. All right, I'm just gonna, we'll just stay here and. He obviously knows that I told someone. You can tell by his face that he knows that I told somebody. All right, so I don't know. We're just gonna chill here then. Do you wanna stay in the car with me and wait? Yes, I'll stay here. All right, so we'll just chill.  I'm gonna give it a few, maybe a good like half hour, see if I like see him or something, but. Wait, I think I got a picture of him actually. Like when I was running away, like I think I turned around, I turned around, it's not the picture. Baby, you tell me that now, show me. I forgot, I was like in such shock. Hold on. That's what he looked like. That's him. Come on, bro, really? For real? Ronald McDonald?  Yeah, he had red hair and he was tall, his shirt was red and yellow and he had an oversized shoes. You see like that?  Get out the car. It was a prank, I was so sorry. I saw like hella cameras up, just to see a reaction.  I've been trying to find a McDonald's. I was on Uber Eats earlier, trying to see if they would deliver. Seriously? Yeah, and they don't.  Here I am trying to keep my cool and all that, trying to be calm about the situation and bro. All right, and for the fans, like clearly got him with that banker. He really believed that I was sitting here like. Yes, I really believed that I'm protective over you. What do you mean? Honestly, this did happen to me before in Jersey, so now I know why he was like a little scared. I honestly forgot that that happened to me. Thank God that I forgot, but anyway. I'm trying to find a McDonald's. McDonald's has to order somewhere, like deliver somewhere. Babe, why don't we just go to McDonald's? Like, because I don't want to drive all the way to McDonald's. Well, that's your problem. Let me check Gordash. Okay, anyway guys, it is time for today's post notification shout out. Today's post notification shout out goes out to Tessa. Thank you so much for your love and support. Izan, I love you. If you want a post notification shout out.  Turn on those post notification bells so you're notified whenever we post a new video. I found it. And with all that being said, no thank you. We will catch you in the next banker. You guys want something?


So the draw for Dubai has just come out and the WTA side of things it's a 1,000 event permanently now So it's a big big event and we've got some big names playing but we also got some big names that are not playing in this one So let's go to the withdrawal. Okay, so these are the players that are not in the draw We've got Kerber, she's pulled out, Krijikova the defending champion also pulling out of this one Mukhova, she's also not going to be playing another event in 2024 Which is a shame, Pagool has also pulled out of this one And Nemo Saka has also withdrawn from the event and Rado Kanu apparently is also not playing this one either So she is also out of this event for 2024. All right, let's go have a look at the draw because it is looking stacked Okay, so here it is. Here is the draw. We've got 16 seeds in this one top eight get a buy in the first round Shveontek, number one seed gets a buy in the first round She'll take on the winner of Stevens or a qualifier in the second round Then we've got Khrtcheva taken on Maria winner that will take on either Kalanina or the 15th seed Svetolina in the second round. Then we've got Kazakina the number 10 seed taken on Kostchuk That's a really tough match for Dasha. A winner of that will take on either Zhu or Potapova in the second round Then you've got a qualifier playing Lynette winner of that will take on the number six seed and australian open finalist Zheng in the second round So very fun little section of the draw here Of course Fyontek and Zheng are the two big guns that everyone's going to be focusing on But of course last week we did have A couple of random upsets and also some players in this section pulling out players like Svetolina Kazakina and Kostchuk last week not performing so well and also Svetolina pulling out So this section is a little interesting and it depends on the qualifiers You know, there are some big dangerous qualities that could be in this section But I don't know I feel like Shveontek's draws not terrible Maybe that's Svetolina third round But after that she should be okay until she plays Zheng and then we'll see what happens All right next section of the draw we've got goff the number three seed gets a buy in the first round She'll take on either Mertens or Sharenko in the second round Then we've got Puskova versus Zhong winner that will take on either Kruga or the number 16 seed Garcia in the second round Then we've got the number nine seed Osta Penko taken on a quali winner That will take on either Bodosa or Sun the wild card in the second round Then we've got two qualifiers going at it The winner of that match will take on the number five seed on Shuber in the second round Interesting draw, of course Pleskova the big dangerous unseeded player Of course played well last week has been playing well the last few weeks and nobody wants to play her at the moment We're going to talk about the two big guns with goff Of course not playing great last week, but has been good this year Shuber has a knee problem. We'll see what she looks like going into this tournament Wasn't able to play last year because of injury and Osta Penko always dangerous Osta Penko in this section Potentially Bodosa Osta Penko second round is really really fun And of course this section will take on the Shviantec section in a semi-final So we go by the big guns Shviantec versus Goff could be a semi-final It could be Shviantec Jabur if Jabur does get her knee right or as most people probably want to see The most interesting match Shviantec versus Osta Penko, but can Penko get that far? Remember Penko did win this tournament a couple of years ago beat Shviantec along the way that was in 2022 So that could be fun. All right next section of the draw. We've got Sakri the number eight seed It's by in the first round take on the winner of Cinecova or Navarro in the second round two players They played well last week. So Sakri tough start then you got Fernandez taken on a qualifier winner That would take on either Palini or Hadajmaia the number 11 seed Then you got Alexander over the 14th seed taken on a quali winner That would take on either Martich or Dollarheid in the second round Then you got Roost versus Azarenka winner that would take on the number four seed Rebakanam in the second round. So interesting section Rebakanam, of course the big gun made a final this week As we're speaking right now. She'll be probably playing that final in a couple of hours Then also one last week in Abu Dhabi. She's playing really well this week. Will she play? I guess that's the question You know, you know, maybe she might not play depending on how she plays pulls up today Sakri, of course dropped out of the top 10 this week So we're gonna keep an eye on her movements this week. Maybe the pressure of not being top 10 helps I don't know Hadajmaia played really well in Abu Dhabi So keep an eye on her. Fernandez played really well last week if you want to go with the unceded players And of course, Sinir Kovar taking out Goff last week dangerous unceded player as well last section of the draw You got Vondrusa for the seven seed. She gets a buy in the first round She'll take on either Andraeva or Stearns in the second round Nightmare staff for Vondy if she has to play Andraeva Then you've got Pavlia Czenkova taken on Buskova winner That would take on either a qualifier 12th seed Sampsonova Then you've got Kudamatova the 13th seed taken on Yastremska That sucks for Kudamatova. Yastremska Australian Open semi-finalist very dangerous matchup Winner of that will take on either Kennan or Kastea So it doesn't get any easier then you've got Wong taking on Vekic Winner of that will take on the number two seed Sabalenka And we haven't seen Sabalenka since the Australian Open so that's gonna be fun But Sabalenka out of the top four seeds. I feel like she's got the worst start I mean potentially Vekic in the second round that could be awkward Then you've got Yastremska, Kennan, Kudamatova, Kastea all very capable of playing against Sabalenka In fact Kennan and Kastea have beaten Sabalenka in the last 12 months So that could be an awkward section for Sabalenka This section of course taking on the Rabakina section So we could get Sabalenka Rabakina semi-final That would be the dream I guess for most people to see that matchup Or we could get Sabalenka Sakri if Sakri gets inspired by dropping out of the top 10 And motivated by dropping out of the top 10 Or you could go Sabalenka Tajmyah If you want to get something a little bit different there Or if you want to change it up and you put Rabakina into the semis Maybe you put Rabakina taken on Sampsonova We did see that last week in Abu Dhabi And that match has been an interesting one over the time Or we could be going with Rabakina taking on Vondy If Vondrussa gets good or maybe even on Drava If you want to go a little bit more random But man what an interesting draw for Dubai It feels a little less hectic early on for most of these players But the question is who's going to win this tournament Who is going to win this tournament chat It's a 1000 event as it was last year And it's permanently going to be 1000 Sabalenka's coming in with a freshness Bakrna of course I mean she's in great form right now Fyontek if she wins against Rabakina tonight I think she'll be the favourite for most people in this one Or maybe Coco Gough If you want to go with someone in the top four Or it does throw up random champions at times as well But there it is The draw for Dubai The second 1000 event of the year


The U.S. Air Force Tu-2S Dragon Lady, tail number 1065 performed its final flight on January 11, 2024, at Beale Air Force Base, California. Aircraft 1065 was originally delivered to the 9th Strategic Reconnaissance Wing, as a Tu-1S in 1983 to serve as a training aircraft for the U-2 program, and was redelivered in 1995 after being converted to C2 pilots. Aircraft 1065 completed 11,450 sorties in 24,042 flight hours.


