A blog post by Crypto Coins contributor Michael Bekesdorff explains what he believes to be the essence of what makes a “literature podcast” a literature podcast.
Bekersdorff has written two other posts on the subject, which you can read below: 1.
“The nature of the podcasting landscape and the way we’ve seen it change.”
“What constitutes an ‘ethics podcast’ versus a ‘literature show.'”
The first post describes how “ethos” refers to the concept of an “ethically-driven content production process.”
The second post describes “the way the podcast format is being used by the wider world” in terms of the “ethics of podcasting” and “the process of structuring an ethically-decided show as a podcast.”
The first of these posts focuses on the “traditional” podcast format, which Beker’s post refers to as “ethicist-driven.”
“If you have a podcast where your goal is to make a good story out of a bad situation and get as much out of it as possible, you have an ethicist-based format,” he writes.
“If your goal was to make some good, interesting material out of something bad, and make the story interesting, then you have the ‘ethicist’ or ‘ethnocentric’ podcast.”
Bekner, however, notes that while some podcasts use the “Ethicist-Driven” podcasting format, “others do not.
I’m a big fan of the latter.”
“It’s all a matter of perspective,” he says.
It’s about the way the story is told.” “
Ethics podcasts, on the other hand, are about the content of the book.
It’s about the way the story is told.”
In the first post, Beking discusses the “first two rules” of podcast production: “It’s not about the words, it’s about what happens to the words.”
He then notes that the “third rule” is “that there is no need to pay anyone.”
He describes the third rule as “the only thing I find important.”
Bekersdorff explains that the podcast is “designed to be a kind of storytelling-based show, where you can go in with a few ideas and talk about them, then have a long conversation about them.
It doesn’t need to be written down.
It can be done at home.”
“You have a lot of freedom to play around with your ideas, to go crazy with them,” he adds.
“You can get really creative.”
According to Beksdorff, this freedom “also gives the show the ability to have a very deep voice, to be very open with the audience and with the writer.
You can do a lot with the characters.”
The second post, titled “Ethics podcasting and the structure of podcast podcasts,” details how “the structure of podcasts” has changed over the years.
“Now that the Internet has allowed you to do a podcasting show on your computer, your audience has become much bigger than it was in the ’90s,” Bekresdorff writes.
In recent years, he points out, “more and more podcasts are becoming ‘philosophy-driven,’ which means they’re very interested in the way ideas are framed and expressed in the form of a podcast.
The show structure is still about the story, and that story is still the story of the people.”
For example, in the second post he describes a “philosophical podcast” that has become “much more of a philosophical podcast” in recent years. “
If there’s a consensus, they can then share it.”
For example, in the second post he describes a “philosophical podcast” that has become “much more of a philosophical podcast” in recent years.
Berkersdorfer, however in his post says “there is a very different kind of podcast that has a different kind a place for people to discuss the topics of their interest.
What I find interesting about this is that it shows that you can create a different type of podcast for different audiences, because people listen to different kinds of podcasts.
They like different kinds, they want different kinds.
So I think that the format is really important.
This is why I think the ethics of podcastbing is important, because it allows the show creators to express themselves in a way that doesn’t compromise the truth or the integrity of the story.”
He goes on to say that the reason why “the audience is willing to share their opinions is