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Posts Tagged literary fiction
Have 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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My 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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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.
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.
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.
- 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…
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.
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.
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).
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
My 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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This 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
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.
Stephen 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
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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I have a friend who is French, and despite years of living in England, he uses a vocabulary that is sometimes unintentionally hilarious. He became a legend when he referred to a top-down convertible as a ‘topless’ car. (I am so looking forward to the SEO results of this first paragraph.)
I’m currently reading Jonathan Safran Foer’s Everything is Illuminated, and one of the narrative strands is in the voice of Alex, a Ukrainian who speaks very little English.
In an attempt to seem more educated and impress the hero, Alex is, as he himself would put it, ‘fatiguing his thesaurus’. In his account, people sitting around a dinner table or at the wheel of a car are ‘roosting’. If something is nice or good, it’s ‘premium’. If a character is standing still they are ‘reposed’; annoyed is ‘spleened’. Alex’s choices are often unintentionally ridiculous, and he has no idea of their appropriateness or connotation.
This creates various literary effects in the novel, which I’ll come back to if you’re curious. But actually, a lot of writers – across all types of fiction – choose words that make their action or characters unintentionally ludicrous or comic.
In times of trouble
This particularly seems to happen with dramatic moments.
In a fight, the heroes might be ‘whacking’ and ‘walloping’. A vulnerable character might get their hand ‘squashed’ under an attacker’s boot, or ‘bounce’ down the stairs. These words might be accurate, but they have a comic ring that ruins the atmosphere. In a scene where a much-loved character is found murdered, there will be ‘blood-splattered’ walls. (Try this instead from Thomas Harris’s Red Dragon: ‘Bloodstains shouted from the walls.’) Someone discovers the body and lets out a ‘squeal’ or a ‘squeak’ – which sounds jolly instead of appalled.
This might happen for a number of reasons. Quite a few of my clients are merry souls even though they write dark stories. Or they’re trying to make a description dynamic, but in their vigour they pick a word that has gusto instead of menace. Or they’re trying to be accurate about what’s in their mind’s eye – after all, blood probably does splatter and spurt from a slashed artery. The trouble is, it sounds slapstick.
In prose, words suggest pictures and atmosphere just by their shape and sound. Those beginning with ‘s’ seem to be especially risky – I can’t count the number of times I’ve seen unfortunate appearances of squashed, spattered, squatted, squirmed and squelched.
Ear and eye
To control our text fully, we need to develop an ear for the mood suggested by a word, and for how it looks on the page. This is different from the way they might work if you were describing the scene to friends, who would have your personality and vocal delivery to disguise the odd inappropriate word. Similarly, you might be led astray if you read a lot of scripts instead of prose. Screenwriters don’t have to be so sensitive to these subtleties. They are presenting instructions for an experience that will come to life in other media.
But on the page, you are creating the actual experience. Your word choice is your tone, the personality behind the scene, the theme music, the lighting. We have to examine these qualities every word we use, both its sound and its shape. Look at that Thomas Harris line again, about a gore-splattered room: ‘Bloodstains shouted from the walls.’
In Everything Is Illuminated, the word choices appear oafishly comic, haphazard; mangled, even. As with all well-executed tomfooling, this belies a great deal of skill. Each odd word has been chosen by the author with great care, with an eye and ear for the grace of a sentence, for how jarring or surprising it might be, and to encourage us to think of what it might really mean. And this clumsiness also gives the narrator a great transparency; he is so unaware of other connotations his narrative has a quality of charm and honesty.
Choose synonyms with care.
Do you have trouble picking the right synonym? Do you have any examples of writers whose descriptions hit the spot for you – or don’t? Let’s share in the comments!
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I’m not sure which category my story would fit into. I had originally intended it to be for 9-13-year-olds (my protagonist is 13), but realised I was dumbing down my language in an attempt to suit the reading level. So I decided to write without thinking about age groups or categories. But now I’m close to the end, I still don’t know how to categorise it. Is it young adult with no sex or violence? Literary? Teen? Paranormal?
Let’s break this down.
Age of protagonist
Readers in any non-adult genre are fussy about the age of their protagonist. They usually like them to be at the top end of the range or a little older. But a 13-year-old main character doesn’t mean you’re writing a book for 13-year-olds. You might easily have a child point of view in a book for adults (Henry James’s What Maisie Knew; Michael Frayn’s Spies).
Certainly the language for child readers has to be appropriate for their age. If you’re feeling hamstrung and frustrated by this, it might be a sign that you won’t be able to keep it up for the whole book. But good writers for children won’t feel they’re dumbing down. They’ll find ways to get variety and style into their sentences so that it sounds natural.
Not just language and age
But age ranges aren’t just about language or the age of the protagonist. The real difference is the emotional development and interests of the audience. So pre-teens are interested in different things from teenagers and YA, and books for adults are different again.