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by interface hardware drivers, and it abstracts the IO drivers away from P, S, U, O, C, okay? So, the IOS is really kind of envisioned as the interface to talk to things that are outside of that base implementation. And that's in contrast to the TSS. We really see the TSS as providing the basic network capability and allowing for the exchange of data between the system network of computing resources while standardizing that interface to applications. So, what you'll see kind of here is the OSI stack. We compared that then across the different segments where there's some of this implemented in hardware as you would expect, and some of these things are actually implemented and supported by the operating system, like the fact that the sockets get called out in the operating system, UDP, and TCP protocols. And then as soon as you get to these higher-level services in the OSI stack, that's really where the TSS starts to fit in. Now, a lot of these session presentation and application layers, if you look at that closely, are likely to be maybe more on the optional side of the features and capabilities. But it will present, the minimum, it will present that TSS interface to those PCS and P-TRIPLE-S UOCs. They won't be going straight down here to this OSS interface, which in the face standard is either going to be sockets or airing 602.3, all right? Well, I think I went to the next page. So, how does the TSS compare to the use of a transport protocol module? So, one of the things that really strikes us in this conversation is that a TSS vendor makes an implicit guarantee of interoperability with itself. So, what that means is if you take one vendor, TSS, and you deploy that across your system, it should be interoperable with itself. That makes sense, right? So, if you use the same implementation data sent by that instance in the system can be received by another instance in the system of the same implementation, right? So, in a homogeneous system, where a single TSS implementation connects all system components, the integrator gets interoperability for free. That's what that means when we talk about the TSS in general. Now, we do see implementations where TSS implementations might realize the same wire protocol. So, if your implementation is based on a protocol like DDS and there's a wire protocol defined, then you get that interoperability across vendors just by selecting your implementation to use that DDS, right? We don't necessarily see all situations using the same middleware, which is one of the reasons why we ended up with the TSS as opposed to just requiring all systems to use DDS. But where the TPM really comes in is when we have a heterogeneous TSS implementation. So, what happens is it kind of creates a very local implementation between those two instances of the TSS. So, in general, there's this idea that these things can talk on the network. Every instance of the TSS can communicate with each other. But when they don't match in terms of protocols or technologies, in terms of the nodes of the network, then you can add in a TPM and you can create a local service between nodes of the TPM. And I know I'm running kind of low on time here, but this really is my last slide. So, this actually is part of the white paper. And we actually put this together when we wrote the right white paper. And so, this really talks about the intersegment, introsegment, and then other interfaces that are described within the standard that touch the TSS. These are the TSS EOCs across the top. They are in a different order than Table 7 is in the system. So, don't be thrown when you do that. And a lot of that is just because the users and providers of these interfaces can get, it gets very busy. So, they're out of an in a different order so that we can consolidate these user and provider indications. The gray really means that the interface is an optional interface. And there are some user notes like who provides this. So, you'll see like the recall backs is being used by the Transport Service, the Framework Service, or the TSTA. There's confusion in terms of who actually implements the recall back. And so, this table is to try and provide some clarity in terms of who all the providers and users are of the various interfaces. So, you'll see component state persistence. Here's type abstraction. We did add in the injectable. And at first that was deemed that we wouldn't necessarily need it. But I think it did provide us some additional clarity. The areas that we're still discussing is around the base. And the other one is around the serialization and who should use serialization. We envisioned serialization came in with the TPM, but there's been a desire to expand its use across the TSS and you do that in a standardized way. But in general, this is where we sit today with those interfaces. All right. I'm going, I think that's it for me and get to the last slide. Nope, that's it for me. All right. I didn't put a contact information. If there are any questions though, I think I have a few minutes. Actually, there is a question. Here it is. Is the TSS intended to support the communication between UOC running on different machines slash nodes? Question mark. If it is, can the transport protocol be, for example, mill standard 1553 and not ethernet? Yeah. So that's a good question. If you create a system design where your backbone network is mill standard 1553, then we would technically say yes, you could go implement a TSS in that manner. I would, you probably have a mismatch of technology to intended use, but in general, the standard does not govern what you use as your backbone communication. And yes, we do intend for the TSS to cross the physical boundary of the computing resources and to establish the network in the system. Okay. And that's it for questions. Thank you very much, Stephanie.


