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This week I’m running a series of the sharpest questions from my Guardian self-editing masterclass. Yesterday I ran a post about three/four-act structure. Today it’s a great point about how you tie up the end.
Tying up the ends at The End – should you write an epilogue?
One student in the class had written a major climax scene, then another scene to tie up the subplot ends, then an epilogue so we could see what the characters did next. She asked, how many climax scenes could you have? How long should you go on after that? She also felt she didn’t know when to let go and allow the book to end.
Deciding the order of the end events is tricky. You need a main climax, which obviously is the major plot thread. Other threads can be solved in less prominent positions, and often work well in the post-climax scene, as the dust is settling, as a leave-taking for the whole book.
But then what? Do you need an epilogue to show life going on? At what point do you pull the plug and send the reader away?
This is very much a gut decision, but I’ve seen a lot of writers who can’t leave their characters behind. They embark on epic epilogues which dilute the ending, water down its poignance or sweetness, or delay the final punch for too long.
But I know why we write them. I did it myself with My Memories of a Future Life. I wrote several more chapters after the end, page after page, but I recognised that this was so that I could let go. It was an act of exorcism, just for me. I never intended those chapters to be in the book.
Of course, in your mind and in the reader’s there’s always more to tell. So answer this – what will an epilogue add? And who are you adding it for – the reader or yourself?
Tomorrow: two difficult types of characters
Do you have trouble tying up the end of a novel? Have you ever written extra chapters so you could ‘let go’? Have you ever had feedback that suggested you’d paced these ending chapters wrong, either too abruptly or too slowly?
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Yesterday I was teaching a course for Guardian newspapers on advanced self-editing for fiction writers. My students kept me on my toes and I thought I’d explore their most interesting questions here. There are quite a few of them, and the weather is too darn hot, so instead of giving you a giant reading task I’ll be posting them in short bites over the next 7 days.
Three/four-act story structure – how strictly must you stick to it?
Briefly, most stories have a beginning, middle and end, and seem to work best when the major turning points are at 25%, 50% and 75%.
It’s a formula followed by Hollywood screenplays, and it’s certainly useful for novelists – but as a guideline, not a hard rule. In novels it probably won’t matter if you begin your climax at 80% instead of 75%. If you begin at 90% the ending might feel abrupt because you might not have time to come down the other side. You might also have too much of a lull beforehand. On the other hand, it might be perfect.
Where the structure rules become really useful is if you spot a problem. If the end seems too sudden, or too drawn out, would repositioning it help?
Tomorrow: ends and epilogues
Thanks for the pic TMAB2003 on Flickr
Let’s discuss! Do you find the three/four-act structure is useful to you, too formulaic? Has it helped you iron out a problem in your manuscript?
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I get a lot of emails about the beat sheet revision exercise I describe in Nail Your Novel. I’ve just prepared an example for my Guardian masterclass using the opening of Ray Bradbury’s Fahrenheit 451 so I thought you guys might find it helpful.
Bradbury is one of my heroes for the way he explored science fiction ideas in a lyrical style – and indeed he described himself as a writer of fables rather than SF. Strong influence there for my own Lifeform Three, in case you were wondering. Anyway, creating the beat sheet made me admire Fahrenheit even more so I thought it would be fun to share my discoveries here. (Discreet cough: spoiler alert…)
First of all, what’s a beat sheet?
It’s my absolute rescue exercise for revision. Think of it as an x-ray of your draft. It lets you check the structure, pacing, mood of scenes, character arcs, keep control of plots and subplots, wrangle your timeline – all the problems you can’t see when you’re lost in a sea of words. And you can learn a lot if you make a beat sheet of a book you admire.
Here’s how it’s done. You summarise the book, writing the scene’s purpose and add its mood in emoticons. Either use an A4 sheet and write small, or a spreadsheet. Be brief as you need to make this an at-a-glance document. Use colours for different plotlines or characters. Later you can draw all over it as you decide what to change. This is the first third of Fahrenheit 451.
