Author: ilanderz (page 2 of 23)

Q & A with Fellow Writer and Word Nerd Nicky Borland

My friend and fellow writer (and editor and proofreader and transcriber and discerning reader) Nicky Borland just did a Q&A with me on her blog Finding the Words,  The Q&A is mostly related to the writing of my novel A Time and a Place.  Nicky’s blog is devoted to, as she puts it, “bookworms and word nerds.” That definitely describes me!

I really appreciate Nicky taking the time to feature a Q&A with me on her blog. I hope she doesn’t mind me mentioning that she’s also working on a novel herself.  I’ve read an early draft, and it’s really good. Hopefully she will get it out into the great wide world soon so everyone can enjoy and appreciate it.

You can find the Q&A here.

The Audiobook

One day my publisher (Lorina Stephens of Five Rivers Publishing) suggested that I produce an audio book version of my debut novel, A Time and a Place.

This made a lot of sense. Audio books are a booming business these days, and it just makes sense to have your book available in as many formats as possible. Also, I’ve been an audio guy since the age of sixteen when I got my first job announce-operating at CJRW in Summerside, PEI, later making my living as an audio technician/recording engineer for CBC Radio for nineteen years.

Doing sound effects in Studio 212 back in my radio drama days at CBC Radio

For an entire ten of those nineteen years at CBC Radio I made radio plays and recorded and edited tons of short fiction re-purposed for the medium of radio. I remember recording a radio-friendly version of Brad Smith’s novel All Hat over the course of a week or two.

So you would think that I would know what is involved in such a recording. Unfortunately, all my experience did was give me a wildly over-inflated sense of my own abilities. Yes, I did (more or less) possess all the skills required to produce an audio book. But somehow I completely failed to appreciate just how much work was involved in doing it all myself, and how demanding some of that work was.

When Lorina suggested I do the audio book, I truly thought I would be able to knock it off in a couple of weeks. Because I could read, I could record, and I could edit. Thinking back, I was pretty sure we’d done All Hat in a week or two.

It’s laughable, really.

Because thinking back on it a little more carefully, I’m pretty sure that the version of All Hat we produced was an abridged version, and it took four of us to do it: a recording engineer, a producer, an actor, and somebody to adapt it.  Five people, if you include the casting director. And all I did was record it (I may have edited it, but I don’t really remember). I certainly didn’t read it.

Anyway, turning my novel into an audio book was a great excuse to gear up, so I went out and bought a mic, a mixer, and some other peripherals. I had a week of vacation time coming up and figured I could squeeze all the recording in then, and edit at my leisure afterwards, on evenings and weekends.

After one week of recording though, I only managed to record ten chapters. My wife attributed this to my propensity to get up late, linger over breakfast reading the Toronto Star, casually walk the dog, and then get started recording around 11am. All of this was true. Add to that trains going by, planes flying overhead, neighbours noisily draining pools, and mysterious noises with no obvious provenance interfering with the recording when I finally did get around to it, and you can see why the process took a bit longer than expected. Worst of all, though, was my inability to read more than half a sentence without making a mistake.

Turning a novel into an audio book was a much bigger deal than I’d realized.

In fact, what I originally thought would take me two or three weeks to accomplish wound up taking over two hundred hours spread out over eleven months.

Here are a few thoughts on the process while it’s reasonably fresh in my mind, in case anybody else out there is thinking of doing the same thing.

The Gear

To record my audio book, I settled on a Shure SM7B microphone. I chose this microphone because I had chosen it back in 2007 to be the main microphone for the radio show Q. I’d tested a lot of microphones and it had sounded the best with the host of that show, and it sounded pretty good on me (if I do say so myself). I would have preferred a Neumann U-87 but I couldn’t afford that (it’s about three grand). But the SM7B (at about $500 Canadian) is a fine microphone with an excellent pedigree. Michael Jackson famously used it to record his album Thriller. Its only limitation that I could see is that it’s a dynamic microphone and you need to give it a boost to get decent levels. But this is easily fixed by placing a Cloudlifter in the chain, providing an extra 25dB of gain.