Have you ever tried to create an account and log into a website and found it surprisingly difficult? Now in this video you'll learn some simple techniques to make sure your site does a great job of handling names, passwords and account details. But before I start, do you really need your users to create an account? You know the best login is no login. Don't gate features behind login just because you can. Asking a user to create an account is asking them a favor. And remember that every password and every item of personal data that you store carries with it something I call privacy data debt. If you just need to save information for a user between navigations or browsing sessions, use client-side storage instead of forcing the user to create an account. You can find out more about client-side storage on web.dev. For example, for shopping sites, forcing users to create an account to make a purchase has been cited as one of the major reasons for shopping cart abandonment. Now if you do run an online store, make guests check out the default and offer to save customer details and create an account once a purchase has been completed. Okay, with all that out of the way, if you must get users to sign in, make it as quick and easy as possible. Firstly, make it really clear where to sign in. You know, one big login or sign-in button is good, not just some obscure icon or vague wording. And once users have signed in, make it really obvious how they can access their account details. In particular, make it simple to change passwords. Now you may be wondering whether to add buttons or links for account creation as well as to sign in. Well, many sites now simply display a single sign-in button and when the user clicks on that, they also get a link to create an account if necessary. Now that's a common pattern now and most of your users will understand it. Make sure to link accounts for users who sign up via an identity provider such as Google or Facebook and who also sign up using email and password. That's easy to do if you can access a user's email address from the profile data from the identity provider and match the two accounts. Now, I keep saying this, but whatever you do, make the most of the powerful cross-platform functionality that's built into form and input elements on all modern browsers. You can find out more from our article and video about sign-in form best practices on web.dev. That also has lots of great tips on how to improve form design, layout and accessibility. You know, in the sign-up flow, your job is to minimize complexity. So cut the clutter and keep the user focused. This is not the time for distractions or temptations. Collect additional user data such as name and address only when you need to and when the user sees a clear benefit from providing that data. Every item of data you communicate and store incurs cost and liability and you need to remember that. And by the way, don't double up your inputs just to make sure users get their contact details right. With autocomplete, that just makes no sense. Instead, send a confirmation code to the user once they've entered their contact details and then continue with account creation once they respond. That, again, is a well-known sign-up pattern now and a good approach. And one simple technique you might want to consider is to allow password-free sign-in by sending users a code every time they sign in on a new device or browser. Sites such as Slack and Medium use a version of this. As with Federated Login, this has the added benefit that you don't need to manage passwords. Now, in this case, you'll need to make a careful decision about session length, you know, how long the user remains logged in and what might cause you to log them out. But you'll need to do that whatever approach you take to user identity. There's no one hard and fast rule here, but you need to consider mobile versus desktop and whether users are sharing on desktop or, you know, sharing devices. You can get around some of the issues of shared devices by enforcing reauthentication for sensitive features, for example, when a purchase is made or an account updated. So here's the elephant in the room. You know, what's up with passwords? Like, passwords are, say, you know, last century. We need to wean ourselves off passwords, but that's not going to be an easy journey. You should, of course, offer Federated Login via identity providers, but the reality is that some users are more comfortable with email and password login. The problem, of course, is that users may give up on your site if they forget their password and, you know, especially with a new phone or computer and on shared devices. So what can you do? Well, you need to help third party and built-in browser password managers do what they do best. Suggest and store passwords so that users don't need to choose, remember, or type passwords themselves. Password managers work really well in modern browsers, syncing accounts across devices, across native and web apps, and for new devices. And this means the single most important task for you is to make sure you code your forms correctly. If you do one thing after watching this video, please double-check your HTML to make sure you're using the correct autocomplete values in your sign-up form. The sign-up forms use autocomplete equals new password for new passwords and autocomplete equals email. For email addresses. Coding forms correctly enables browser password managers to understand your code in order to save and to suggest strong passwords. Now, enabling password managers to suggest strong passwords is the best option, but many users want to enter their own passwords. So you need to implement rules for password strength. I won't go into the details here, but the U.S. National Institute of Standards and Technology, also known as NIST, provides full guidance. Now, whatever rules you choose for passwords, you should never allow compromised passwords. You know, once a user has entered a password, you need to check that it's not a password that's already been compromised. The site HaveIBeenPwned provides an API for password checking, or you can run this as a service yourself. Chrome password manager also allows you to check if any of your existing passwords have been compromised. If you do reject the password that a user proposes, tell them specifically why it was rejected. You know, show password problems in line as soon as the user has entered a value, not after they attempt to submit the sign-up form. You should, however, allow password pasting. There are a number of sensible use cases for copying a password from one context to another. Now, just a couple of quick things about password policy on the back end, and the single most important rule here is salt and hash your passwords, please. In other words, do not store or transmit passwords in plain text. And don't try to reinvent, you know, like your own hashing algorithm. Also, don't force users to periodically change their password. Research has shown that forcing password updates can be costly for IT departments, of course, and doesn't really have much impact on security. It's also likely to encourage people to use insecure, memorable passwords or to keep a physical record of passwords. Instead, you should monitor for unusual account activity and warn users. You should be doing that anyway. If possible, you should also monitor passwords for your existing users. To check for passwords that have become compromised because of data breaches. You can also give your users access to their account login history, showing them where and when a login happened. You should, of course, make it really simple for users to reset their password if they forget it. OWASP, that's the open web application security project, provides detailed guidance for this and lots of other identity use cases. You certainly should not use password hints to re-ferrify accounts. These are highly insecure. You should consider supporting multi-factor authentication, especially if your site handles personal or sensitive information. I really recommend taking a look at AG Kitamura's work on this, including his new video about SMS OTP best practices. So, you know, in the real world, you'll need to implement password handling. However, you should also enable your users to login via a third-party identity provider, also known as Federated Login. Now, this approach has several advantages. For users who create an account using Federated Login, you don't need to ask for, communicate, or store passwords. You may also be able to access additional verified profile information from Federated Login. Such as an email address, which means the user doesn't have to enter that data, and you don't need to do the verification yourself. Federated Login can also make it much easier for users when they get a new device. And you really need to think about this to consider first-day experience. Now, remember that many users are now expecting login from their phone, their laptop, their desktop tablet, like TV in the car, and, you know, on other platforms as well. And this is a moment where you risk losing users, or at least losing contact with them until they get set up again. You need to make it as easy as possible for users on new devices to get back up and running on your site, so this is another area where Federated Login can really help. Whether users access Federated Login or not, you should make account switching simple. Many users share devices, and it really reduces friction to be able to easily swap between accounts. Now, here's a thing that's crucial for keeping your users and your business safe. On many sites, it's surprisingly difficult to work out how to change your password. It's especially important to help your users change their password if they discover that it's been compromised. To make this even easier, you should add a well-known change password URL redirect to your site. And this enables password managers to navigate your users directly to your password management page. This feature is now implemented in Safari and Chrome, and is coming to other browsers. And you can find out more from our web.dev article. You should also make it simple for users to delete their account, if that's what they want. So, let's talk about names and usernames. And the first rule here is, don't insist on a username unless you need one. Well, if you do need usernames, don't impose unreasonable rules on them, and allow users to update the usernames and other personal information. Now, it sounds obvious, but that's why on the back end, you need a unique ID for every user, like not an identifier based on user data, such as a username. Now, you might want to validate names and usernames on the front end, but you need to be as unrestrictive as possible with characters and alphabets. So, here's a top tip. For names, addresses, and usernames, don't use regular expressions that only match Latin characters. Use Unicode letter matching instead, and your backend storage should support that securely as input and as output. Okay, one last thing. For signup forms, it's crucial to implement analytics and real user measurement. For your signup forms, you need to monitor page analytics for page views, bounce rates, exits, and so on, and make sure to add interaction analytics, such as goal funnels, you know, where do your users, like, abandon signup and so on. And events, like, for example, what proportion of users click your forgot password link. And lastly, track performance metrics to understand the real experience of your users. You can check out web vitals on web.dev to see how you can access real user performance data for core metrics. So that covers some of the basics to find out a whole lot more. Take a look at the article and the codelab that go with this video. And thanks so much for watching.