- Intro Montag, startling wrongness, brutality of burning scene :0
- Meets C, explanation of fireman job + role. Establishes M’s alienation from
natural world & how people are isolated
- M ” home. Wife overdosed :0 !
- Horror/desperation of rescue, texture of deeper sadness :0, concealment of
true feelings, everyone’s doing this
- Morning. Wife doesn’t remember. M isolated with the horror. TV gives people substitute for company
- M meets C again, disturbed by her, fascinated by her curiosity & joy
- Intro to mechanical hound. Brutal games other firemen play. M hated it & feels threatened by hound. Guilty secret :0
- Friendship with C deepens. She’s misfit. Explanation of how kids are
- taught in school. Other kids as brutal as firemen. M increasingly drawn to her outlook
- M progressively more alienated & uncomfortable :0 Goes with firemen to house. Steals book ! Woman defends her books & sets fire to herself !!
- Men shaken. Captain B pulls them together
- M too upset/afraid to go to work. Tries to talk to wife. Wife’s priority is for him to keep his job & buy gadgets. Can’t comprehend or notice M’s distress :0
- B visits – pep-talk, history lesson. Wife finds concealed book ! Does B know?
- M confesses :0 ! Is B friend or foe? ? !
- M confesses to wife ! He has 20 books !! Now she could be in trouble too. Furious. Persuades her to start reading !!!…
So that’s how it’s done.
Now, even more delicious, what can we learn from Mr Bradbury?
Beginnings are tricky – what information do you show? Bradbury gives us a lot, but makes it memorable and entertaining with his use of contrast.
First is the startling close-up of the books being burned and the brutal relish in his description. Next is the conversation with Clarice McLellan, the kooky neighbour who seems to come from a completely different, gentler world. Third scene is Montag’s home life. (We can see this from the colours – blue for work, orange for the conversations with the intriguing girl, yellow for home.)
We’re probably expecting the home scene, so Bradbury keeps us on our toes and breaks the pattern. It’s no regular scene of domesticity. It’s Mildred Montag’s suicide bid. There follows a horrifying scene where technicians pump her out, routine as an oil change. It builds on those two emotions we’ve seen in the earlier scenes – the brutality from scene one (brought by the technicians), and the sensitivity from scene two (Montag’s reaction). In just three scenes, the world is established – and so is the book’s emotional landscape. A brutal, despairing world and a sensitive man.
Connecting us with the character
In the next scene, Mildred is awake, chipper, and has no memory of the previous night. Only Montag knows how dreadful it was and he can’t make her believe it. She is only interested in talking about the new expensive TV gadget she wants. This confirms Montag’s isolation and disquiet. And ours. We are his only confidante. We’re in this with him.
In each of those scenes, something is changing – Montag is being surprised or upset (or both). Although Bradbury is acquainting us with the world and the characters, he is also increasing Montag’s sense of instability. As you’ll see from the beat sheet, the later scenes continue that pattern.
Pressure and relief: reflects the character’s inner life
Look at the emoticons. They show us the mood of each scene and, cumulatively, of the book. But successive scenes of pressure (action, perhaps, or upsetting events) can wear the reader down. That’s one of the reasons why we might have a moment of relief – downtime around the campfire, or a brief flash of humour. These relief scenes often carry enormous impact because of the contrast.
Fahrenheit 451 builds this atmosphere of a brutal world, and we notice it quickly. The only relief is in the conversations with Clarice – so the reader’s need for relief mirrors Montag’s internal state. Reader bonded to the main character by the author’s handling of mood. What perfect, controlled storytelling.
I could go on, but this post is long enough already. And we need time to discuss!
