The quirky characters in Cain’t Do Nothing with Love get themselves in the worst pickles, thanks to love. Can love get them out? Join these men and women, dogs and the Devil, as they travel the wandering, unpredictable path of love.
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The first Community Writers Retreat I put together for Door of Hope Writing Group, the panel of facilitators was white. Every writer I’d identified to come and teach us about writing in an all-day conference was Caucasian. I wasn’t being racist. I was asking for favors: will you come—unpaid—to the Retreat and teach a workshop on writing? Of course I had hit up my writer friends, people I knew best. And the people I knew best were white.
When I had the lineup completed, I looked at the folks I’d selected and thought, wait a minute. So many of our audience weren’t gonna be white. They would be African American. How could I offer them an all-white panel?
This, as they say, would not do.
So what did I do?
That year, and in all the years that followed, I went WAY outside my comfort zone to make sure our lineup of facilitators was predominantly Black.
I asked a mutual friend to please introduce me to a glorious African American writer who I’d heard reading her work. I met with her. I asked if she would be a facilitator for us.
I researched Memphis African American writers. I cold-called a published novelist. I asked if he would please come teach a workshop for us.
I contacted a famous local African American journalist and asked her if she would, perhaps, consider coming to speak to us about writing.
I went to Maggie’s Pharm and asked Valerie June—who had not yet blown up the roots music world and clerked at the store—if she would talk about songwriting to our group.
I called a well-known orator and politely asked if he would perform for us during lunch.
I reached back in time and asked a writer from an old writing group to please come educate us about getting published.
I emailed a preacher who I didn’t know from Adam’s house cat and asked him to come talk about spiritual writing.
I asked a young spoken word artist to entertain us during our lunch break.
I kept at my talented writer friend who did not believe herself ready yet to, please, come enlighten us.
In each and every instant, those I asked said yes. Immediately, graciously, enthusiastically. Several became friends. One we believed for a while to be related to my husband, but that’s whole ‘nother story. All were full of information the participants lapped up. I continue to be incredibly proud to know each one of the facilitators.
It’s not weak to admit your natural approach is to favor your friends. Those who are like you. People you know and are comfortable with. It is, however, wrong to not analytically examine the results for evidence of implicit bias. To ask yourself, is this skewed? Can I benefit from widening the lens? Am I, in fact, abusing my position of power to exclude those who should be included?
That was one of the many, many lessons the Door of Hope Writing Group taught me over the years.
Recording this TRACKING HAPPINESS novel is about to do me in.
The final take is almost in the can (is that an appropriate phrase for a recorded novel?) I’m laying in bed, worn out. I’ve recorded the durn thing three times. On the first take, the quality sucked. I hadn’t yet found the Amazing Black Box that Eats Ambient Noise (photo here.) After I invested approximately $50 in the Amazing Box, I recorded the entire novel a second time (that’s 26 chapters, 304 pages.)
On the second recording, the voices sucked.
See, if you’ve got lots of characters—as novels tend to do—the listener has to be able to aurally distinguish them. One character can’t start yakking, and the listener think, who the hell is talking? It’s up to me, the narrator, to distinguish the voices. Then—this is the real rub—you have to continue to use the right voice for each character EVERY DAMN TIME SHE OR HE SHOWS UP. That means re-listening to already recorded material to re-familiarize yourself with the character’s voice before you jump back in.
On the second recording, I used one voice for a character that caused the most inexplicable, unpleasant mouth noises. A main character who appeared throughout the novel. Because I’d done the second take in a marathon 3 day session, I didn’t know how truly disgusting the noise was until my sound guy sent me the compressed file. It was terrible.
On to round three.
This time—the third time—I gave myself three weeks to do the recordings. A nice easy pace of 2-3 chapters per weekday. I missed a couple of days and had to trot some to catch up. Each recording session takes much longer than you’d think. Recording—for me— requires a lot of stops. For example, even after recording this sucker three times, in the oral reading, I sometimes make corrections to the written word that are actually improvements. So I have to stop and make a notation to keep my sound guy from thinking it’s an error he needs to correct.
I also stop when I say the wrong word. I stop when I use the wrong inflection. Plus, there’s the dog collar jangles, stomach gurgles, text message dings, water running through the pipes, and the train (yep, I’m recording in Memphis in the apartment that is UNDER THE TRAIN TRACKS—even the Amazing Black Box can’t muffle a train).
It is exhausting.
I blithely undertook recording a novel because, hey, I’d successfully recorded a short story collection. The two works had about the same number of pages. And I’d won a 1st Place Award for Audio Books in the CIPA-EVVY national contest. I could tackle a novel, no problem.
