Can You Hear Me Now?

 

A year and a half after publishing 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.

Strong Verbs: The Writer's Action Heroes

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.”

Where to Start: Opening Your Story

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.”

Stirring the Pot: Creating Lifelike Characters

This is the seventh 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.

The wait is over, at least for me, as Pete sent me his newest story outline today.  He's got a much tighter storyline even though the story still combines steampunk elements such as clockwork automatons and paranormal phenomena together with fantasy elements.  It's a multi-layered setting unlike any steampunk world you've ever visited.

We'll be delving into some specifics in the next installment, but for now, the good news for Pete is that he gets to start writing again.  His outline will keep him on track, and his character sketches will help guide him as he scripts the story.  He was concerned about returning to writing with the character sketches not quite finished, but I advised him get back to writing again.  This doesn't mean character sketches aren't important, but they will often draw themselves to some degree as we write.

Metamorphosis: On the Plastic Nature of Stories

This is the sixth 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.

If you are constantly asking questions about your story, characters, setting, and so forth, the troublesome result is that you will have answers.  I say that answers are troublesome because they force you to be specific about things that were once shapeless and ambiguous, and because they oblige you to make changes.  They say no one likes change, but change is an integral part of the writing process.

Now that Pete has returned to the developmental stage, he has made a great variety of changes, from renaming two of his central characters to cutting out an entire chapter's worth of story line.  This isn't at all unusual in the developmental stage, but the need for remaining flexible and open to change continues throughout the writing and editing stages as well.  As I've said, nothing is carved in stone until a story goes to press.  Until that time, no aspect of a story should be considered sacrosanct or beyond reconsideration.