So, hello and welcome. Thank you for joining us at Mechanics Institute for our online program. The Writers' Lunch is a casual and virtual ground-bag lunch activity on the third Friday of each month. Look forward to craft discussion and formal presentations on all forms of writing and excellence conversation. My name is Niko Chen. I am quite new here as the program manager here at Mechanics Institute and for those who are new to Mechanics Institute here for the first time today, welcome. Mechanics Institute was founded in 1854 and is one of San Francisco's most vital literary and cultural centers in the heart of the city. Mechanics Institute features a general interest library, an international chess club, ongoing author and literary programs in the cinema lit film series. A recent article in the San Francisco Standard describes us as the coolest library in downtown San Francisco and a remote work sanctuary. Come see this for yourself by joining us for a free tour which happens every Wednesday at noon. You can also find information about our upcoming programs at www.milibrary.org. So let me tell you about a wonderful event that is happening later this month. We have the Writing the Heroines journey with Kate Ferrell, which is a two-session writing course that begins on Saturday, September 23. In this class, you will learn how to use elements of the feminine quest in your journaling or creative writing for any genre, fiction, nonfiction, memoir, and more. This course is $40 for members and $50 for our non-members. We also offer a plethora of free events for our Mechanics Institute members, such as the next storytelling showcase on September 27. Join us for an evening of laughter and storytelling. Local author and host of the month, Corey Rosen, will host a dynamic night of storytelling developed in his Your Story World Hold workshops. Come hear stories and jokes being told for the first time with some performers making their stage debut. Find these courses, events, and more by going to milibrary.org. Click on events in our top menu bar to begin searching and registering for all the course and or events of your choice. Today's theme for today's Writers' Lunch is on the Arts of the Anthology. How do you become part of an anthology? How do you put together an anthology yourself? Today's discussion, moderated by Cheryl Bézé-Boutet, explores how anthologies come together while showcasing writers from all genres, including EA Provost of New Alexandria Creative Group, Jennifer Vossier-Sander from Big City Books Group, and Sarah Beale from Colossus Press. This discussion will also include a Q&A with the audience, so please remember to add your questions to the chat and I will read them out or you're welcome to ask questions aloud when the floor opens. Remember to also mark your calendars for the next Writers' Lunch on Friday, October 20th on the topic, How to Craft the Coming of Age Story. This session will feature three moving authors, Dara R. Williams, Daniel Bobka, and Isidro Mencos. This event will also be moderated by the wonderful Cheryl Jé Bézé-Boutet. Now I will move over to my colleague, Alyssa, who will give us the author bios for today's event. Hi, everyone. Good afternoon. I am happy to do some brief bios for our esteemed speakers today and their longer bios will also be dropped into the chat. So our moderator for our Writers' Lunches on a monthly basis is Cheryl Jé Bézé-Boutet, award-winning author and push cart nominee, and an Oakland multidisciplinary writer who's autobiographical and fictional short story collections along with her lyrical and stunning poetry artfully succeed in getting across deeper meanings about the politics of race and economics without breaking out of the narrative. An inaugural Oakland Poet Laureate runner-up, she is also a popular teacher, literary reader, presenter, storyteller, curator, and emcee host for literary and poetry events, and we are always happy to have Cheryl moderating our discussions. Of our three guests, I'm first going to introduce EA Provost, who is the author and illustrator of Diary of EA Provost, Diary of That Weird Girl, and Love, Joy, and Pease, illustrated poetry books that celebrate family life for its beauty and messiness. EA is the founder of the cooperative publisher New Alexandria Creative Group, and in her spare time she is also the director of the San Francisco Writers' Conference and responsible for the San Francisco Writers' Conference Writing Contest anthologies. We also have Jennifer Bossier-Sander, who is an author and book-packager of more than 50 titles on topics as varied as The Complete Idiot's Guide to Getting Published, over 100,000 copies sold now in its fourth revised edition, to The Martini Diet and many more in between. Bossier-Sander has crafted more than a dozen anthologies, one of which is a New York Times bestseller. A former editor for Random House, she gives literary tours to California, Paris, and London. Sign me up. And we are joined by Sarah Beale, who is a poet, visual artist, and social worker living in Oakland, California. She is the co-editor of the Colossus Press anthology series. Sarah has had poems published in Sparkle and Blink, Button Eye Review, Beyond Words Literary Magazine, and one honorable mention in the Street Light Magazine 2021 Poetry Contest. Her chapbook, Prescribed Burn, will be published in 2023 by Finishing Line Press. She is interested in the creative process as a medium for change, healing, and building community. We are very excited to welcome all three of our guests today and our moderator, Cheryl J. Bise Boutet, who we will pass it on to now. Thank you so much, Alyssa, and thank you, Nico.  My first question to the three panelists is this. What is the major value of the anthology for the writer? Alyssa, would you like to go first? Well, I can start by saying, you know, my entry into writing was being part of an anthology in fourth grade that California poets in the schools came in and taught poetry to fourth, fifth, and sixth graders and put together an anthology. And my poem was selected as like the winner of their contest, and I was just a fourth grader. So of course that massively influenced my interest in writing and just sparked that from there. So I think there's a huge amount of value, especially with young people and in school situations with putting together anthologies. Later as an adult, I was part of an anthology that really served to restore my faith in myself. I think sometimes that's the important part of our process. And then as part of New Alexander Creative Group, as part of the San Francisco Writers Conference, we have had a contest almost since the conference is beginning. And often we would see the category winners, they would come to the conference, they would meet agents and they would get signed with agents because they had risen, you know, to the top through this contest, but we had never published who the winners were. And so as I was coming into the director role, because I have some background and I can publish, I have a publishing cooperative, I offered to actually publish the finalist in an anthology. And since we have done that, we have seen not just the category winners, but the finalists all are making tremendous progress in their careers. I have had them come back to me and say, Hey, I had been talking to this agent. He was not really, you know, he's kind of put me off. I knew he was putting me off. As soon as I said that I had been published in the anthology, and I was a finalist in this contest for the anthology, he offered to represent me like immediately. So as a tool to encourage young people to feel legitimate about yourself, you know, as a first step into publishing, and then actually as a tool to build your career and legitimize your writing in front of, you know, some of the gatekeepers, agents and publishers, anthologies are really useful in all of those ways. Good stuff. Thank you, Lisa. How about you, Sarah? I love anthologies. And I think for writers, they can be a great first step.  I also love anthologies because they I think of them almost like a potluck. I love the way all the voices come together. And I do feel like they create a kind of community, you know, if not physically present community, sort of more virtual community.  And I'm really interested when I'm putting together an anthology about the way the different voices and perspectives, because our anthologies are always on one theme, you know, for each book, the difference in the way the voices come together and play off each other. Yeah, it's pretty amazing how that happens. Thank you. And you, Jennifer? Well, excuse me, what comes to mind right away is that there I can think of at least two different writers right off the bat who as a result of having stories in the anthology that I put together, ultimately had their own book. Can you hear me? Sorry?  