By John Gilstrap (But not really)

A couple of weeks ago, I posted in this space my observations about writing for translation to audio books.  Well, wouldn’t you know it? Basil Sands, the voice of Jonathan Grave, my literary alter ego, paid attention and agreed to pen a guest post about an audio guy’s view of audio books.

Basil has been a frequent poster here on TKZ since the beginning, and he’s a crack author in his own right.

As you read this, I will be supervising a team of movers who will be packaging pretty much everything we own for six months’ of storage before we move to the dream house in West Virginia. My inevitable silence will have everything to do with the lack of an internet connection.

And now, ladies and gentlemen, from the great state of Alaska, I bring you Basil Sands:

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Seanchaidhe – n. – literally “a bearer of old lore”. A Seanchaidhe is a traditional Irish storyteller/historian.

I like to imagine that somewhere in my past there is an Irish ancestor who made his living travelling from village to village telling stories to both teach and entertain. Having been a voracious reader since I was five years old, and according to my parents was a storyteller even longer, having come to the world right off screaming a tale on my first breath after being ripped from the warmth of my mother’s womb.

Okay, maybe I wasn’t acting at quite that young, but not much later I am told.

I have always loved telling stories. My stories. Other people’s stories. The stories the Leprechauns tell me around the fire at night. Factual, fictual, historical or fantastical. I love hearing stories and I love telling stories. And so I believe do you dear reader of this blog.

After John Gilstrap’s article of a couple weeks ago on the topic of writing for audiobooks he invited me to come and talk a bit more on the topic from a different aspect of the gem of storytelling. That of the narrator/producer.

I have been an avid follower of TKZ since not long after its founding. My Leprechauns and I have happily been leaving our marks in the comments below when we can. From a hidden cabin fortress built into the side of a mountain in Anchorage Alaska I have been writing thrillers and recording audiobooks since 2006. John’s books were among the first of my professional step into the world of “books on tape” and I have not looked back.

From what I have seen, creating audiobooks seems to appear relatively simple to a great deal of the population, including a surprisingly large number of writers. This is particularly true when an author balks at the cost of having a pro create one. For a ten-hour novel without tons of research heavy material this can range from $6000+ upon delivery for a ‘per finished hour’ (PFH) contract to zero out of pocket up front with a fifty/fifty split in a ‘royalty share’ (RS) contract. The latter of which can potentially entail the author sharing even more significant dinero if the books sell well. Of course, that share can also be zilch if it doesn’t, the narrator is taking 100% of the actual risk on a RS deal aka 50 hours of labor for no return.

“How hard can it be?” I’ve heard from more than one author, “You just sit in closet and read the book into the microphone. I think I will just save the money and do it myself.”

Following is an excerpt from an actual email an author sent to me when they realized just how much their book was making on a royalty share contract (it was a lot) and thought maybe they didn’t want to share 50% of that kinda money for the whole series, but they also still didn’t want to pay the standard rates for a narrator producer.

“I decided to record book 2 on my own. I’ve always had an ear for voices (or is it a tongue?) and figured I read well enough–It’s turns out I hate it. It’s very much like real work. It will be my last, guaranteed.”

And much like work it is! Very, very much!

Here is a breakdown of the process it takes to make an audiobook:

• Book is published
  • self or traditional
• Audiobook is contracted
  • Traditional publishers usually own the audio rights and have their own folks that do this
  • Self-pubbed authors and small-press authors choose from a variety of audiobook self-publishing companies and do the whole thing themselves
• Narrator is selected
  • Self-pubbed and small-press authors typically pick the narrator themselves based on recorded auditions
  • Traditional audiobook production houses most often have a stable of narrators they choose from to narrate particular genres
    • authors seldom have a say in the matter
      • But might
    • Narrator receives materials and production begins
      • In trad houses the only thing the narrator does is ‘prep read’ the book and then narrate the book
        • All of the remaining production work is done by directors, producers, editors, proofers, sound engineers and marketing teams
      • In self/small-pubs the narrator is responsible for everything but the writing, artwork, and marketing bits
        • Although if it is RS the narrator has equal responsibility for marketing if they hope to get paid
      • Completed materials are proofed and edited
        • Proofing = reading the manuscript while listening and annotating all mispronunciations, missed words, extra words
        • Editing = listening through book, removing extraneous sounds, odd breaths, thumps and mouth clicks, weird noises*
          • Self-produced narrators most often hire out these two functions to a single person
        • Corrections recorded by the narrator are inserted by the editor and final files returned for mastering
      • Mastering = making the audio sound pretty, this takes an audio engineer to get really superb sound
        • Audio engineers have a really good ear and sense of space, and some pretty expensive gear
        • Often a narrator will hire an engineer to get their sound settings right for their recording space, then little if any final mastering is needed
          • Very few editor/proofers are also sound engineers
        • Final book is uploaded and eventually comes up for sale.
        • Everybody gets paid…hopefully

That is the very basic process right there. Those steps, in some form or another, all must be done for every single audiobook to brought into existence.