The beat sheet is one of the tools in Nail Your Novel: Why Writers Abandon Books and how you can Draft, Fix and Finish With Confidence. More here
And more about Lifeform Three here
Have you made beat sheets of your own novels, or novels you admire? Are there any questions you want to ask about beat sheets? Or let’s carry on the discussion about Fahrenheit 451. Ready, aim, fire
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I’m stuck. I outlined a setting, characters and events. But when it comes to put all together, they don’t fit. Every time I try to change something (aspects of the setting, adding or removing characters) things don’t work. I tried killing several darlings (and reviving them),but the plot is still not making sense. I feel like I’m forcing a cat to take a bath. I keep seeing logic holes. I rearrange and new holes appear. I tried a lot of things (including the card game from Nail Your Novel), but I feel there is something I can’t see, which is the piece I’m missing to put in (or take away) to make things work.
Oh my, what a familiar litany. You must have been eavesdropping chez Morris. My desk is currently littered with notes and scribbles about The Mountains Novel.
What stands out for me is this phrase:
‘I feel like there’s something I can’t see, the piece I’m missing to make things work.’
So there are two things you are looking for: coherence and clarity.
(And what’s that got to do with the title of this post? We’ll come to that. But first, let’s tackle coherence.)
Every time you try to streamline, your inner editor-fairy is telling you that’s not the way. Sometimes we’re like detectives following a hunch, and the only way is a 7% solution or strangle a violin. Just what is the connection that makes sense of all this sprawl?
Here’s what I do – and it’s not very different from what you’ve described. I muddle about with possibilities, subtract things, double them, make lists of pros and cons of a new idea, viewpoint or angle, let the idea settle and come back to it anew.
It particularly helps to return to your themes. Jot them down and consider how your plot events and character issues align with them. Perhaps your themes have changed and this is why the novel is looking too sprawling. Has it suddenly become a novel about ‘everything’?
Sometimes you get more coherence by diving into the first draft regardless. If you have a scene order that makes rough sense but isn’t perfect, start writing anyway. See what happens once you live as the characters and let them inhabit the book. You might find their experience fills those gaps and confirms your hunch on a level you couldn’t get by analysis. Or you might see modifications you can make – rewrite cards, shuffle them if necessary, adjust your map as you go.
With The Mountains Novel, I have two big ideas I’m putting together that don’t appear to naturally fit. That’s one reason I’m not going to tell you what they are in this post – but in my gut I always knew they belonged together. And the further in I write, the more resonance I see.
Which brings me to my more practical tip.
I’m currently rereading The English Patient. I love both novel and movie – but they are very different, even though they are made from the same characters, setting and story events. Reading the novel and noticing the differences is suggesting new ways I could use my own ideas – and they’re all the kind of changes we might make when refining a plot -
- characters in the novel have been spliced together to suit the leaner lines of a film
- scenes that happened in the back story of peripheral characters have been reworked as bonding moments for the main players
- the scenes featuring the English patient’s romance are very different and very much condensed, yet true to the spirit of the original novel
- the novel’s climax is not the same as the movie’s, where far more emphasis is on the English patient’s romance
- the novel’s events are more fragmented, less chronological
So find a novel that has been extensively reworked to make it into a movie, and notice how the demands of each medium – and audience – has reimagined common material.
Marco, you’re doing all the right things. You may feel lost, but sometimes this takes a long time (see this post about how I write and here’s the pics version) It’s often frustrating, and you might feel that all you achieve is a big list of duff stuff. But you might not realise how far you’ve come. Sometimes I look through old notes and smirk at the ideas I was trying to shoehorn in but am now wiser about. (My favourite bookseller, Peter Snell of Barton’s in Leatherhead, points out that I have been mentioning The Mountains Novel in enigmatic hints ever since I first walked into his shop in Christmas 2012 and I’m not nearly done with it yet.) But time and persistence will show you what belongs and what doesn’t.
What would you tell Marco? How have you found clarity in a muddled plot? And can you suggest any movie adaptations that depart interestingly from the original novel?
