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Posts Tagged drama
‘Each morning, there was a chapter to listen to’ – guest post at Jane Davis’s blog on making audiobooks with ACX
Today I’m at Jane Davis’s blog, reflecting on the experience of making Lifeform Three and My Memories of a Future Life into Audible books. If you’ve been following my audiobook journey for a while you may find the ‘how-to’ section is familiar material, but there are plenty of more reflective moments – so I hope they’ll encourage and inspire you if you’re considering an audiobook too.
I also want to introduce Jane Davis. I first spotted her when The Guardian newspaper featured our novels in an article about quality indie authors. I tried to drag her onto The Undercover Soundtrack, but alas she was too honest and told me that music hasn’t really featured in her creative process. So I’ll tell you a little more about her here. She secured a publishing contract when her debut manuscript won the Daily Mail First Novel Award, but has since gone proudly indie, following up with four other titles that deal with tricky subjects in thoughtfully honed prose. Her titles are delicious and hopefully will give you an appetite for more – I Stopped Time, A Funeral For An Owl, An Unchoreographed Life. There’s more about Jane and her books here.
So do join us at her blog for audiobooks, the inside experience.
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My guest this week has a taste for the adventurous. Her novel is set in the pirate-infested waters of the West Indies in 1717, and her characters are unwittingly pulled into a hazardous sea journey. The music that sustained this imaginative voyage is epic and foreboding, but not without its lighter elements. My guest discovered in her research that sailors used dance to ward off boredom on the interminable days at sea, so she wrote a scene to the soundtrack of a reel. But it became more than dance; when the characters shrugged off their tensions they began to behave in unexpected and delightful ways. In case you’re imagining it’s all lace, beards and cutlasses, though, there’s a distinctly modern note at the end: Moby makes an appearance (no, not the whale). The author is Dianne Greenlay (one of my co-conspirators at the League of Extraordinary Authors) and she’s on the Red Blog with her Undercover Soundtrack.
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My guest this week is an old hand at The Undercover Soundtrack. She made her first appearance here in 2012 with a soundtrack she had composed, sung and recorded herself – which earned my undying envy (in a good way). She’s a singer-songwriter as well as a poet and novelist, so music is a natural way for her to understand her characters. In her latest novel, she writes from the perspective of five people, and used music to help her create their different voices and mentalities. Join me on the Red Blog to meet Jessica Bell (once again) and the Undercover Soundtrack to White Lady.
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There’s a shelf chez Morris that holds a set of books with such exquisite titles as Midwinterblood, White Crow, Floodland and, of course, the one quoted in the catchline of this post. So shall I cut to the chase and state that I’m honoured that he’s my guest this week? His novels blend folktales, myth and sometimes futuristic speculation, and music is a significant companion in the writing – from the mournful and joyous gypsy and folk ballads of Eastern European to the romantic compositions of Gustav Mahler. For his latest novel, The Ghosts of Heaven, no music would fit – so he composed his own. Do join me on the Red Blog for the Undercover Soundtrack of multi-award-winning author Marcus Sedgwick.
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I’m thinking about this because of a review I saw this week of a novel billed in The Times as science fiction, which sounded rather disappointing – and it’s put me on a bit of a mission.
I haven’t read the book so it would be wrong of me to name it, but it concerned a new planet populated by humanlike aliens. The main threads are the bringing of God to the indigenous people, and the exploitation of its resources by mining companies.
It seemed this story could have been set anywhere. The human challenges were no different from those in a historical novel. The other-world setting didn’t add anything fresh, except maybe to save the writer some research. (I see a lot of science fiction – and fantasy – novels that are written for this reason. If you invent the world, you can’t be accused of getting it wrong.)
But shouldn’t we be doing something better with science fiction (and fantasy)?
Bob Shaw says, in How To Write Science Fiction, that science fiction’s defining quality is that it deals with ‘otherness’. Whether it’s in the future, the present or the past, it’s about realities we don’t have at the moment.
He also says that the central idea in a science-fiction story is so important it should have the status of a major character. It needs to be developed and explored. It changes what people can do, creates new situations that illuminate the human condition. It adds a new quality of strangeness. And Shaw also says if that concept is taken away, the story should fall apart.
One of Shaw’s own short stories illustrates this. Light of Other Days sprang from an idea about an invention called ‘slow glass’, which allows you to see an event or a setting that happened years earlier. And so a man whose wife and child died in an accident can still see them, every day, in the windows of his house.
Take, by contrast, Andy Weir’s The Martian. An astronaut is trapped on Mars and has to make enough air, food and water to survive. It’s genuinely an addictive read and I loved it, but it could just as easily be happening in Antarctica or on a deserted island. The science provides the particular challenges and the possibilities, but it does not change the human essence of the story.
We’re used to thinking that any story outside the Earth’s atmosphere is science fiction, but they’re not. They’re survival stories. But take the slow glass out of Light of Other Days and you’d have no story at all. That’s science fiction.
The Martian is a great read. The other novel may be too. But it’s a pity if the critical press and the literary community are presenting them as examples of good science fiction.