How long does it take to make an audiobook?

A general idea of finished length of any audiobook is typically going to be in the range of one finished hour for every 9500 words. Therefore a 60k word book will be about five hours long at the end. A 100k word book comes in at a bit more than ten hours. But those lengths are only the finished product. The time it takes to create that product is variable based upon several factors, some controllable others not. Depending on the experience level of the narrator it takes between two to five hours on mic to create one finished hour of audiobook. And that is just the narrator’s part!

Here are a few of the things that can affect the time it takes to record an audiobook:

• The heaviness of the writing
  A typical thriller usually reads much easier than a PhD level tome titled Capturing Non-Markovian Dynamics on Near-Term Quantum Computers.
• Language, IE how it is used
  A 600K word fantasy epic (first of 12 volumes) with entirely reconstituted laws of phonetic pronunciation and every person and place name having added ‘eth’, ‘el’ and ‘ae’ randomly to names and otherwise common words throughout is much more challenging than the vast majority of, perhaps all, cozy mysteries.
• Character Accents and Dialects
  If your characters have regional accents, that usually takes extra prep and may also require several takes for a scene. Like the time I had Canadian, South African, Dutch, English, Australian, and New Zealand characters all together in a single high-speed conversation. That scene took me a few extra moments to get through.
• Regional Spellings/Pronunciations
  Schuykill River in Pennsylvania. Houston Street in Manhattan. Worcester in Massachusetts. Look them up if you think you know them but aren’t from them.

Writing your novel with an audiobook version in mind

Several years ago I narrated a dozen or so titles for Sci-Fi author Piers Anthony, his whole backlist of books published before he became famous with his wildly popular Xanth series in the 80s. In his Cluster series, about a Tarzan-like interplanetary hero who takes on the form of whatever species he is sent to help, Anthony has a number of characters with names spelled like #>@<}, and ]**(#), and ^…–~ and so on. I contacted him directly and asked how those were to be pronounced.

He replied, “When I wrote those in the sixties and seventies audiobooks were not a thing. I never even imagined those being pronounced out loud. Feel free to just make something up, I trust you.”

These days audiobooks are a huge industry, and it is expected to continue to rise in popularity for the foreseeable future. Whether or not you as a writer enjoy, or can even withstand, listening to audiobooks you can bet that 30%-40% of your audience does. Many folks, myself included seldom are able to read for pleasure due to busy schedules, but have plenty of time to listen to audiobooks while doing physical tasks or familiar chores that occupy hands and eyes, but not so much the brain. For the last decade or so I only read for pay, and then seldom get to choose the materials but get assigned. I do however ingest several hours of audiobooks most days while working my big boy job.

So for writing your books with the idea of having an audiobook recorded here are a handful of suggestions that will make it not only easier for a narrator to get it right, but will ultimately bless your print readers as well.