Keep going. Let's do that. Yeah, sorry. I don't know what to do about it. So, so I did a book before. Where did it go? And Cheryl is in this book. With the old soul. Yeah, which I get it in the anyway, it was done for the nonfiction, the nonfiction arm, I tell people a Harlequin. I don't know that it even still exists. But as a result of having a story in there, there was one author who told me that she had been contacted by the, you know, the history press, the people who do small historic books about neighborhoods and various towns that she was contacted and got a contract to do one of those books for a specific area. There also was an author who had a story in the very first book that I ever wrote or ever compiled, rather, which was called Christmas Miracles published by William Morrow back in the 90s. That was the one that was the New York Times seller. She went on as a result of having that she had her she ultimately got her own book deal to do her own stories. I would also say that one of the strongest in addition to the exposure and the ability to be a part of a published book, get the authors individually get to claim part of the success. So for instance, with Christmas Miracles, everybody that's in that book can say I was in a New York Times bestselling book. That's right. That is right. Yeah, so yeah, you can claim part of the success. And I think that that's one of the that's a really, a really strong reason to participate in one. Now, you know, you've got people who are just thinking about writing and you've got people who are kind of in the middle are there they've been published every now and then and then you've got these really seasoned writers who's done very well. Is there any difference among that group of those groups of people in terms of wanting to be or submitting to an anthology? I know that some people I'll take the poetry sector for one. I do poetry in the Bay Area. I'm pretty successful at it, but I don't miss doing an opportunity to do an open mic. I don't think it's beneath me to do an open mic because I might want to share something or test something. Do you do you look at anthology the same way for seasoned writers? Jennifer, I'm not sure I ever considered that question because I generally start with the topic. And so I know the stories that I'm looking for. So I'm just looking for the story. Somebody who can tell the story that would fit in the theme. So it doesn't it doesn't really matter what you have been in the past. Right. So it doesn't really matter for you what place they are in their writing. But you're really good story. No, no story. I'm focused on this on the strength of the writing. How about you, Lisa? Because we're a contest and because we very much working with people at the beginning of their careers, that that tends to be what we get. And I find that as I progress with my career and I'm producing full books of my own work, I don't have as much time to enter into contests and anthologies. So I'm sure that's a factor that people consider. But then I think of, you know, we have speakers come to the Writers Conference who are regular contributors to books that are basically anthologies like the Chicken Soup for the Soul series. And, you know, so it's kind of different types of anthologies and different types of levels of writer. Sarah. For our anthologies, Colossus is really our intention was to create space for a multitude of voices. And so we do tend to have newer writers and we actually, you know, we sort of encourage newer writers. We love having youths involved in our anthologies. And for our, I think it was our third anthology, Colossus Freedom, since the theme was on freedom and the industrial incarceration complex. We reached out to a lot of incarcerated writers. And one of the things that I think is really beautiful about that book is the very like the broad diversity of writing styles and voices and experience. We had some people who were very experienced published writers and then other people who this was their first time ever submitting. And I know in, you know, in all of our anthologies, anthologies, we've had this amazing combination of, you know, newer writers, but also poet laureates of, you know, definitely from the Bay Area and in Colossus Body, which is our newest anthology, which focuses on bodily autonomy. We have a poet laureate from Dutchess County, which is in upstate New York. And we have Oakland's current poet laureate, Aya Deli and Kim Schuck, who's the poet laureate emeritus of San Francisco. So we have, yeah, I love the diversity and I love the different voices. And so I think it can be a great place for anyone, you know, if they feel motivated to submit to an anthology, whatever point in their career. So, Sarah, what advice and piggybacking on that? What advice would you give to writers who are considering submitting for an anthology? What, what points should they make sure they cover? And I think there are so many different anthologies, you know, I think as far as when our our editorial group is looking at submissions, we definitely want to want we're looking for work that actually does fit with the theme. And we're also interested in different having different voices and different approaches to that theme. So, you know, I would say, don't be afraid if you don't think that you're saying what everybody is saying, because, you know, that difference can really add to the sort of musicality of a collection. And. Yeah, I would I would just encourage people to, you know, obviously, I always want to really submit something that you're you're feeling confident about and that you've worked on. But, you know, I would say, you know, don't be afraid to submit. Because it you don't I think, especially with an anthology, people are looking for different things sometimes, you know. Yeah. And Jennifer, what do you what do you say? Well, I would agree with her. It's got to be something that fits in with the theme. You know, don't use it as an opportunity to just send what you think is a brilliance of writing, regardless of whether or not it fits the theme, because nobody is going to know what it is. Look at it. It's not going to be accepted. But yeah, once again, all I can say is absolutely. Regardless, I think they think their writing is good enough. If it's on topic, send it in, because I know, for instance, my experience looking specific for a variety of stories on a particular theme, I was perfectly willing to help people shape their stories. I call it buff and polishing. Yeah. And so I would you thought you taught me a lot. There's an opportunity. If there's an opportunity to submit, submit for heaven's sake. Yeah, don't.  But regardless, you're not going to, you know, you can't you can't even if you don't play, isn't that the profession? Exactly. Are you missing the shot? And, uh, listen, what do you say about that? Um, as I said, art is a little different and it's a contest. I as an author, I really was a little confused going into the whole contest mindset, you know, before I got involved with the Writers Conference, because I was looking at all of this, like it's a lot of money. Sometimes some of them, some of them look like their whole business model is the fees they get for contests. And then they fell in the contest, a book. And really learning how that operates from the inside is and something that that people who are submitting probably should know is that writing contests are very often fundraisers for various organizations. So the San Francisco Writers Conference is a nonprofit. And our mission is to connect writers, aspiring writers with the industry and to educate them. And so the writers, the contest does sort of two things. It is a fundraiser. So your money helps us continue to put on the conference and keep it going. But we also want to connect. That's why we're doing the anthology. We want to connect more writers with the industry. So our audience for the anthology is the agents who come get copies. Everybody who is in the anthology or everybody who enters the contest gets a copy of the anthology so they can see who the winning entries were. And so they can refine their own work based on what they learn from that experience and what they see as comparatively. So they want to know, like, what is this organization doing? What is the point of this anthology? How big is the audience? I am I love anthology actually as a fundraiser. I wrote a book for parents. I have four kids and did the PTA thing for many, many years. And on doing anthologies with students as a fundraiser, because you have a built-in audience, everybody who's kids in the book is going to buy at least one copy, if not multiple copies for grandparents and relatives and so forth. And that gives kids the exposure and experience. And it's very easy to do in the publishing landscape that we have now with Prince on Demand. And so I actually wrote a book that was maybe published on how to do that. Their numbers and everything have changed since. So they've taken it off of their their group of free books that you can get. But there are a lot of different reasons to do an anthology. And, you know, what I'm doing is it sounds like it's quite different from what Jennifer and Sarah are doing. It sounds like they do more like the the California Writers Club do anthologies. And they actually spend a lot more time with the entry entrance. They have an editor that spends time helping them refine their work. So what you get out of that process is not just