Posts Tagged authors

‘The moment of making the first sound or writing the first word is special’ – The Undercover Soundtrack, Pete Lockett

for logoMy guest this week is a percussionist who has worked with an astonishing list of world-class musicians, a list to make any music fan giddy – Bjork, Peter Gabriel, Robert Plant, Dido, Bill Bruford, Jeff Beck, Ustad Zakir Hussain, The Verve, Texas, Trans-Global Underground, Nelly Furtado, Lee Scratch Perry, Primal Scream,  Damien Rice, Dave Weckl, Thomas Lang, Jarvis Cocker, Craig Armstrong – and more. Trust me, at some point you’ve had him in your headphones. He found that his music fuelled a desire to write a novel, and after a good gig he would rush back to his hotel room, eager to pour out the next chapter. He says he wanted to take a simple starting point and construct an epic journey that ventured outside the normal – bringing together birth, death, the afterlife, reincarnation and immortality into new coherence, and echoing the journey he takes when working with musicians. The result is A Survivor’s Guide to Eternity; he is Pete Lockett and he’s on the Red Blog with his Undercover Soundtrack. Pinch me, someone.

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How to write a novel: following the strange – guest post on Writer.ly

writerlyHave you ever filled in one of those questionnaires that’s supposed to tell you what your ideal job is? Whenever I did, I usually found them desperately disappointing – but then they probably weren’t meant to send people to precarious, impractical occupations like writing. Except that one day, I filled one in that did. And it did it with one excellently judged question: ‘do you value the strange’?

Not only did this prove there is only one job I’m really fit for, it also summed up what drives me to write.

Today I’ve been invited to Writer.ly, who asked me to describe how I develop my novel ideas. Expect a lot of head-scratching, thinking, running, shopping – and writing of notes that no one will ever see but me. Come on over… and tell me if you also value the strange …

 

 

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‘Road trips require a soundtrack; so do some novels’ – The Undercover Soundtrack, Linda Collison

for logoMy guest this week says she studied music in high school. She describes music as a time machine, and even indulges a wish that in a parallel life, she became a musician. (In common, I’m sure, with many of my Soundtrack guests – not least, me.) In this life, though, her instrument is words, and she compares writing to a long process of dreaming a journey. Her novel is the story of teenagers coming of age on a road trip and was a finalist in Foreword Review’s Book of the Year Award. She is Linda Collison, her novel is Looking For Redfeather, and she’s on the Red Blog with her Undercover Soundtrack.

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How to make an audiobook using ACX

Do you want to release your title as an audiobook? If you live in the US, you can go through ACX, the DIY arm of Audible, but ACX wasn’t open to UK authors – until now. For the past month, I’ve had both my novels in production as a test pilot, and now I can tell you what I’ve learned so far about offering a title, choosing a narrator and working with them.

acxWhat’s ACX?

Good question. ACX is a network where narrators and producers can meet authors who want their work released as audiobooks. Once you’ve hooked up, you can then use the site as an interface to create the book, keep track of contracts and monitor sales. In short, it’s genius.

Setting up

You know how tedious it is every time you set up an identity on a new site? All that form-filling and profile-making? ACX requires minimal faff. Once you tell them who you are and what book you’d like to offer, it pulls the detail off Amazon.

Getting voices

You can:

  • opt to narrate and produce the audiobook yourself, but to do this you must have professional-quality equipment and experience of sound editing, or the book won’t pass the quality check.
  • pluck a willing narrator/producer out of the ether – this is what I did.

Pitching your book

Next to your book info, you can add notes to make your book more attractive to collaborators – your platform, sales figures and anything else that will convince them you’re worth working with. Which brings me to…

Costs

Making an audiobook isn’t cheap. An average novel is about 10 hours of narration (roughly 90,000 words) and is likely to cost $200 or more per finished hour.

You have several options if you’re seeking a narrator/producer on ACX

  • pay up front
  • pay a royalty share (which I did)

All the ins and outs of this are much better explained on the ACX site, so check them out there.

mm acxMy acx journey – mistakes made and lucky discoveries

 Choose an audition passage

When I talked to the ACX crew, they told me many writers put up the first few pages as the audition piece. This can be a mistake, because the beginning may not be typical of the book’s action. I looked for a challenging scene with dramatic dialogue as well as the narrator’s internal thoughts, which I felt would test the reader’s approach more usefully.

I added notes about the context of the scene and the style of the book – and waited for auditions.

And lo, they rolled in. (This was in itself a wonderful surprise.) Once I got over the novelty, I realised I needed to tweak my presentation.