• Read your text out loud to yourself.
  This is one of the greatest methods of self-editing in my experience. When we read our manuscript aloud, we have to make our lips and tongues say the actual words in the order they are on the page rather than letting our minds read the words as we think they should be. If you the writer stumble saying a sentence out loud, that is likely how the reader is hearing it in their heads.
• Use Dialogue Tags appropriately.
  That multi-national conversation above could not have turned out as well as it did had the author not put tags or action descriptors on nearly every line of dialogue to make the speaker obvious. If your conversation is a rapid fire back and forth between only two characters, you may not need as many tags, but will still need to make sure there are sufficient ones to keep the narrator aware of who is saying what.
• Announce accents and any speech related quirks early and clearly
  There are few things as angina-inducing for a narrator as having read hundreds of pages of a particular cowboy character’s dialogue only to discover on page 369 the single mention of the aforementioned character’s posh British accent and how it was so out of place riding the range in 1870s Texas. If there is an accent mention it upon or as close as possible to the character’s first dialogue. Do not assume the reader will pick up on it based on place and setting if it is not a single location story. Even then don’t expect the reader to hear it in the same voice you heard in your head when you wrote it.
• For the sake of your narrator’s health please keep strained sounding voices to a minimum
  I am not referring to emotional strain as that goes with the story, but actual physical strain on the vocal folds of the narrator. Gravelly, raspy, rough, harsh, etc. Attempting such a sound in the booth for extended periods can cause actual lasting damage to the voice. I once did a 6-book series of romance-thrillers that followed a group of five studly former Marines and their retired boss as private detectives. Each book focused on one of the characters, with the others all appearing in support roles in that story. The voice of the fifty-something retired Master Gunnery Sergeant “sounded like he maintained a diet of gravel washed down with tar coffee as he chain-smoked cheap cigars”. He only appeared a handful of times in each of the first five books, so I was able to sustain almost exactly the sound I thought the author imagined. It was all just fine until I got to the last book and the entire thing was Gunny’s story, including almost 50% of the dialogue. After that sexology of stories** I had to take a month off narration to let my voice heal.
• Prepare a list of special details and potential surprises
  If you have any special pronunciations, accents or dialects, uncommon words, and so on and want your narrator to be dedicated to you for life, make a list of such things for them in advance. This not only saves the narrator time, but saves the continuity of the story by not having excessive pickups***.
• Write Well!
  This is probably the single most important thing for any author to have success with audiobooks. The text has to have the capacity to become real in the mind of the reader both via manuscript reading and audible storytelling. This means something quite different from one genre to the next, but in all cases a well written story will literally flow off the narrator’s tongue and sound natural to the ear.

Finally, here are a couple of things related to self/small pubbed authors specifically, where the author has more control over the process.

• Fit the right narrator to your project
  A gentle voiced kindergarten teacher narrating an alpha-male biker gang vs cop thriller probably won’t seem realistic. Likewise, don’t hire a male former Marine turned lumberjack turned actor to narrate your cupcake centric cozy mystery unless you want all of your characters, male, female and children alike, to sound like chain-smoking-gravel-eaters.
• Do not ‘direct’ the performance
  Unless you are an actual experienced acting director managing that project in the studio looking through the booth glass, physically or virtually, unless you are that person then once you have accepted and approved the initial 15-minute sample of the recording the remainder of the narration, including voicing of characters, styles of reading, anything performance specific are up to the narrator. In most contracts by legitimate audiobook publishers, this is actually stipulated in some manner.

And lastly here is a bit for those intrepid adventurers among you who think you want to narrate your own books for sale.

• Radio/Broadcast experience does not translate to audiobooks
  While they all use voice as the medium, audiobooks are nothing like radio, I know as I have done both. First off, “radio-voice” is not welcome, nobody wants to listen to non-stop announcer voice tell a story. The other big difference is comparable to that of a sprinter versus an extreme distance runner. Radio is 1-5 minute sound bites with commercial breaks interspersed while audiobooks are hours upon hours of uninterrupted you talking in different voices while all alone in a small dark box.
• Audiobook Narration/Production is a Marathon
  My shortest audiobooks are a couple short stories about 30 minutes long that took a couple days to fully produce. The longest is The Bible, at just over 86 hours completed, which took well over a thousand man-hours to make ready for publication. If you have ever done public speaking, you know that even a short speech or sermon, 20 or 30 minutes, can wear you out. Imagine talking in hour long segments, five or six times a day with only a ten-minute break for water to go in and out. It can be utterly exhausting.
• Get Coaching first
  If you are an experienced stage or film actor be advised, audiobook acting is only remotely similar. You will need coaching of some sort to ensure you are delivering the best product you can create with your voice alone. Every single part of the listener’s understanding of the story comes from the narrator’s vocal delivery. Audiobooks are 100% actor delivered, there are zero sound effects or mood setting musical scores in true audiobooks.

A Test: The Narrator’s Crucible

If you think you may want to narrate your own books, following in the footsteps of such greats as Neil Gaiman, Carrie Fisher or Oprah Winfrey before you spend your hard earned dollars on a fancy microphone, pre-amp, computer upgrades and software try this test.

1. Pick your favorite book, eBook or paper doesn’t matter.
2. Close yourself in a small dark room, like a walk in closet or half-bathroom, with only a single light to read by
3. Read out loud for 1 hour, doing different voices for each character and stopping every time you make a mistake in the read and re-reading that line until you get it correct before continuing.
   1. Record yourself on your phone or laptop, etc. so you can listen back at the end
4. Take a ten-minute break at the top of each hour
5. Repeat for 2-3 one-hour sessions each day
6. Do this every day for a week
7. If you have not become disgusted by the sound of your own voice and given up by the end of the week, you might stand a chance at actually enjoying this narrating gig.
   1. Maybe.