NEWSFLASH Sandy Spangler and I have finished the files for the audiobook of My Memories of a Future Life (here are the posts about our adventures) and I just noticed today on the ACX dashboard that it’s passed the technical vetting. If you’re signed up to my newsletter I’ll be sending an email as soon as it’s out – and I’ll have a limited number of review copies to offer. If you want the chance to get a free copy of the audiobook, sign up here!
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You started writing a book… but will you finish? Laura Pepper Wu of The Write Life Magazine invited me to her series ’7 Superstars in Writing & Publishing’ to answer that question.
I’m thrilled to be on this because her other superstars are steampunk author and marketing guru Lindsay Buroker, Bestseller Labs founder Jonathan Gunson, Writer’s Digest editor Brian Klems, prolific series novelist and podcaster Sean Platt, magazine journalist Linda Formichelli … and she’s rounding off the series with literary agent Rachelle Gardner! (I’m usually sparing with exclamation marks but I think such a well-connected bunch deserves one…)
In a 20-minute video Laura and I discuss drafting, fixing, beating writer’s block, getting better ideas and writing with CONFIDENCE! And if you scroll through you’ll find the other guys’ interviews too. Come on over…
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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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Scratch that; they weren’t just tricky. They were a forensic slog.
I’d already checked everything that affected the central plot events – journey times, important dates and so on. But that was months before. Not only that, there were countless niggles I hadn’t realised would alert an editor’s eye. It was amazing what I didn’t know about my own book. How many hours had passed since the hostages were taken? On what day did the characters meet the mysterious man? She questioned every plot beat, flashback and nightfall.
Sitting down to answer that exhaustive list, I felt like Arthur Dent when he lamented that he couldn’t get the hang of Thursdays.
Thankfully my timelines held, give or take a minor snag, but I learned my lesson. Ever since, I’ve been fastidious about them.
Timelines are mainly invisible
Unless you’re writing a time travel story or a novel with condensed action, timelines are mainly invisible to readers. Like plot and character arcs, they’re the unseen looms of the storyteller’s art. And this means writers often don’t realise they need to take control of them. Until they face an editor’s interrogation.
You’ll be astonished what editors – and readers – will call you on. Is it possible for Joe to have recovered from his broken leg enough to climb a ladder? Are those characters in two places at once? How can that scene be back story if the event hasn’t happened yet?
If you take control of your timeline, you’ll find it much easier to know if your plot is plausible, and to sort out the hiccups.
Here are my tips.
If the timeline drives the story, you might want to design it before you start writing, or sketch out the main markers – historical events, calendar landmarks. Some writers use year planners, but a sheet of A4 is just as good.
You might also want to verify possibilities that require precision – such as travel. (And if you’re writing time travel you need to be very precise.)
Otherwise, be casual. You can decide these details in revision. If you stop and fret every time you need to write ‘last night’ or ‘next June’ you’ll probably get paralysed by indecision. Write something magnificently vague such as ‘the other day’ or ‘soon’, and sail on.
Before you revise
Now get serious about time. Before I revise a manuscript I analyse the first draft with an exercise I call a beat sheet. Essentially it’s an at-a-glance summary of every scene. You can make it on paper or a spreadsheet, and one of your columns is reserved to record when the scene happens.
As you summarise each scene for the beat sheet, notice if you’ve made a point about the date, time or event, and record it in the timeline column. If you haven’t, leave it blank.
Also write in if a deadline has appeared – for instance, 20 minutes before the bomb detonates. If your plot includes a race against the clock, the timing often needs to be worked out to the minute. With the beat sheet it’s simplicity itself to write the timings against plot events and check they work.
Then fill the blanks, deciding what will be plausible for those sections of the story. Perhaps the precise date isn’t important and you can bracket them together as ‘summer’, to ensure your weather descriptions are consistent. Or you might decide you can enhance the action by setting it at Christmas or even a time that corresponds with a newsworthy world event – whatever suits you.
But when those editors and beta readers quiz you on your story’s plausibility, you’ll have the answers ready. Painlessly.