My weapon of choice, the SM7B

An advantage of the SM7B is that it pretty much records what you point it at and rejects most everything else. This was really helpful recording in my basement. When I turned off the air conditioning,  made sure no other appliances in the house were running, and closed the door to the basement, the noise floor was almost non-existent, but there could still be some extraneous noise, so it was helpful to have a very directional microphone.

You do have to work the SM7B pretty closely to get a nice, plummy sound. The host I used to work with on Q worked it so closely that I wound up sticking two pop filters between him and the mic to avoid popping. In my case, I used the A7WS windscreen that comes with the mic out of the box plus one pop filter.  I still popped a bit, but I had ways of dealing with that, which I’ll come to later.

My fairly straight-forward home studio in my basement.

The rest of my setup was pretty simple. You can see it pictured here. Basically the SM7B plugged into the Cloudlifter, the Cloudlifter plugged into a Steinberg mixer, which in turn is connected to a MacBook Pro via USB. And a pair of decent Sennheiser headphones and a mic stand. I read the script (just a PDF version of the novel) right off the MacBook, flipping back and forth between Adobe Reader and my audio software as required.

I recorded almost everything in Cubase, which came with the Steinberg mixer, but I never really got to like it. I’ve used a lot of audio editing software in my time (D-Cart, Dalet, DaletPlus, Sonic Solutions, ProTools, Audacity) and Cubase just didn’t compare in terms of immediate usability.  Probably if I’d taken the time I would have gotten used to it, but when it came time to editing the audio book, I switched to Audacity, which can be downloaded free and is much simpler.

The Recording

Earlier I mentioned that I couldn’t seem to record half a sentence without making a mistake. This was true in the beginning, and it surprised me. One of the reasons that I thought recording an audio book wouldn’t take too long was because I figured I’d just sit down and read it and do some light editing and that would be it. I’ve had some experience acting and I’ve worked professionally as an announcer/operator at two radio stations (CJRW in Summerside and CFCY/Q-93 in Charlottetown). I thought I could read. Heck, I even thought I could perform. But I couldn’t. Not in the beginning.

The problem was I would read a little bit and then, convinced it sounded horrible, I’d stop and start again. I thought, well, not a big deal, I can edit it all later. But the more mistakes you make, the more editing is required, and eventually all that extra editing adds up to one big editing nightmare.

I got much better with practice and experience, but even at my best I couldn’t get through a chapter without a fair amount of mistakes.

Typically, I recorded each chapter twice. I would get to know the chapter on the first read, and read it better the second time around.  If I made a mistake, I’d stop, go back, and correct it right away. This made the editing process much easier later (making up somewhat for the amount of mistakes).

Because I didn’t have a producer, someone standing over my shoulder correcting me, I needed to be careful. If I thought I made a mistake during a passage, I always stopped and re-did it (sometimes the first time was perfectly fine, but better safe than sorry, although it did make for more work).  Whenever I hit a word I wasn’t entirely sure how to pronounce, I looked it up online. Most online dictionaries allow you to listen to the word you’re looking up.  Interestingly, I included words in A Time and a Place that, although I know perfectly well what they mean, I either didn’t know how to pronounce, or have been pronouncing incorrectly. They are correct in the audio book version, though. I made sure of that.

Sometimes I mangled words or sentences but didn’t discover this until the editing process, which was a pain in the butt, but far from insurmountable. One of the advantages of recording an audio book yourself is that afterwards the actor’s still hanging around if you need him or her.

A typical waveform, this one from Chapter 22 of A Time and a Place.

One of the fun parts of recording this novel myself has been doing the voices. I didn’t have unique voices for all of the characters, but some characters cried out for special treatment. One of the characters, Gordon Rainer, is supposed to speak with a British accent. He was by far the most difficult to get right. I’d once done a play for which I’d been trained to speak with a British accent, but I have no illusions about how accurate I’m able to do it (my British brother-in-law is only too happy to provide reality checks on that point).