There is a lot more detail trying to pour out of my fingertips than I could ever put into a single blog post, but this provides a 15,000 foot view, with a handful treetop skimming dives as a bonus.

If you are interested in learning more about the process, either as an author who wants your piece of the audio market or as a someone interested in becoming a narrator or producer here are some very helpful links that can get you in swimming toward the deep end fairly quickly.

Audiobook creation Exchange (https://www.acx.com/) – Audible’s division for self/small publishers, like KDP for audiobooks.  ACX is a marketplace where authors, literary agents, publishers, and other Rights Holders can connect with narrators, engineers, recording studios, and other Producers capable of producing a finished audiobook. The result: More audiobooks will be made.

Narrator’s Roadmap (https://www.narratorsroadmap.com/) – the amazing Karen Commins’ extremely informative website – If you’re new to this career, every resource on this page — articles, books, connections, and videos — answers the question “How can I become an audiobook narrator?” You’ll find invaluable advice from industry pros that you will want to read and absorb. Success leaves tracks!

Audiobook Publishers Association – https://www.audiopub.org/ – APA is a not-for-profit trade association that advocates the common, collective business interests of audio publishers. The APA consists of audio publishing companies and suppliers, distributors, and retailers of spoken word products and allied fields related to the production, distribution, and sale of audiobooks.

Being me and the way I am it seems I have probably already used more than the number of words I should put here, therefore let’s move this thing to the chat below for conversifying and questionizing!

*Weird noises – Do not fart while recording, they might miss it in editing, but the listeners certainly will not. Trust me on this.

**Sexology – that may not be the mathematically correct word for a series of six but is fairly accurate to the storylines

***Pickups – small corrections re-recorded and pasted in, hopefully matching the surrounding original sound. May be done in a bar but only if you’re desperate.

BONUS! BONUS! BONUS! BONUS! BONUS! BONUS! BONUS! BONUS!

If you made it this far in my ramblings you deserve a treat.

I have US & UK Audible coupon codes for several of the books that I have both written and narrated.

ICE HAMMER BOXED SET

APPETIZERS OF THE GODS

THE NEW TESTAMENT, DARBY TRANSLATION

Drop me an email with your title preference and whether you are a US or UK resident and I will send you a code for a free download.

All I ask in return is an honest review on Audible.

Check out more about my narration and voice work at www.sandmanstudiosak.com

“First sentences are doors to worlds.” — Ursula K. Le Guin

By PJ Parrish

Good morning, folks. We have today a submission from a contributing writer that shows some great promise. It comes to us with the genre designated as Christian teen romance. I’ll be back in a moment.

When Love Calls You Home 

I broke the surface of the waters of Colten Springs and gasped for breath before swimming to shore. Jumping off the high-dive was the stupidest thing I’d ever done. Now I had a headache. When would I learn I couldn’t do normal things like everyone else. Not with my sinuses.

“She twirls, she sings, she swims!” Heather Gleason’s Canadian accent made her sound like a foreign news reporter on the scene. “What will she do next?” Her freckled face beamed down at me from her five-foot-eight frame as I trudged out of the lake, my brown hair clinging like cellophane to my head, shoulders, and back, my hands slinging water with every step.

“Your turn to try the high-dive,” I said, puffing as if I’d swum the English Channel. The matted hair on my cheeks felt yucky. I pushed it back and dried the droplets of water clinging to my eyelashes with the beach towel Heather threw at me.

“There’s not enough time. We’re leaving pretty soon, and you promised to show me that spring with the little waterfalls.”

“Oh, yeah. We better change clothes first. I’ll meet you at the paddle boats.”

The dressing area was uphill. Heather scrambled to the top while I followed like a little old lady. I had no zip, no zest, nothing. I wasn’t looking forward to paddling across the lake. But a promise was a promise.

Fifteen minutes later, Heather and I pulled our blue-and-white paddle boat to the bank’s edge and tied it to an old stump about three hundred yards from where the Lindell High School band buses were parked. Then we carefully climbed a grass-covered slope covered with dead leaves, spurts of grass, and dotted with native shrubbery. By the time we reached the top, I’d broken a sweat and felt weak as water, but Heather was depending on me. I kept going. Twenty paces took us inside the hundred-thousand-acre national forest that surrounded us. A weathered, wood-planked bridge with waist-high guardrails stood about five yards away.

Somehow, I made it. Leaning slightly over rails that were rough and splintery, we looked down into a gully filled with several layers of dead leaves, dried branches, and rust-colored pine straw. A gray rabbit scooted out from under the bridge, scattering a few brown leaves as he crossed the gully and leapt into the woods on the other side.