Accent& mistake #1 – ACX lets you specify the age, style and accent of the reader. Age and style were easy enough to choose, but accent caused me more trouble. I assumed this had to be British as, obviously, I’m a Brit, my characters are Brits and I write with British language. However, ACX is predominantly US, so that vastly reduced the available talent pool. Some of the voice actors did very credible Brit accents. Some couldn’t pull it off and sounded Chinese or German. Others ignored my stipulation – quite wisely as it turned out they sounded just fine in their natural accents. So I quickly realised accent was a detail that didn’t matter, and edited my directions. Indeed the narrator I chose is American.

Another reason to choose an accent other than your own is if the majority of your readers are in another territory. I sell a lot in the US, so an American accent might make them feel more at home.

Accent isn’t the only deciding factor, though.

Suitability for the material – While the narrator might be able to do a good job with the audition scene, you have to be sure they’ll interpret the whole of your book in the right way. A Regency romance needs a completely different approach from literary fiction, and I can imagine it’s a nightmare to realise your narrator simply doesn’t ‘get’ your book. If you have a contender, poke around in their ACX profile and follow up any websites where they demonstrate other books they’ve narrated. Also, ask them what they like to read.

Acting versus reading & mistake #2 – some books benefit from a reader who will do a lot of gutsy acting, including distinct voices for the main characters. But for most fiction, that’s too much. They’re journeys in prose and need a more intimate, subtle treatment, which might even sound flat to some ears. Listeners know they’re being read to. They don’t need rollicking declamation – or music or sound effects. And a good reader can make it clear who’s talking without bursting into different voices, so you actually need less ‘acting’ than you might think.

I made another mistake here in my original guidance notes for the audition. I didn’t ask for different character voices, but I did explain the book had sections in a different tone – the female narrator, and the future incarnation who was a male version of her. Thankfully, before it went live a friend pointed out that this might cause a lot of horrible baritone overacting, and that I should simply let the text do the work.

Ultimately, you choose a narrator on a hunch that they fit your work. One author I spoke to at LBF said he knew when he’d found his because the guy sounded like the ideal voice he’d have chosen – but better. That’s how I found mine too – although it was by a more roundabout route.

afterMeet Sandy

And here is Sandy Spangler – my narrator!

I had a shortlist of possible voices, including seasoned Broadway actors, but there was one question I couldn’t answer. When I looked into their backgrounds, none of them had narrated a novel like mine, and I was worried they wouldn’t get it. Then I remembered a friend who I’d heard do narration work – on a computer game, of all things. At the time, I noticed how she had an insightful, feisty quality that reminded me of Laurie Anderson. Even better, I knew her reading tastes made her a good fit.

I contacted her. She didn’t know about ACX, but she was keen to give it a go, registered and sent me an audition. Her reading was just right – inhabiting the material with well-judged expression and I knew the book would suit her personality. If you’ve been a subscriber here for a while you might recognise her from some of the goofy photos I’ve used on my posts. But her voice absolutely suits my kind of fiction, and if yours is like mine you might like her too (here’s her ACX page).

Our process

Here’s how we’re working.

Pronunciation guide – All books have peculiar words and names and you need to warn your narrator of these. We set up an editable file on Google docs. As I said, Sandy’s American and I’m a Brit, so we had to decide whether she should pronounce words like ‘leisure’ and ‘z’ in the UK or US version. I decided we could fiddle endlessly with this so I asked her to do whatever was natural. If we tried to anglicise everything there would be certain words we’d miss, or the stresses would still be American. And I didn’t want to get in the way of her doing the most instinctive job. So she says tomayto while I say tomahto. No big deal.

Pace - one of the first tasks is to approve the first 15 minutes of the audiobook. Sandy was afraid I might think she was reading too slow, but I felt the text suited a measured pace. ACX actually advise that you err on the side of slow because listeners can artificially speed the reading up if they want.

Pauses – you need pauses between paragraphs, scene switches, and maybe in other sections too. We spent an email exchange identifying exactly the right kind of pause for each.

Listen to finished chapters – You need to set aside time to listen to chapters as your narrator uploads them to ACX. We have a schedule and a chart where we tick off chapters I’ve approved or asked for modifications (usually these are pronunciations or stresses). ACX gives you a time code so you can pinpoint exactly where an edit is needed.

 

And that’s the story so far. If you’re interested in the finished audiobook, you can sign up for my newsletter here. And you can find out more about My Memories of a Future Life here. Next time, I’ll delve into the narrator’s side, including what exactly is involved in creating an audio book.

In the meantime, tell me: have you made an audiobook? Are you tempted to? Have you any tips to offer or questions to ask? Share in the comments!