Science fiction should be a literature of the imagination. I think it’s a shame if we forget this. The same goes for fantasy – Neil Gaiman’s Graveyard Book is a deeply invented world, and very different from The Jungle Book, which inspired it.
We only have to look at our own, real past to see how science fiction and fantasy should grapple with the idea of transformation. Every invention in the history of humanity shows us this. Think of electric light – we can change society and the very fabric of life with an idea like that. With phones – and particularly mobiles – we are reinventing the way society works, saving lives and creating new types of crime. With scientific narrative non-fiction like Rebecca Skloot’s The Immortal Life of Henrietta Lacks we also have a model for writing great science fiction. We can examine the impact of a scientific discovery and the quantum changes it brought, in individual lives and for global corporations.
Science fiction works on this same continuum, the scale of human change. A great science fiction idea should allow us to send humanity to startling new places with new advantages, cruelties and injustices. And those are places in our souls, not just other planets.
So – rant over. I’m hoping this isn’t too abstruse or marginalising for some of the regulars here, but you do know how I love the strange … Do you write science fiction or fantasy? What are the ideas you’re grappling with? How do you refine them or test if they will be bold enough? Would they pass the Bob Shaw test?
POSTSCRIPT How could I have forgotten one of my favourite things about science fiction? It took Dan Holloway to remind me of it in a comment – the reason these ideas prove so beguiling is that they are metaphorically resonant. They enable us to see aspects of humanity that aren’t yet visible. Do read Dan’s full comment below.
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My guest this week is releasing her debut novel, a tale of love, loss and friendship centring on a pair of twins. She says that music was her anchor while she was brainstorming ideas and exploring the characters, helping to deepen her characters and refine her plot points. Her soundtrack ranges from the mournful to the joyous, with tracks by Iggy Pop, Evanescence, Robbie Williams and Samuel Barber. She is Christina Banach and she’s on the Red Blog with her Undercover Soundtrack.
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‘A hushed, whispered jingle mimicking a drizzle of rain’ – The Undercover Soundtrack, Anjali Mitter Duval
Music is at the heart of my guest’s story this week. The setting is 16th century Rajasthan in Northwest India, a landscape of temples and fortresses, jewel-toned textiles, blue skies and golden sand. It’s also the land of kathak, a stamping, rhythmic, hypnotic devotional form of dance practised in Hindu temples by girls who were wedded to the temple’s deity – and wealthy patrons who looked for companions. My guest wrote her story in New England, and listened to the rhythms of the traditional dance to conjure up her novel’s parched, colourful landscape and people, a place where rain was so rare that children would view it with terror. She is Anjali Mitter Duva and she’s on the Red Blog with her Undercover Soundtrack.
STOP PRESS! I just got a Google alert that this blog (I’m talking about Nail Your Novel now, not the red one) has been archived for preservation by the British Library as part of its special collection for Arts, Humanities and Literature.
And by the look of it, they’ve been reading for a while because they have screenshots of designs I’d rather leave discreetly in the past… *Slight embarrassment*
Okay, back to the music. Undercover Soundtrack this way.
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Right now, my voice actor Sandy is in her recording booth, speaking like a bod. Lifeform Three, my second novel, is currently in production as an audiobook, so this week I went to an event in London hosted by ACX and the Alliance of Independent Authors. Audible president Jason Ojalvo and author-entrepreneur Joanna Penn were speaking, and they had some interesting points on the business of choosing and working with a voice actor. (For an introduction to how to work with ACX, including auditioning actors, look at this post.)
Male or female
So a female author or a male main character must need a certain gender of voice actor, right? (And if you’re crossing the gender divide, how do you choose?)
Actually, it’s less of a cut-and-dried rule than you’d think. Jason said he’d often had authors who’d specified they wanted a female voice, then when a male actor had auditioned it had been the perfect match – even in genres like romance, whose readership are very definite in their expectations.
Jason made the point that the book – or the author’s work in audio – might have a voice that’s independent of the voice of the author or the character; it is its own identity. We’ll come back to this.
When I originally looked for a voice actor, I specified a British accent, but as many of you probably know, the narrator I chose is from the US. Initially I got a lot of US actors auditioning because I was one of the guinea-pig authors when ACX launched in the UK – they hadn’t yet got a bank of UK actors to choose from. So I heard a smorgasbord of attempts to ‘do British’, some convincing and some not. But I soon realised it didn’t matter after a few minutes anyway. The accent was irrelevant. The interpretation of the book went deeper than a voice’s characteristic twang, or lack of it. What was actually important was the voice actor’s understanding of the work.
And Sandy, regardless of the flavour of her English, was the most in tune with the novel. She also liked a lot of books that I liked. I picked her.
Same voice for all your books?
Jason said if you have a series, listeners expect the same voice throughout or it breaks the story world. Authors of standalone books, obviously, might search for new narrators each time. I’m happy with Sandy for both my novels even though they are different in tone – because she works well with my style and outlook.