All I can hope is that it is worth it. That the frequent stops means errors were caught and erased. That my diligence about voices means listeners hear the characters with no interruption in the pleasure of the narrative. That I can soon declare this over and never, ever again have to lean into a handheld microphone.
At least not until I record A MODEL FOR DECEPTION, the fashion model detective novel. Yeah, I think that’s next on the agenda. After all, once you actually acquire a skill, you need to make the most of it.
I’m deep in the middle of recording my novel TRACKING HAPPINESS. My followers fondly refer to this novel as “the chicken novel.” Earlier, I traveled to Jackson, Mississippi where my very talented sister shot a photo for the book cover. Next, my graphic artist transformed the photo into a true book cover (featuring a chicken, of course). And now I’m recording the content . . . for the third time.
I didn’t know the first two recordings were practice runs, but that’s what they turned out to be. I’m now at Chapter 13 in the re-re-re-recording. I record here:
Looks like a bathroom, doesn’t it? It is a bathroom. The key to transforming this space into a recording studio is the black box in the lower left corner of the photo. Here’s a closeup:
My former sound guy found the recording box on Amazon, a gem of a tool for home recording. It’s portable—it breaks down into a flat rectangle that you can take anywhere—and muffles noises swimmingly. I keep all my ancillary recording equipment in this basket:
After I’ve recorded, I download the readings onto my computer and upload them onto SoundCloud:
SoundCloud allows you to share large MP3 files over the internet. I’m sharing the files with my new sound guy, who will be editing out ALL my mistakes and fixing the sound quality and generally getting it ready for you to listen to. In the meantime, the recordings on SoundCloud are private, so the cat doesn’t get out of the bag.
Anyway, I’m about halfway through recording the novel. It’s a total of 303 pages. My greatest take-away from this experience is this: though the total number of pages is about the same as the 14 short stories I recorded in CAIN’T DO NOTHING WITH LOVE, recording a novel is a TON harder. I’m hoping it is equally as successful.
Y’all know me. I’m always experimenting. I don’t know if I’m easily bored or what. But one of the many plates I’ve currently got spinning in the air involves crowd pricing my short stories.
I’m talking about CAIN’T DO NOTHING WITH LOVE, the short story collection that was on Podiobooks, which was itself an experiment, a very successful one. Listeners downloaded the stories across the globe, over and over again, which tickled me to no end. I mean, imagine all those folks in France straining to understand my very Southern voice. Then—nothing ever stays the same, does it?—Podiobooks merged with Scribl.com. Because I was an existing author, Scribl gave me the option of staying on Podiobooks as a Legacy (you know, like when you rush the same sorority your mom was in). In addition, I could choose to join Scribl, which offers both ebooks and audiobooks.
Scribl’s thing is crowd pricing. The way crowd pricing works, the stories start out free. When the downloads reach a certain threshold, a price begins to attach. Scribl prices the ebook and audiobook differently, based on how often readers or listeners download each. The more the stories are downloaded, the higher the price creeps. In effect, the price point acts as a “review.” As the site says, the books with higher prices “have proven popular.” Does that make sense?
I suspect it takes a while for all of this to happen—downloads to break the threshold, price to rise, then perhaps for prices to plateau/fall as the price exceeds what people are willing to pay. However, the first part has gone quickly—the stories are no longer free! The stories went from free, to costing .39 to listen and .29 to read, to $2.79 to listen and $1.99 to read. Woo hoo!
I know, I know—it’s not a very high price. But it’s exciting. Plus, listeners downloaded the stories on Podiobooks over 55,000 times. I do NOT anticipate this happening with Scribl, but even a little blip would be fun. Check it out here.
What’s funny, when I quit lawyering and began writing, my uncle started signing his letters to me, “Keep on scribbling.”
Little did he know how true that would turn out to be. 🙂
In this delightfully simple book, discover the odd new prayer practice of using broken and found objects to get closer to God.
7 years of writing. 2 years in the making. A lifetime in the living. The story of an extraordinary group of men and women who wrote their way out of homelessness. Edited by Ellen Morris Prewitt.
Word and photo images reflecting the life I’ve lived — so far. Some of it I had control over, some of it I didn’t. I’m glad for all of it. Click Achievements if you want to see it formally presented. View Me to see my life in all its incarnations. Read Stories and Essays for the truth told as well as I can do it. Keep up with my happenings by following the swirling synthesis of my Blog. Settle in with one of my Books—Cain’t Do Nothing with Love to hear my voice reading stories about the
unpredictable path of love; Writing Our Way Home, A Group Journey Out of Homelessness to learn how a writing group of men and women who know homelessness wrote their own book; and, Making Crosses: A Creative Connection to God to discover how a non-artist wrote a book about an artistic prayer practice. Reading, listening, doing. Enjoy what you can; let the rest float away. Thanks so much for stopping by.