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Month: October 2017

Recording Under a Train

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.

Foolish woman.

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.

Evangeline, wondering when all this recording will be over

Recording TRACKING HAPPINESS

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:

The recording box with the cute little hand-held, bug-eyed recorder on its tripod.

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:

The basket with all the goodies including USB cord to download recordings.

After I’ve recorded, I download the readings onto my computer and upload them onto SoundCloud:

The SoundCloud website where TRACKING HAPPINESS recordings are stored.

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.

Take a Look at Scribl

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. 🙂

My award-winning short stories are off on a new experiment

 

Writing as Hope

Romans 8:24-25
24 But hope that is seen is no hope at all. Who hopes for what they already have? 25 But if we hope for what we do not yet have, we wait for it patiently.

I am working on a trilogy. The first novel is in the hands of my agent. He’s had it for two years. He hasn’t sold it . . . yet. This novel is THE BONE TRENCH. Here’s the “elevator sentence”: Mother Mary and Jesus are called back to Memphis by a devilish  private prison project. THE BONE TRENCH is funny. And profane. And very, very serious. Along with MM and Jesus, it stars Little c, Mary’s acerbic guardian angel. And Cat Thomas, the son of a sharecropping rape victim on whose shoulders the fate of the world rests. The theme is white folk’s continuing inability to love our Black neighbors as ourselves, which has manifested itself in slavery, convict leasing, sharecropping, and, now, mass incarceration.

That’s novel 1.

Novel 2 in the series is JAZZY AND THE PIRATE. The manuscript is with Beta readers. “Beta readers” are kind souls who agree to read your work when it’s still mostly crap, or at least quite rough. As these readers give you feedback, the manuscript becomes smoother, more polished. JAZZY AND THE PIRATE’s sentence is: Eleven-year-old Jazzy Chandler calls Jean Laffite the pirate king back to New Orleans to save the city from the floodwaters of Katrina . . . and discovers pirates aren’t what she thinks they are. It’s funny and irreverent—how dare anything about Hurricane Katrina  be funny? In addition to Jazzy and Jean Laffite, it stars a house that morphs into a pirate ship. And Jean’s mealy-mouthed brother Pierre. And the swamp. The theme is white folks continuing willingness to economically exploit the world, which has manifested itself in slavery and pirating and, now, the near-destruction of New Orleans.

That’s novel 2.

I’m working on novel 3 in the series. The title is MOSES IN THE GULF. I’m not going to tell you much about it because my brilliant mentor Rebecca McClanahan always said, “Don’t talk about works in process or you’ll talk out the energy and won’t write it.” I can tell you that it has the same elements as the first two novels in the series: fantasy; historical figures called back to address a current day crisis; irreverent humor; alternating points of view along with a third, omniscient POV; the theme of economic exploitation.

Did I mention that I haven’t sold the first novel in the series? Yet.

Romans 8:24-25
24 But hope that is seen is no hope at all. Who hopes for what they already have? 25 But if we hope for what we do not yet have, we wait for it patiently.

And while we wait, we write.

Hope: A double rainbow reaching from horizon to horizon

 

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