Joanna has two series, so she cast a narrator for each. Funnily enough, we might have ended up with the same one, as the narrator for her dark crime series was one of the auditioners for My Memories of a Future Life! Small world.
Hunting for narrators
You’re not limited to only the voice actors who approach you – and indeed, many authors don’t find an ideal match that way. Jason encouraged authors to hunt around the ACX narrator profiles, listen to their samples and invite them to audition for yours. Or some authors do what I did – if you know a voice actor who’d be perfect, introduce them to the system.
Working with unfamiliar accents
Joanna, like me, is British, and ended up working with an American narrator. Once into the recording process she found there were pronunciations that were alien to her Brit-tuned ears but natural to the US narrator. What to do about them? Tomayto or tomahhto?
Before recordings start, you need to discuss this, and also tricky pronunciations such as character or place names. Sandy and I talked about it. I suspected there would be many more variations than I’d have be able to think of. If I’d decided ‘leisure’ couldn’t be ‘leesure’, I’d have then, for the sake of consistency, had to pull her up on words I never dreamed had a US difference until I heard them.
And the difference goes further than isolated words – sentence emphasis is also radically different. US English stresses the adjective in a phrase like ‘lying on a sticky mat’. UK English stresses the noun (UK: ‘on a sticky mat’, US: ‘on a sticky mat’).
I didn’t want to stilt my narrator with unnecessary strictures so I asked her to pronounce her usual way. I’m glad, because there were hundreds of differences. Hundreds. It would have been madness. In any case, that didn’t matter. So long as the interpretation of the line was true, the emotion understood, the accent was irrelevant.
Joanna had also come to this conclusion, saying there’s a lot we need to leave to the narrator’s judgement and style. She intervened in place name pronunciations, but allowed everything else to go with the actor’s natural style and emphasis.
Having said that, an audiobook is a creative relationship. The voice actor is expecting you to guide them on interpretation. Sandy and I spent several emails discussing how the bod characters in Lifeform Three should sound and what their individual characteristics were. I sent her short recordings of how they seemed in my own head as I wrote them, which she turned into polished performances. It was quite a feat for her – sometimes she had four or five characters in one scene and had to inhabit all those minds, as well as switching to thoughtful narration. For me it was easy because I wrote them. For her, it was mind-and-tongue gymnastics.
You can probably see why questions of ‘leesure’ versus ‘lezzure’ cease to be important. Forget them.
Don’t expect a drama performance
Jason pointed out that the audiobook isn’t a stage or film performance. It’s a reading – a quieter, more subtle business. Characters’ accents don’t need to be full-on impersonations, they are a hint. Passages of emotion don’t have to be performed, merely rendered so they bring to life what is already in the prose.
In prose, the writer has already done the job on the page. The voice actor is converting that into sound. It’s intimate; it’s not slaughtering the back row. It’s murmuring in your ears.
The voice that is the best conduit for your work
Ultimately, the best narrator is the right person to inhabit the book and bring it alive, from its lightest moments to its darkest corners. If you’re weighing up possible narrators, be prepared to revise what you imagined. If you thought the narrator should be British or male, but the more true interpretation, the one that gives you goosebumps, is US and female, that actor is the one to choose. The differences will vanish as soon as the listener gets into the story. After a minute or two, they won’t notice.
Since I released My Memories of a Future Life, some people have asked me why I chose an American, and indeed have mentioned it in reviews. Then they report that they got immersed. Your best narrator is the person who can inhabit the book, who can become its voice in the reader’s head and make them forget everything else.
Thanks for the pic Michael Mol
Any tips or questions to add? Have you made an audiobook? If you listen to a lot of audiobooks, do you have any feedback on what makes a good narrator? Let’s discuss!
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We often don’t realise what surprises our own work holds for us. My guest this week tells me that while writing her post, she realised she was seeing her novel in a fresh light. She’s been on this series before, so is no stranger to Undercover Soundtracks. This time she has a psycho-sexual tale of a husband who vanishes and a wife who follows him into a seductive, mysterious and dangerous night world in which they all become creatures of darkness, ‘skinny-dipping in deep greenish hued waters charged with sexual tension and lustful predilections’. The novel is Lady Limbo, the writer is Sunday Times Fiction Prize nominee Consuelo Roland, and she’s on the Red Blog with her Undercover Soundtrack.
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I post 4 to 5 useful writing links per day… and other stuffMy Tweets
- ‘Hidden forms that tell a story’ – The Undercover Soundtrack, Stephen Weinstock November 19, 2014
- I name this book… tips for choosing a good title November 16, 2014
- ‘Each morning, there was a chapter to listen to’ – guest post at Jane Davis’s blog on making audiobooks with ACX November 13, 2014
- ‘Spurred by the song’s rhythm, my typing fingers flew’ – The Undercover Soundtrack, Dianne Greenlay November 12, 2014
- A good editor helps you to be yourself November 9, 2014
- ‘A lyric, a tune fragment, a thrilling chord run’ – The Undercover Soundtrack, JW Hicks November 5, 2014
- Something wicked this way comes: plot book ready soon November 2, 2014
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