Stories for pre-teens will be more adventure based, whereas stories for teens will be about the trials of that very turbulent time of life. You could even take one story event and make entirely different books out of it, depending on the age you write it for.
Take Geraldine McCaughrean’s White Darkness, which is about an expedition to the Antarctic with a mad, exciting uncle. If it was written for pre-teens, the biggest issues would be the survival situation. But the most compelling trials are emotional – disillusionment with a family member, learning who you are, dealing with relationships. Really, it’s a story of growing up, not of polar exploration. That’s what makes it a teen book.
So to work out your age range, identify the most significant trials the characters go through.
And so to the second half of the question. Oh my, you’ve come to the right place! My debut novel, My Memories of a Future Life, has paranormal ingredients – regression to other lives – but it isn’t paranormal. This is because the paranormal elements are not my main focus. My curiosities in the story are despair, hope, how we live, how we heal and scare each other. I’m using ideas of reincarnation to create unusual pressures in the lives of my characters, but reincarnation is not my subject. My subject is the people and how these experiences are the making of them. Indeed, the paranormal element might even be psychological.
This approach would probably annoy a fan of paranormal fiction. They want to lose themselves in a story that uses the paranormal events as the main fascination. That doesn’t mean they don’t want well-drawn characters with compelling arcs, or good writing, or innovative twists. But they want to see their liking for paranormal ingredients to be given due respect.
Here’s another example. I’ve just been editing a novel set in a historical conflict, but it’s literary, not historical. Why? The emphasis is more on the themes and the people than on the historical period; the period is merely a set of circumstances that give the characters their challenges. Why is The Time Machine science fiction, but The Time Traveller’s Wife is not?
Could a novel be both literary and genre? In a sense, we are all on a line, and some authors fold the line over to touch. Like Ray Bradbury. He writes science fiction, but his stories are metaphors that also unwrap the human condition. Just when you thought it was clear.
Which are you?
So if you’re still puzzled, how do you tell which category and age group you belong in? By reading good examples of the genre.
It’s all a question of how the material is treated.
To sort out the literary/genre question, read books in the genre. Then read some literary or contemporary fiction that uses elements of that genre. If you’re wavering between children’s, teen or adult, read books for different age groups. Which treatments and approach pushed your buttons, gave you the most satisfaction? The odds are, that’s what you’ll strive to write.
Thanks for the pic LouisaThomson
More about characters, including child characters and teen characters, in Writing Characters to Keep Readers Captivated: Nail Your Novel 2.
Have you had trouble working out where to categorise your novels? Any advice to add? Let’s discuss in the comments!
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You really know you’re in a world wide web when an email arrives from a journalist on a newspaper in Malaysia. Elizabeth Tai contacted me for a series she was writing called reading revolutions. She’d seen that I had originally released my first novel, My Memories of a Future Life, as a four-part serial on Kindle, and wanted to ask me how that worked and why I did it. We talk about pros, cons, cautions – and tips I’d give to anyone considering doing the same. Come on over…
And in the meantime, tell me: where’s the furthest-flung place you’ve had a surprise email from about your work?
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I think this is the first interview I’ve done about Lifeform Three. I’m at the blog of Chele Cooke, whose name you may recognise because she was an Undercover Soundtrack guest a week or so ago. Chele is holding a sci-fi festival at her blog this month, and has invited along a number of authors who’ve written in the genre, from epic fantasy to chrome-plated mind-voyages. The awesome Hugh Howey is coming tomorrow, so I must be warm-up for him!
Chele made us all answer the same questions. How we developed our stories, what our distinctive takes are and who we’ve been influenced by. Personally, I think of SF as the classic genre of the imagination, one of the finest ways to ask questions about humanity that can’t be asked any other way. But I’m getting ahead of myself. Come over for the rest.
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Whatever kind of fiction we write, most of us want to give our prose that extra flair and sparkle. How do we learn to do that? How casual can we be while still looking ‘correct’? When is prose powerfully poetic and when is it purple, stodgy and even ridiculous?
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I post 4 to 5 useful writing links per day… and other stuffMy Tweets
- ‘The moment of making the first sound or writing the first word is special’ – The Undercover Soundtrack, Pete Lockett April 23, 2014
- How to write a novel: following the strange – guest post on Writer.ly April 16, 2014
- ‘Road trips require a soundtrack; so do some novels’ – The Undercover Soundtrack, Linda Collison April 16, 2014
- How to make an audiobook using ACX April 13, 2014
- ‘A trickle of notes can flood your thoughts with broken things’ – The Undercover Soundtrack, Warren FitzGerald April 9, 2014
- An easy way to make your plot plausible – control your novel’s timeline April 5, 2014
- ‘Tragedy and loss are cornerstones of my story’ – The Undercover Soundtrack, Anne Allen April 2, 2014
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