getting published, but you get this experience of working with an editor. So, you know, it's it's worth entering and understanding what experience or what you're planning to get out of this. And contests do enter them. You'd be surprised how sometimes we don't get that many entries in the category. And it kind of surprised us. We they before I came in, they actually just continued the poetry section because we weren't getting enough entries in the section, which is crazy. So I I found my people in the poetry track at the conference and really have pushed and built and tried to build the poetry side because we have such a rich poetry culture in the Bay Area. And as you said, with the poetry, as Sarah was saying, you know, you get more established poets, poets will continue to publish an anthologies even when they, you know, get well known when they're already exactly because because they're like a box of chocolates. You know, it's it's a little bit of everybody's different flavor. It's a wonderful thing. It's very marketable. So they continue to be published in anthologies. You know, fiction, nonfiction, less so as you get up there, I think. And children's is a tremendous opportunity. We get very few entries in the children. So I would encourage you if you're if you're interested. You have children's books that you're writing enter in the San Francisco Contest. It's closed right now. We're announcing the winners for this year on September 30th. But next year it opens again.  Look for those opportunities because your odds are better and you will get get experience through the process. Thank you. Very good. Now, let's flip this a little bit. What advice would you give to writers for putting together an anthology? How do they how do they go about doing that and getting started? Listen, since you're on the screen, I'm looking at this. I've done this a few times. Well, from the from the fundraising perspective, I would always say work with a team because it's a lot of work. And you want to think about not just putting the book together, but how you're going to sell it. So what's the end result? Kind of the getting work together is almost the easy part. It's the getting it into the market and finding an audience that's more difficult. And you can sort of do that as you're at the beginning of the process if you've thought it all the way through before you start. So that's kind of what I would say is think of the end. And in fact, even to our mom, both sides of the process at DreamWorks, the process at Disney is you don't start the process until you know how the story ends. You don't start writing until you know. So how is this going to end? Who's your audience going to be? What's your purpose in doing this? What's your what do you want to get out of it? And then you start, you know, connecting with people. I was part of a lovely anthology by Jelena Clice Corwin. It's this one written across the genres and she wanted to create an anthology to help her friends get some recognition and notoriety. And so she put together this beautiful anthology and she just talked to every writer she knew because she was in community with a lot of writers. With the Writers Conference, of course we have a built in sort of community that we can invite to submit through our email list. If you have a community like that, that's the place you can go. That's the way we've done it. So I don't know how others work, but community is so important to writers. Yeah, oh yeah, definitely. Thank you. Jennifer, how does one get started? Well, as my experience and both professionally and as a writer is strictly in the nonfiction world, I would recommend starting the topic and organizing it that way. So for instance, just with the last year or two, I had two different women that I was working with, helping them with their writing. They were working on novels, but as we had more and more casual conversations, I learned more about what their personal lives were like and I said to both of them, two people in two different places who I said, you need to be putting together an anthology because there are a lot of women out there who are in the same situation that you are and you would be able to submit questions and you would get author or you would get culture interests. One woman, her son had transitions and she talks and talks about that experience. I said, that is so much needed, particularly now, in our current situation and everything that's happening across the world. These voices need to be heard and other parents need to hear what it's like. Honestly, how did you handle it? What are some of the challenges? I mean, everybody has a different experience and frankly, a different reaction to what has happened. So that was one, ultimately, she decided it's just too raw still for her. And then the other one, who again, was we on a novel, talked a lot about the fact that her father had just died and what happened to her at this moment in her life and I said, you know, I think you maybe have an anthology topic here. You know, women grieving their, the father loss and she did in fact reach out to some grief groups that she was in and kind of test the idea out.  She just didn't have enough separation. So, but again, for me, let's see, as we know, you know, coming from the publishing business, I've just warned people, I'm like the crassest person in the room because I can't shut off my publishing brain. Everything runs through their mark for this. Who's gonna publish this? What's already happened before? How well did it do? So when you, I'm sorry. You're really breaking up. You're really breaking up. They can easily, I'm sorry, I don't know what to do. Does it help when I'm back here? Does this help at all? Yeah. This does. Yeah. Okay, I'll lean back in. Maybe I was too close. What I was saying is that if you approach a publisher with an idea of a proposal or an anthology that has a clearly identified theme and a clearly identified audience and a clear need that this anthology is filling, that's a big step forward to get a publishing deal. Very good. Yeah. And you, Sarah. I think it's interesting because when Colossus started, I didn't, I never intended to run a small press. Like, I never wanted to do that. And so the way Colossus started was very organically. I think it was the time when the last presidential administration was separating families at the border. And like many people, I was horrified and upset and I was ranting to my husband and I was like, there's a poem on the Statue of Liberty that talks about this. And that's of course Emma Lazarus' poem, The New Colossus. And so I talked to some other people in the poetry community that I knew and I said, let's meet at my house, let's have a poetry salon, let's all use Emma Lazarus' poem as our prompt and write from there and just gather and create community and put our feelings into words. And so we did that. And there were about maybe 10 of us at that salon. And I loved hearing all of the work and having all the work together. And I had this idea at that moment that like if we put all our poems together, we could make, I'd made some little handmade books before and I could put together a really quick chapbook. And if we sold that to just our, sort of almost like a bake sale to our friends and neighbors and community that we could then take that those funds and donate them to local immigration-focused non-profit and we'd not only be finding a place to put our feelings but finding a way to create concrete change. And I feel like it's really important as we see things in the world that are painful or need to be different that we work on not only like processing our feelings and expressing ourselves, but also figuring out how we can create concrete real change. And so that's how Colossus started. And so I didn't like, it was never more of a plan than that and then it just kept going. Yes, it has, thankfully. Yeah. And yeah, Cheryl is in, in, you're in one of our books, are you? I'm in the home one. Yeah, you're in home.  And I thank you for that. It's not because we're gracious. No.  