 

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‘A trickle of notes can flood your thoughts with broken things’ – The Undercover Soundtrack, Warren FitzGerald

for logoMy guest this week has studied music more closely than some. His previous artistic incarnation was a rock singer – both with a band of his own and performing as a session vocalist to vast venues. (If you’re very good, we’ll include a video of him so you can see for yourself.) Now he has settled into an artform of lower decibel, but he hasn’t left music behind. His latest novel, Tying Down The Sun, is the story of a kidnap in the Sierra Nevada and he used music to help him verbalise the landscape and to mark the plight of his captive characters as their ordeal wears on. He is Warren Fitzgerald and he’s on the Red Blog with his Undercover Soundtrack.

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‘Tragedy and loss are cornerstones of my story’ – The Undercover Soundtrack, Anne Allen

for logoOne of the special pleasures of hosting The Undercover Soundtrack is the honesty of the writing. My guests are ready to delve into their innermost creative spaces and share the bare, exacting process of turning memories, experiences and feelings into stories. My guest this week is one of those writers who drew on raw times to create the novel she shares with us. Music helped her examine two tragic losses, with their conflicting emotions and struggling hours. The soundtrack is haunting and melancholic, but is also rakish and fun – Rod Stewart makes a welcome appearance as life recovers and warms up again. The author is romantic mystery novelist Anne Allen and she’s on the Red Blog with her Undercover Soundtrack.

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How many words do you write a day? And do you have to force yourself? How successful authors do it

Dave writingThis question appeared in my inbox from Adam Nicholls after I reported on Facebook that I’d managed 4,000 words of The Mountains Novel in one day. Adam DMd me, in not a little anguish:

How many words do you write per day? And do you have to force yourself to do it? I love writing, but it’s work.

There are two significant points in this question:

  • output; books growing steadily at a satisfactory rate
  • difficulty.

How many words per day?

I asked this question of a group I’m a member of, The League of Extraordinary Authors. Romance author Melissa Foster says she has no difficulty getting 7,000 to 10,000 words written in a day and that she adores the blank page. No issues with output there. (But there’s more to writing a good novel than stacking up the wordcount, as she points out in the comments below.)

Romance author Colleen Thompson says ‘When on a publisher’s deadline, I write 1,000-2,000 words a day 6-7 days a week. Otherwise, I try to produce 20-25 new pages per week. Right now, I’m editing, so all bets are off!’

And contemporary fiction author Linda Gillard says ‘I don’t have a regular wordcount but I doubt if I do more than 2,000 new words a day. I think of it as a chapter a week. It’s more important to me that I should work every day on the book – research or editing. For every day spent drafting, I spend 3-4 days re-writing/editing. Drafting I find quick, editing slow. Once a book is under way, I expect to work most days.’

Ultra noir detective author Eric Coyote says he ignores wordcounts – ‘because so much of my writing is re-writing. I clock time: 2-6 hours a day. Usually I work a couple of hours in the middle of the day, then a blast at night until 2 or 3am.’

Graham Greene, who was hardly a publishing slouch, would set himself a modest target – 500 words a day he was satisfied with, and he stopped even if he was in the middle of a sentence so he  could pick up the following day.

parisreviewStephen King talks in this interview for The Paris Review about how he aims for 1,000 words a day.

And since you asked (or Adam did), I track wordcounts if I have a deadline, as when I’m ghostwriting. The plot is agreed beforehand and by the time I write it’s simply a matter of enacting what’s in the outline. I’d usually get 2,500 words done in a day, 5 days a week.

My own fiction is trickier because there’s much more discovery and exploration, even though I plan, so wordcounts grow erratically. They might shrink, too, as I realise I can’t leave the passage I wrote the day before. The day of 4,000 words isn’t a consistent norm although I didn’t stop there. By the time I closed the file that day I’d added another 2,000. Only time will tell how much of that I’ll keep as I’m sure I was cross-eyed by the end.

Indeed, like Eric, I find it more useful to record the hours spent. With novels like mine, part of the work is understanding how to handle the idea. So a session on the book may produce no new footage in the manuscript, but several hours writing notes or reading.

Get on with it

Of course, we could research and tinker endlessly. It’s easy to slip into procrastination instead of getting the writing done.

There are two main reasons why we might dither for ever:

  • we can’t immerse
  • we’re worried about getting it wrong – the inner critic

book at the end of the tunnel Nail Your NovelFind a place to immerse

Where do you write? Stephen King in The Paris Review says he creates a ‘refuge’ where he can shut away. He also remarks that being close to a window is fatal because it’s easier to look outside instead of inwards to the imagination.