_______________________

First off, this is competently written. The writer has a good grasp of dialogue, description and basic craft. I like the interplay between the two characters. I like the contrast between the narrator’s physical reticence and the braver countenance of her friend. It reminds me a lot of the scenes about female friendship in the movie Julia. In the movie, Jane Fonda’s character “Lily” is shy, tentative and afraid of life in general. Her friend Julia, played by Vanessa Redgrave, is brash and fearless, always pushing Lily to be brave. The dynamic plays out in great flashback scenes of the two as girls, but develops into the movie’s theme when the adult Lily is asked by Julia to smuggle money out of Nazi Germany to save Jews.

This opening page of the narrator being goaded by Heather to be physically brave reminded me of a scene from Julia where Julia coaxes the terrified Lily to ford a river via a downed log. Alas, no clips. Just this one picture of the two girls, but it shows the shy Lily and the beaming Julia.

I like stories about friendship. But what I am not getting from our submission today is what many here at TKZ call “the telling details.” I’d like to see our writer try harder to use her grasp of description and dialogue to give us more character layers. More on that in a second.

Since we are in “Christian teen romance” genre here and not mystery or suspense, some of our usual “rules” might not apply here. For example, we always suggest of suspense stories that we need to get a sense that the main character’s world has been upended somehow. Jim Bell calls this “a disturbance.”  It can be a death, a crime, or more subtly, a vague feeling of dread. But what happens when we are dealing with a romance? A romance is essentially an emotional journey, centered on your protagonist. So what elements do we need in the opening 400-500 words?

Well, it’s been four decades since I wrote romance, but I’ll try to give this a crack. Three things I think a romance (or any story needs) in the early pages:

Establish a connection with a main character.  I wish I could remember where I read this so I could credit the writer but she suggested this exercise: Read the first five or six pages of your novel then stop and write down whatever you learned about that character. Not what you the writer know in your head; just what you put on the page. If you list only one or two things, you need to revise.

In this submission we learn what about the narrator?

1. She’s female
2. She’s a little tentative and perhaps lacks physical stamina.
3. She has brown hair.

That’s it, folks. We don’t know her age or her name. We get only one detail about what she looks like. Now what do we know about her friend?

1. She’s female
2. Her name is Heather.
3. She’s Canadian
4. She’s five-eight
5. She has freckles.
6. She’s physically brave

Do you see the issue here? Heather is far more vivid than the unnamed narrator. Now, I recognize that when you are in first person point of view, it’s hard to insert descriptions etc. of your narrator. (egad, don’t resort to having your heroine look in a mirror and tell us what she sees!) And our narrator is, by nature, not flashy like Heather. But you have to find ways to make her come alive in the readers’ imagination. You can easily slip her name into Heather’s dialogue. You can find a way, via her thoughts to tell us her age, where she lives, how long she’s known Heather, etc. Always look for ways to insert telling details in your narration.

But here’s something the writer did really well. One way to illuminate character is to contrast it with someone else’s.  By making Heather so ballsy and out-there, it allows the writer to show us (rather than tell us!) that the other girl is rather meek and cautious. The writer could have written something bad like this:

I had always been timid, afraid to do even the smallest physical thing. And I had been sickly since birth, barely able to climb a small hill.

Instead, we learn this through her actions. Good job there.

Establish tension. Something must grab the reader’s attention immediately. This can be an unusual use of language, a unique voice, great description (although not too much too early), establishment of a mood.

Or maybe one great opening line. Here’s one from the YA novel Aristotle and Dante Discover the Secrets of the Universe by Benjamin Alire Sáenz. (A young friend gave me this book and I am enjoying it. Well, as much as I can, as it transports me back to the zits and awful zeitgeist of my teenage years.

The problem with my life is that it was someone’s else’s idea.

Why does that work? Great voice, for starters. The story is about teenage first loves and self-discovery. This line feels bleak but once the story gets moving, it’s uplifting.

Although I really like the opening of this submission with the character jumping off the high drive (It’s action! It’s symbolism!) I don’t feel “grabbed” yet by this submission. As I said, the friendship interplay is interesting, but I am really hoping something is going to happen pretty soon. 

Establish your setting. I don’t know where we are in this submission. Outside of “Colten Springs” there is no clue. Remember: You’re asking the reader to enter a conjured world, so try to work in these elements:  Geographic location. I get that we are in woods/lake but is it rural South? Upstate New York? Oregon? You mention a “dressing area” — what is this exactly? Are we at a park because I had envisioned a rural swimming hole location. And is the “high dive” off a cliff or a diving board? Again, be specific in your details. Time of year (They’re swimming so I’m guessing summer? Can you slip in a telling detail to ground me?) And always SHOW this through your narrator’s senses and experience. 

