The Last Adventure of Dr. Yngve Hogalum, I'm now venturing into the brave new (for me, anyway) world of audio publishing in two different media forms.
I'm in the early stages of an Audible.com audiobook production read by the incomparable Lee Strayer of Atomic 27 Media. The plan is to release the Magnetron Chronicles stories as they were originally conceived: in serialized form. More details as they become available...
In other news, New Zealand-based Booktrack has created a new hybrid media form that enhances ebooks with synchronized music, sound effects and ambient sound (sample). Booktrack has invited me to try out their upcoming beta studio, so I hope to have some titles available in their store soon. That's assuming they have an appropriate sound effect for a zombified severed head piloting a steam-powered spacecraft.
28 July 2013
This is the ninth installment in the continuing story of "Editing Mister D," a joint project to coach British nonfiction writer Pete Oxley through completion and publication of his first novel-length fiction work, now tentatively titled "The Infernal Aether."
Perhaps my most distressing writing bugbear is the scourge known as the “weak verb.” Verbs are action words, so it would seem that simply using a verb would tend to jazz up an otherwise unremarkable noun but, alas, that is not always the case. Some verbs are just so wan and lethargic they sap the life from entire paragraphs.
What is a weak verb? My definition is: a verb which conveys too little information or description. Hold on—a verb is supposed to be descriptive? Isn’t that the job of adjectives and adverbs? Well yes, adjectives and adverbs describe, but verbs can often do so as well, often better than any adjective or string of adjectives. A verb can even contain a metaphor, all in a single word. And a verb that can do all of that is what I call a “strong verb.”
06 July 2013
This is the eighth installment in the continuing story of "Editing Mister D," a joint project to coach British nonfiction writer Pete Oxley through completion and publication of his first novel-length fiction work.
You’ve been quite disciplined about your new story idea, laying out the whole plot, getting a good handle on your storyline and characters, and so you sit down to write. The blank screen is your canvas, the keyboard your brush, and the world is full to bursting with possibilities. Getting started is half the battle, you tell yourself, and you hunker down to write that smashing first sentence, which will flow naturally into your sparkling first paragraph, setting the stage for your compelling first chapter. After a few false starts, you begin to type:
“It was a dark and stormy night; the rain fell in torrents — except at occasional intervals, when it was checked by a violent gust of wind which swept up the streets (for it is in London that our scene lies), rattling along the housetops, and fiercely agitating the scanty flame of the lamps that struggled against the darkness.”