Yeah, we love your writing. Oh, thank you. So let's see if there are any questions from the audience, Nico and Alyssa. Sure. So we have a question from... We do have a question from Daniel T, which is, where are the best places to look for anthologies to submit work into? And Dara so graciously offered a website that I think is a good place for her to submit anthologies. But I would love to also hear from the other panelists about other possibilities and ideas. Okay, Jennifer, you wanna start? Sure. Unfortunately, I don't have any particular place to point people to. I'm trying to think, because when I start an anthology project, the first thing I do is send out an email to everybody I've ever worked with and start asking them to. So I don't know that I've ever posted. There is a Facebook group called Wyne, W-I-N-E. Wyne would used to be a social group here in North Carolina, but now it's on Facebook. I have posted calls for submissions there. But other than that, I just start spreading it through my own network rather than posting it at any place. Lisa? Well, the Writers' Contest is on the website. But also I would say all of the writers groups that I know of do anthologies from time to time. So if you're part of a writing club, a part of a writing group, if you're thinking about starting an anthology, you will often get a supportive group behind you, like they'll release it. Like California Writers' Club, if you were to say, I wanna do an anthology of this type on this thing, they would be like, yeah, we'll publish that for you if you make it a group anthology. So working in a community like that, you can often find or start an anthology that suits you or suits your type of writing. With Contest, they're often advertised online. One of my favorite emails is Funds for Writers by Hope Clark. And she basically posts all of the upcoming contests, anthologies, opportunities to get paid to write in some way or another in blank weekly emails, all over the US at least. So that's one of my favorites to read through. It's kind of a long, very, a lot of words in that email, but you can scan through and find what you need. And there's also a Winnie Writers' Email List that you can get into for contests. I don't love everything that they share, so be a little selective. But there's places that send out email lists of all of the contests that you can get involved in. Many will advertise in some of the magazines, poets and writers, I think writers digest, that's the other one. So there are places that are advertising them, but like I said, the odds are really good. If you're in a club or you're in a small group, that there's a smaller pool of writers that you'll have a better chance of getting your writing picked up, especially if you're really just at the beginning. And then as you get more experienced, you'll also be told by other people in the clubs about other places that you can submit. And it grows. Right. And Sarah? Well, at least for Colossus, originally we would put our call for submissions out on Facebook and Instagram. And I think it was also a lot of word of mouth going to open mics. And one of us would read in an open mic and say, hey, we're looking for submissions to the anthology. Also, there's a website called Submitable. And we put our for Colossus body, we had a call for submissions on Submitable. And we got a lot of, most of our submissions did come through Submitable. Right. Thank you. Any other questions out there from the audience? I see in our chats a follow-up question about contracts and payments for anthology. So maybe like the behind the scenes, how do you pay authors once they submit? Well, not all anthology assemblers or editors or writers pay. So for those of you who do pay, how does that work? Let me start with you, Sarah. Colossus, we don't pay our writers. When we did Colossus Freedom, we did try to give a $20 stipend for authors because so many of the writers who were included in that anthology were incarcerated and the tiny stipend we could give them really would mean a lot to their lives. But that's not usual for us. We are a nonprofit. All of the funds, at this point, all of the funds that we get from selling copies of our anthologies go to the identified nonprofit organization that is connected to that theme. So for Colossus Home, Moms for Housing was our nonprofit. So every time a copy of Colossus Home sells, Moms for Housing gets $20, which is the price of the anthology. Colossus Freedom, the $20 goes to California Coalition for Women Prisoners. And for Colossus Body, the funds go to Keep Our Clinics, which is actually a national nonprofit rather than local. But we felt that with, particularly with the issue of choice, the reproductive healthcare clinics in the Southeast were the group that needed the most support. So we wanted to acknowledge support as much as we could where it would really make a difference. So we don't really pay our writers and we just, it's sort of a way of donating to support a cause that people believe in. Yeah, this is Sarah's talking about the anthology as a social change tool. Yes. And when you submit to that type of anthology, you are becoming a part of that social change. And most of the time you will be giving through your writing rather than receiving money back. When I submitted to Colossus Home, I did it because I knew that the proceeds would go to Moms for Housing. And so that is one arena. Now, all anthologies are not that way and all publishers are not that way. So, Lisa, can you talk a little bit about the contest? Yeah. It used to just be the contest and then we started doing the anthology two years ago. And at the same time, I said, well, our grand prize winner, we really want them to come to the conference. For the past few years, a grand prize winner had not actually come out to the conference because the conference can be very expensive. This has to be another thing that we do because we are a nonprofit. We are trying to make these connections and if the people that are winning the contest can't afford to come to the conference, we need to bring them out. So we changed our prize for the grand prize instead of a cash prize, it is a full registration to the conference. And then for the category winners, it was cash prize, the last contest. This contest, I pushed that because it was so great. We had 10 people that were finalists show up at the last conference and it was phenomenal and they made great connections. All of them did very well by the experience. So we also have added that our category winners will win instead of $100 cash prize, they will win a summit registration of their choice. So in addition to the full conference, we have a poetry summit and a writing for Hollywood summit that are one day like many conferences you can do within the bigger conference rather than paying and doing the whole big conference, you can just have this one day event. And they have the choice of using that as like a discount off of a full conference registration if they want. So it has a value of $249. And then the other thing that I made an executive decision and did was I sent all of the finalists a $50 coupon for conference registration if they wanted to come. So the entry fee was $35. Everybody got a copy of anthology that entered whether they were finalists or not. So that's a roughly $20 value because we were selling it for 15 that make it really affordable and $5 of shipping it out to everybody. Then we have the finalists that got the coupon. We have the category winners that got the, that will get the registration for the summit the one day or they can apply it to the total conference. And then we have the grand prize winner who was brought out to the conference. So, to me it's about that mission of making publishing accessible to people who would not normally have that access. And that's what it says on our application for a nonprofit license to the state and that's what I'm gonna do. So that's sort of the compensation. You might just get a copy of the book but you might get a whole lot more but we don't pay for sales or commissions off the book. Exactly. Now, Jennifer, you have a, I know a totally different response for this question. I've enjoyed hearing how they handle it all. The books that I have done have all been official publishers and I feel recently that people need to be paid. If I'm making money, then they should make money. But I will say that the honorarium that I have paid in the past totally depends on the size of the advance that I've received for selling the book idea. Exactly.  And so, back in the day, yes, it was a nice generous check and as the years on by, correct me if I'm wrong. But I think it's like 25 dollars. Yeah, I feel it's got to be something, you know?  And then also one thing that I feel very strongly about is the contract, the story lease that I use all states that it is non-exclusive. I don't own your story here on out. It's non-exclusive and all I am getting is the right to use that story in this analogy. Right. And there is a contract and you do sign a contract and it is completely understood upfront what is going to happen once your piece is published.  