Okay,  before I go to a line edit, one last thing. Living up in northern Michigan, you’d think I’d have a frim grasp of what a “Canadian accent” sounds like. But outside of a few obvious things — like saying “aboot” instead of “about,” I’m kinda clueless. So telling me your character has a Canadian accent isn’t helpful. Can you find a way to show me? I don’t mean you should resort to trying to duplicate a dialect. That gets annoying to readers fast. But find a way to suggest it via your dialogue and thoughts. Something like:

I had known Heather for a year but at times the way she talked could still make me giggle. “It’s about four.” Came out “It’s aboot four.” Until I met her, I never knew Canadians had an accent. Living all my XX years in Colton Springs, Kentucky, I had never even met a foreigner.

See what this also does? It adds character layers to your girls. You can sneak in her age, and where she lives. (Important things to reveal as early as you can in your story). If she lives in the South, you can have even more fun with the accent thing, especially if your main character has one herself or maybe has never been exposed to “foreigners.” If the accent is worth mentioning, make it mean something. Make your details work harder.  

Now some quick comments in line edits.

When Love Calls You Home I like your title. It mean several things and has emotion

I broke the surface of the waters of Colten Springs and gasped for breath before swimming to shore. Jumping off the high-dive I am a little confused. You said they were swimming in Colten Springs but is there a diving board? Clarify your setting. was the stupidest thing I’d ever done. Now I had a headache. When would I learn I couldn’t do normal things like everyone else. Not with my sinuses.

“She twirls, she sings, she swims! What will Connie Grant do next?” I’d set this dialogue off by itself. And here is where you can tell us your protag’s name. 

Heather Gleason’s Canadian accent made her sound like a foreign news reporter on the scene. See comments about/aboot accents. And what does a foreign news reporter sound like? “What will she do next?” Her freckled face beamed down at me from her five-foot-eight frame as I trudged out of the lake, my brown hair clinging like cellophane to my head, shoulders, and back, my hands slinging water with every step.

“Your turn to try the high-dive,” I said, puffing as if I’d swum the English Channel.

Heather tossed me a towel. I dried my face but my matted hair clung to my shoulders and back like wet cellophane. Open the graph with a physical motion — Heather and the towel. The matted hair on my cheeks felt yucky. I pushed it back and dried the droplets of water clinging to my eyelashes with the beach towel Heather threw at me.

“There’s not enough time,” Heather said. We’re leaving pretty soon, and you promised to show me that spring with the little waterfalls.” So we ARE in a woodsy park area somewhere? Again, here is where you could slip in details. Never let a chance go by to illuminate character. And maybe add some tension, intrigue, suspense or dollop of backstory. Something like:

The waterfall had always been my secret place. It was where I hid when mom started in on me. I wasn’t sure if I was ready to share it with anyone. Even Heather.

“Oh, yeah,” I said. We better change clothes first. I’ll meet you at the paddle boats.” So is she going to show her the waterfall? Unclear.

The dressing area was uphill. Now this suggests to me a park with a cabana changing room? Don’t be afraid to slow down just a tad and ground us better in your setting. Heather scrambled to the top while I followed like a little old lady. I had no zip, no zest, nothing. I wasn’t looking forward to paddling across the lake. But a promise was a promise.

Fifteen minutes later, If you’re going to use the paddleboats, have it mean something in the scene. Maybe you use it for a conversation that moves the plot forward. Otherwise, I would take them straight to the parking lot. Heather and I pulled our blue-and-white paddle boat to the bank’s edge and tied it to an old stump about three hundred yards from where the Lindell High School band buses were parked. Again, I am a little confused about this setting. Apparently, this is a school outing? Buses are waiting in the parking lot. But I was visualizing a more rural swimming hole locale. Then we carefully Why? Is it steep, rock-strewn? Your woods setting is good! But use it to amplify whatever is going on in your character’s head/emotions climbed a grass-covered slope covered with dead leaves, spurts of grass, and dotted with native shrubbery. Huckleberry bushes? Lady ferns? Michigan holly? Be specific! Don’t let a chance go by to use TELLING DETAILS. By the time we reached the top, I’d broken a sweat and felt weak as water, but Heather was depending on me. I kept going.