The beat sheet is my go-to method for revising my novels’ structure, plot and character arcs. It’s explained fully in my book Nail Your Novel: Why Writers Abandon Books & How You Can Draft, Fix & Finish With Confidence.
Do you have problems keeping track of time in your novels? Have you found a solution? Share in the comments
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You’ll have seen the posts here about my blog series the Undercover Soundtrack.
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.
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.
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.
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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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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This post is a tad late as I’ve had an oversubscribed weekend, first hosting a workshop at the London Author Fair and then teaching at the Guardian selfpublishing masterclass. In all that whirl I’ve met a lot of writers and would-be selfpublishers and thought I’d share some of the advice I gave most frequently.
1 Whether you intend to go indie or not, learn about selfpublishing
- then you’ll know how to weigh up the value of a publishing deal. As well as the money (which usually won’t cover the time you spent writing), a publisher offers editorial guidance, copy editing and proof reading, cover design as appropriate for the audience, print book preparation, publicity using their contacts and reputation, print distribution.
As I’ve said in this blog post, all of that is services that indie authors do for themselves. Some (not all) are easy to source and manage. Some can’t even be priced, like the publisher’s reputation. But if you have tried to produce a quality book yourself, you’ll have a realistic idea of the value a publisher adds – or whether you can do well without them.
Some of that value might be emotional – the confidence that everything has been done properly and a sense of validation. These may not be as guaranteed as you think. There are always traditionally published writers who sell enough to be looked after well by publishers, and others who decide they are better as indies.
But the more you know about selfpublishing, the more you can assess a publisher’s value as a partner.
2 It isn’t either-or.
Whether you start as indie or traditionally published, you won’t always stay that way.
Traditionally published authors might leave their publishers (or be dropped) and go it alone. They might reissue their backlist or publish in co-operatives with other authors. Indie authors might begin on their own, then strike a deal. Some do all of it concurrently (hybrid authors), choosing what’s best for each project. Some publishers are experimenting with partnering deals – a different beast again.
There are also rights that are much better exploited with help – particularly translations. A few months ago I was emailed by a literary scout because a Spanish publisher was curious about My Memories of a Future Life. If anything more transpires I’ll blog about it (you bet I will), but these are opportunities I’d welcome a publisher for. (Any other offers, I’m all ears!)
Publishing and selfpublishing is now a spectrum. Most writers will zip up and down it, according to where a project fits.
3 Selfpublishing your first book
Don’t be in a rush! Although modern selfpublishing tools let you revise and tweak a naive edition, you cannot edit your reputation.
Most first-time writers map out a schedule for publishing their book, but don’t appreciate how long it will take them to work through issues found by the developmental editor. With first books I often recommend extensive changes and rethinks, or find the writer needs to grasp a technique better – but they’ve already made a plan to get the book onto Kindle in just a month.
What makes it worse is when they see their writer crowd posting on Facebook or Twitter about rattling through their drafts, launch dates etc. I have three things to say about that:
1 These writers might be well practised and on their umpteenth book
2 They might be fibbing (surely not)
3 They might be about to release a book before it’s fit to be published.
I said this yesterday to my Guardian masterclass: when you’re making a schedule for publication, think of your first book as your training wheels. Until you’ve had the editor’s report you don’t know how much work your manuscript needs. For subsequent books, you’ll work smarter, you’ll have a sharper technique and you’ll be able to gauge how long everything will take. But don’t make a timetable for your first book and then discover you haven’t left enough weeks – or months – for a thorough edit.
And this: don’t be swayed by someone else’s schedule. Find the schedule that fits you.
Thanks for the pics, Official US Navy Imagery, Joanna Penn and London Author Fair
What advice would you give to the 2014 writer? Let’s share in the comments
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I post 4 to 5 useful writing links per day… and other stuffMy Tweets
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- ‘Music of raw power, pulling back from chaos and feedback’ – The Undercover Soundtrack, David Penny July 9, 2014
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