Go ahead. Oh, I'm just gonna add a quick thought in case this doesn't come up yet. But in listening to what some of the others say you could have been saying, I thought, you know, one of the reasons that publishers, they're publishers or somebody like me of what you're putting something together, like anthologies is because you don't just have one person who is promoting it, you have the entire body of work. You have 30 people who are gonna be out there talking about the book and getting their friends and their family to buying it and hoping that their local, you know, press might cover it or it just expands the potential marketing and publicity realm for that one particular title. Which is not true when it's one author out there to get the world to pay attention. Yes. So are there any other questions out there from the audience? And we do have a question from Lucy, which I think is more directed at our Writers Conference based panelists, which is, does the Writers Conference permit simultaneous submissions and what's the reading period? We had submissions from February through, I think we closed the end of July. We don't make it exclusive. We have had people withdraw their entries when they have been accepted elsewhere. So it's, if you do simultaneous submissions, it's important to let the other publishers know or the other contests know if you need to bow out because you've then published somewhere else. We did have one that became a finalist before they were picked up by an agent. And so we couldn't publish their entry. So we just published a note of congratulations to them. So, you know, we're not exclusive in that way. We want people to make connections and get published. That's our goal. We were the first 1500 words of your book. So it's, and you can taper it off or end it in some way so that it feels complete. But then we always publish a bio like this is from this book. So if they are planning to self-publish and many people are planning to self-publish when they submit that this is a piece of advertising for them. This is how you sell this book and you like it, get the rest of it. So most of what we're publishing is not a complete story. It's a sample. It gets you interested. It's a great sort of marketing tool for the authors that are in it. Thank you. Any other questions from the audience? Cheryl, I actually have a question that emerged for myself, which is when people were talking about their anthology projects I just thought that a lot of these projects sounded almost like literary journals. So what's the difference really between an anthology and a literary journal? Or is there just a great area that exists between the two? Who would like to tackle that question? I appreciate that, but what projects that I worked on wouldn't fall under that description. I'm sorry, you froze and we didn't hear everything you said. I just said that the projects that I worked on wouldn't fall under the description of a literary journal. Right. The literary journals that I have seen usually contain a very narrow straight line theme of work. So for example, if it's a historical fiction literary journal, they want what they consider to be literary level, whatever that means these days. Stories about historical fiction and it might be even segmented into a silo of Gold Rush, California. Those are the literature. The anthologies that I have been a part of have had themes but you could basically write a story within that theme from any perspective unless you were told that it was basically fiction or non-fiction memoir if you were given a genre. For example, the San Francisco Writers Conference Contest has broken up into how many segments do you have? You have poetry, you have four segments. Poetry, adult fiction, adult non-fiction and Kiddlet which is anything from books through YA. Right. And so you don't have a theme. Right. So you just submit within those genres any story.  And in the Colossus Home Anthology the theme was home, but I submitted a fable. So it really just is determined by what is being requested. And I would say that the literary journals seem to be more strict than the just free flowing themed anthology. I don't know how do you all feel about that? I don't know, I could be wrong about this but I think when I think about a journal I think about something that has a predictable like it comes out yearly or it comes out quarterly or where the timing is. And I mean, at least for Colossus we don't have any kind of particular timing. It's sort of like we work on a theme and a book and we put it out and we try to get people to buy it and then when there's another issue that feels like super compelling, we dive into that one. And gather the forces. Yeah, it could be two years between anthologies it could be nine months. Okay. Let me ask you all, each of you, what do you have coming up? I wanna give you some time as anthology creators to talk about what you might have coming up.  Well, I'm actually, you know, the thing to sort of shepherd and make happens ultimately either one of them wanted to go through with it but I would still say there's a very strong need for somebody to get together an anthology where it's the parents' voices talk about talking about their experiences with their children transitioning. Particularly those families are all of a sudden be literally made into criminals for God's sake. It's a sudden everybody's got them. Excuse me. And yeah, so anyway, I just wanna say that there's a huge need for that. So please somebody put that anthology together. It was, I was never gonna have anything to do other than just trying to help somebody do that. It's not my book to write, literally. And I think, you know, this is Cheryl, that more recently I had a lot of fun researching and writing a book called Churchill, A Drinking Life, Shannon and Cognac and Drinking Life. Yeah, yeah, yeah. Which is not an anthology. It's a little frothy gift book that was, it's totally cute, the way that the publisher put it together and packaged it. It's a cute little hardcover book. And so I had so much fun doing that. I'm just totally going back to the rabbit hole of having fun writing more books like that. I believe I'll do one about it in Fleming and James Bond. You know, how in Fleming created the world's most famous martini drinker. Very good, Jen. Is it just on the version of the book we saw today? Ew, Sarah. Well. It really exciting coming up for us is we're having the San Francisco Book Release Party for Colossus Body on September 23rd, which is a Saturday. It's gonna be at 4.30 in the afternoon at a bookstore called Medicine for Nightmares. And so, you know, I'd love, please come down. We have some really amazing poets reading work from the book. And as I said, if the money from the book does go to support Keep Our Clinics, which is an organization providing all sorts of very necessary healthcare all over the country, but particularly in the Southeast. And we'll also have other Colossus books there. And so that's our really exciting thing, you know, in the next couple of weeks.  People can find out about those. Going to ColossusPress.org, that's our website. And you can also buy copies of our anthologies there. And again, all the funds from the books go to these different nonprofits. And actually, I was thinking about what Jennifer was saying and LGBTQ and trans issues is something that we've talked about as far as putting together, you know, who knows exactly what our next anthology will be. We've also talked a lot about water as an issue. Water is becoming, you know, has always been political, but is, you know, with climate change, it's becoming more and more of a critical issue for a lot of people. And so that's another possible theme for us for a coming book. But yeah, we'd love to see everyone on the 23rd. We also, you can find us on Facebook and Instagram under ColossusPress, so. Thank you, Sarah. And Lisa. Well, if either of you do pursue that book, let me know because I have a trans kid and have found myself doing a lot of advocacy. There's just so much misinformation out there and a huge chunk of money behind stories that are very anti-trans or people are de-transitioning. I can tell that they're paid stories that are getting pushed forward because they are not in any sense a reflection of reality. And we'd be happy to contribute. As far as what we're doing with the conference, we'll be announcing the contest winners on September 30th. We will turn around and have the anthology out by mid-November at the latest. We always think to do it within a month, but it sometimes takes a little bit longer to connect with everybody involved. That is one of the issues you might face if you're doing an anthology is communicating and hearing back from many, many people that are having all kinds of diverse life experiences that might be slowing them down. So that's coming out. And then our next contest period start right after the next conference through again, probably the end of June or July. I can't remember if we went to the end of June or July. If you look at the contest information on the website from this year, it will likely be exactly the same for next year. So all of your information should be in the chat in terms of how people can get in contact with you and make things happen. And when the next round of anthologies comes, I hope there's some of the people that are in the audience today are participants. There's more than enough variety just with these three wonderful ladies for you to find a space for your writing. I thank you all so much for being here today, Lisa, Jenny and Sarah. And I thank you Mechanics Institute, Nico and Alyssa, and I'll turn it back to you. What an honor it is to have Alyssa, Sarah and Jennifer join us as our panelists today. And obviously thank you again to our warm and steadfast moderator, Cheryl, for being here. I do want to remind the audience to mark your calendars for the next writer's lunch on Friday, October 20th. Once again, the topic is how to craft the coming of age story and it will involve three wonderful authors, that's Dara Williams, who is also here today, Daniel Bobka and Isidra Mencos. And we look forward to seeing you then. And once again, a round of applause, our snaps for our wonderful panelists today. Thank you everyone for being here. Thank you.