New graph needed here I think. Twenty paces took us inside the hundred-thousand-acre national forest Huron National Forest (Mich)? Sierra National Forest (Cal)? White Mountain National Forest (New Hamp)? that surrounded us. Okay, they’ve just climbed a big hill of some kind and are apparently now looking DOWN on a forest? What do they see? What is your character thinking? Why are you taking us there? Make the setting SAY SOMETHING ABOUT CHARACTER or MAKE IT RELATE TO PLOT. A weathered, wood-planked bridge with waist-high guardrails stood about five yards away.

Somehow, I made it. We went over to the bridge and I leaned on it, still trying to catch my breath. I looked down Leaning slightly over rails that were rough and splintery, we looked down into a gully filled with several layers of dead leaves, dried branches, and rust-colored pine straw. How deep? A gray rabbit scooted out from under the bridge, scattering a few brown leaves as he crossed the gully and it disappeared into the woods on the other side.

One last note. I like this submission and feel it has great potential. Because I sense that the relationship between Heather and unnamed girl is important. But I am hoping that the writer has a good reason for taking us readers on a hike up the hill into the forest and to this bridge. Something must happen soon. Or I am not sure we’re going to be willing to go any further down the trail.

Thank you, dear writer, for submitting. I hope you don’t find this discouraging. Given some well-placed details, character layers, and a more focused sense of what you are trying to accomplish in this scene, you’re on the right track.

I didn’t know anything about writer conferences until after I’d signed a contract for my first novel back in 2011. It never occurred to me that writers would gather somewhere to discuss the craft and maybe learn from others who’re successful at spinning stories for fun and profit. It should have, because in my previous life as a communications professional, I went to a lot of Public Relations conferences.

My first mystery conference was Sleuthfest, in Florida, and I only knew about it because I had to go there to meet my editor, Annette Rogers. She arrived bearing a ream of white paper in her arms and recognized me by the hat hanging from the back post of my chair.

My eyes widened when she thumped the thick stack of papers on the tabletop. The title page was red, with either paint, or a thick application of crayon. A huge question mark rose above the manuscript’s title.

The folded corners rose thick on the upper right side, with fewer on the lower right.

Good God! She’s graded the damned thing!

I checked the upper left-hand corner, but there was no accusatory grade of F there to mock and embarrass me.

Whew.

Annette shook my hand and positioned the papers in front of her. She broke into a smile. “We absolutely love this manuscript.”

Good, because I did, too. I’d hate to see what it looks like if you didn’t care for the stinkin’ thing.

“We’re going to publish, so we need to get busy on a few things.”

Those words were a symphony. “Sure.”

Green as grass, I laced my fingers to listen.

She flipped the title page out of the way and launched into a discussion of the plot and characters, referring to them as real people. No one had ever spoken about those figments of my imagination in such a way, and I was stunned to hear her discuss their fictionalized lives.

She even frowned when she noted that Miss Becky, one of the older protagonists in the multi-level cast of characters, had to do her wash on the front porch of an old farmhouse, because there was no running water inside.

I hung my head. I am ashamed I did that to her.

“Now, Rev, I’d like you to consider a few changes.”

Wait, what? Changes!!!??? I’d written a great novel. You said you loved it. Did people change Stephen King’s work? Did they ask David Morrell, who was sitting only two feet to my right to make Rambo a little tougher, or taller?

I swallowed. “What are those?”

She began with specifics about plot and characterization that came as thick and fast as a swarm of bees. Completely unprepared for an editorial meeting, I plucked an envelope from the inside pocket of my jacket and took a few notes on the back. By the time she’d reached page fifty, I had to unfold the piece of paper and write on the inside. Napkins came next.

We eventually reached the end of the manuscript and I wondered why she even bothered to tell me they were going to publish that piece of garbage.

But there was more to come. “Now, there’s a couple more things I need you to do.”

Good lord. More?

Wilted in my seat, I could barely raise my head. “What’s that?”

“Well, the word count is a hundred and forty thousand.”

140,000. Yep, that was about right. I wanted to produce a good, hefty book worthy of the aforementioned Stephen King.

She put down her pen. “I’d like you to pare it down by fifty thousand words.”

The number was staggering. 50,000! What she didn’t know, and I haven’t discussed here, is the fact that during the Pleistocene age, I finished The Rock Hole and hit save, only to see my computer screen go a nice shade of royal blue before two words appeared.

File Corrupted.

I didn’t know enough back then to save the work in another place back then, because I’d never heard that a 5½” floppy disk and my dinosaur program couldn’t hold several years of changes along with that much data. It was all gone, vanished in an electronic hiccup.

I re-wrote the entire manuscript from memory, so in essence she was asking me to delete 100,000 words.

I swallowed. What was I gonna say?

“Sure.”