I posted last week about getting into the zone, using music. Writing tutor and suspense author James Scott Bell explains in this post how he subscribes to the oft-repeated philosophy of writing when he feels inspired, and making sure this happens at the same time every morning. Yes, be brutal with your muse.

Don’t lose contact with the book

A surprising number of writers feel a stab of stage fright before they sit down with their novel. I do myself, but only if I’ve had to leave the manuscript for more than a few days. The more I keep my contact with the book warm, the more I feel comfortable to venture back inside it. It helps that I’m drawing on the experience that the other novels worked in the end. What if you don’t yet have that or for some reason that isn’t enough?

Warm up the writing engine

Some writers favour freewriting exercises. Freewriting is basically splurging onto the page or screen, regardless of grammar, spelling, quality or any other critical issue. The point is to remove inhibitions and let the ideas flow, to connect with your creativity. Famous exponents include Natalie Goldberg in Writing Down The Bones, Julia Cameron in The Artist’s Way, and another of my cohorts in The League of Extraordinary Authors, Orna Ross.

Get out more

In my conversation with the League of Extraordinary Authors, Linda Gillard had this terrific advice. ‘I find the best way to stimulate the flow of ideas and the desire to write is to put myself in a situation where it’s impossible, eg Christmas.’ Indeed, this is one of the tactics I recommend in Nail Your Novel - if you’re stuck, go and do something messy that will make holding a pen impossible. Make meatballs or go to the gym. Inspiration is no respecter of convenience.

Do you have wordcount goals? Do you find writing a struggle? What would you tell Adam? Share in the comments!

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‘Pictures in melody’ – The Undercover Soundtrack, Aaron Sikes

for logoYou could divide my Undercover Soundtrack guests into those who aren’t put off by lyrics and those who are. My guest this week is one of the latter. He says that music with lyrics is too domineering when he’s trying to write – but that orchestral or ambient electronic music sets his imagination free to roam. His novel is a quirky noir of dirigibles, automata, back alleys and a hardboiled hack (the bipedal journalistic sort, not an equine), and his central character was honed by long hours simmering with Hans Zimmer’s soundtrack for The Dark Knight. He is Aaron Sikes and he’s on the Red Blog with his Undercover Soundtrack.

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7 essentials for writing a good novel – notes from the Undercover Soundtrack

essentialsYou’ll have seen the posts here about my blog series the Undercover Soundtrackfor logo

Over the years, the posts consistently repeat certain bare essentials, both for reaching the writing mindset and creating a good story. Here they are, and whether you write with music or not, we all need them.

To enter the zone

In front of us is a keyboard and a screen, or maybe a pad and pen. Whether you’re putting on a soundtrack, closing the door on your favourite silent space or seeking the anonymous corner of a coffee shop, the first step is to find a way to delete the outside world.

Start the time machine

Whether we write gritty memoir or the most extravagantly invented fantasy, we need to harvest our emotional memories. Many of our scenes, dilemmas and storylines are drawn from feelings we had at important times with family, friends, loved ones.

To keep the pace

Stories aren’t static. To keep the reader gripped, we need to generate a sense that the world of the story is changing all the time. For me, music is a useful reminder, because music does not stand still. There may be a new instrument snaking into the mix, a new variation on a theme, a creeping, evolving harmony. If this is going on in my ears while I’m spending time with my book – whether I’m musing or typing – I find it keeps me up to the mark – pushing for ideas that give this forward pressure.

And structure  

We’re getting more musical now. A song is not unlike a well-told tale. It creates a territory of familiarity – a pattern we recognise of verse and chorus. Then we have the second verse – familiar, but not the same because the background is more dense or the lyric more intense. The second chorus is usually more substantial than the first, and even if it has the same lyric, it packs more punch. And on the song goes, seeking a climax.

And elegance

For all its variation, a song is tightly disciplined. It develops by adding only what belongs. As story writers we can splash about in ideas, locations, settings, characters and events, but the more they align with the home territory (or exquisitely contrast with it), the more they will seem to belong in one piece.

And contrast

In a piece of music, there might be a breakdown, where most of the elements are subtracted, perhaps leaving only the drum track or the melody at great distance. Breaks are important for a reader too; perhaps a campfire scene, a time out from the pressure to let the reader breathe before the tension comes flying back.

To calm the inner editor

Novels are huge and often daunting. Getting from beginning to end requires persistence, and we always find our confidence tested. Many of my Undercover Soundtrack guests report that music is an essential companion in this. It helps us believe more in ourselves, our story, our characters, our world – and in our ability to finish.

How about you? What essentials would you add? And if music isn’t your aide of choice, is there something you use to get a novel finished?

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