“Great. A good mystery usually comes in at around ninety thousand words. Maybe ninety-five, but no more.”

“You want me to take out whole chapters?”

“No. I have a suggestion, and I’m sure you’ll find the right way to delete the rest. Try removing most of the attributes such as ‘He said,’ ‘She asked,’ ‘He exclaimed,’ and such as that. It slows the pacing for the reader. Give your character something to do instead like, ‘Ned crossed his legs,’ ‘Norma Faye tucked a strand of hair behind her ear,’ or even, ‘Cody lit a cigarette,’ since it’s set in 1964 and Cody smokes.”

She knew Cody that well already.

Hummm.

“I can do that. What else?”

Pleased, Annette took a sip of iced tea and gave me a bright smile. “I’d like you to re-write the ending.”

Worn to a frazzle, a raised eyebrow was all I could manage.

She picked up the pen and tapped it on the pages. “You killed everyone off at the end.”

“They were supposed to die.”

“Right, but if they’re all dead, we can’t continue as a series. This won’t be a standalone novel. I’m offering you a three-book contract.”

They’ll want two more of these to mark up?

I didn’t realize she’d just offered me the brass ring without having to ride the merry-go-round.

“Find a way to keep them going, and by the way, tighten up your writing. By writing tight, you can show us everything we need to know with as little fat as possible.”

I write fat?

“Remove the fat, and welcome to our publishing company.”

Yep, she said I write fat.

I went home at the end of that weekend and started to carve away everything Annette thought was wrong with the book. The Delete Button removed the vast majority the attributions and I fleshed the characters out with actions, giving them personality, habits, and worry lines.

However, the work swelled again, because “he said” takes a lot less space than a description such as the one below:

Cody plucked a pack of Chesterfield’s from his shirt pocket, lipped one out, and lit it with a gold Zippo. “We have to be careful, Ned.”

Ned speaks, but we have even more to read.

Ned rubbed his bald head in frustration and glared at Cody. “I’god. I’m always careful. You’re the one who goes off half-cocked.”

But what just happened!?

Lordy mercy, I soon learned that an incredible amount of information can be delivered in just a few words. Cody smokes. He has style when he lips one out. You can imagine him shaking one free without me telling you that part. He carries a Zippo. Cody is cool.

Ned is older. Bald. Frustrated by what is happening around them, and even by Cody himself. Does he not like him smoking? Is he frustrated with Cody’s spontaneous action? Is that going to lead to some kind of twist?

This was great!

As the conversation continues, the pacing takes over, as well as the character’s voice and I found that I’d streamlined the storyline, much like the way Elmore Leonard wrote lean, mean, sparkling conversations. The slow, fatty conversations in the first manuscript woke up with fresh dialogue that people actually use.

In the last chapters, I came into my own. Here in the Third Act, crusty Judge O.C. Rains questions his old friend, Constable Ned Parker, about what happened in the dark river bottoms only an hour earlier. Exhausted by what he’d experienced that night, Ned is half-carried into the house and placed in a rocking chair in front of the fire by Deputy John Washington, who retreats to the kitchen when Judge Rains arrives.

I’ve changed the antagonists name to avoid spoilers.

O.C. knelt beside Ned. He put a hand on his friend’s knee and leaned forward to whisper in the constable’s ear. “Ned, was it Jack for sure?”

Slumped in the rocker, Ned had little energy to answer. “Yes.

“Did you do for him?

“Yes.”

“Where is he?”

“With Cody.”

O.C. looked at his old friend for a long while, studying on what he might have done in the bottoms. “Is Cody all right?”

“Yes. I’m supposed to tell you something.”

“What?”

“Jack got away.”

O.C. thought for a moment about the conflicting answers, and then understood. “It’s over.”

“Yes.”

“But Jack’s gone.”

“That’s what I said.”

“This can’t come back.”

“It won’t.” Ned opened his eyes and they went flint hard. “Cody said. I believe him.”

“All right, then.”

“Something else.”

“What?”

“Cody weren’t there…because of what was done down on the creek.”

O.C. rose. “All right, then.”

What had taken up almost four pages in the original manuscript was distilled down into a tense, revealing conversation stripped down to speed up the pace, and cut words at the same time.

I edited with a vengeance.

The word count dropped but I needed to cut more words that took up space and nothing else. That’s when I remembered something Stephen King said in his book titled, On Writing.

“The road to hell is paved with adverbs.”

I was never a big fan of adverbs (still not), so away they went as I tightened up The Rock Hole even more. Within a month, the book was 90,000 words and ready for publication, all because those quick lessons from a master editor.

It was an education I could have used years earlier.