I’d always thought of another character, Doctor Humphrey, as having a gruff voice, so I played him that way.  And so on.  I tried not to overdo it, as it could easily get silly, but I enjoyed the performance aspect of it all.

Post-Production

Like just about every other part of this project, the editing took a lot longer than I expected.

I edited one chapter at a time.  It took me on average three to four hours to edit the first pass of each chapter. My chapters average twenty pages. The shortest is seven pages, the longest thirty. Transformed into audio, my chapters run anywhere from eleven minutes to thirty minutes long, averaging about twenty minutes. (Unedited, the raw files for each chapter run anywhere between one hour to two hours long.)

As mentioned earlier, I did all my editing in the free version of Audacity, which worked just fine. It’s easy to learn and I found that I could edit quite quickly and effectively with it. It’s also got a nice little suite of tools for mastering, EQ and so on.

Before editing each chapter, I would do a little processing. A little noise reduction, a little limiting or amplification as required to ensure that I was peaking at -3dB with a maximum -60dB noise floor as required by Audible. I did this at the beginning because if doing any of that introduced any problems, I wanted to catch those problems as I was doing the edit. I didn’t want to complete an edit, then do processing, and have it accidentally introduce issues such as clicks or pops or digital distortion that I might have less chance of catching near the end of the process.

Every chapter required multiple passes to edit. The first edit was mainly to get all the right takes in the right order and clean it up as much as I could. To help speed things up, I created a special template in Audacity’s EQ plug-in to eliminate popped Ps as I encountered them (I found the default EQ template for this too aggressive in Audacity).

Sometimes I encountered mangled words or sentences for which no good takes existed, that I had not noticed during the recording process. These I re-recorded right on the spot. Sometimes it was a bit tricky getting these re-takes to match, but it got easier with practice. It was a matter of getting the inflection and level right. I would tweak the level in Audacity using the Amplify plug-in (always careful not to peak at higher than -3dB), and try to use as little of the re-take as necessary, often cutting halfway through a sentence, or a word, even.

After the initial edit, I would go through the chapter again to clean up weird, extraneous noises such as bits of mouth noise, the cat knocking into the mic stand, or other weird noises such as bumps occurring elsewhere in the house that I hadn’t noticed during recording.

I popped the odd P or two, so I created a specific EQ that I called Subtle Bass Cut to deal with that (and a few popped Bs too)

I took a lot of time to address issues with pacing. I tend to read fast. Left unedited, few would be able to keep up with my reading. I worked hard to address this in the edit. I know that some audio book listeners want their audio books read fast. In fact, they will listen to their audio books at enhanced speeds to get through them quicker.  I tailored my pacing for people who listen at normal speeds. If I ever record another one, I’ll try to get it right during the recording. A lot easier than having to fix pacing in the editing process.

Once reasonably certain that I’d addressed all issues in the edit, I would play the entire chapter from beginning to end to make sure that I hadn’t missed any edits, and to ensure that there were no other problems. Only when I felt that the edit was perfect would I consider it done, and share it with my publisher via Drop Box (who will subsequently submit it to Audible).  One of my mottos is “If it only exists once in the digital domain, it may as well not exist at all,” so I always sent a safety version to myself via Gmail.

I didn’t keep a really accurate record of how long this project took me, but I estimate each chapter took on average two hours to record, and six hours to edit, master, and double check. That’s 8 hours a chapter times 27 chapters, plus little bits like intros, acknowledgements, and so on. I figure the entire project took about 220 hours. That’s 27 eight hour days. The book itself is ten hours, sixteen minutes and fifty-five seconds long, all told. I took three entire weeks off work and devoted several evenings and weekends to this project. Probably much longer than it should have taken. I read in this quite informative blog post that “your narrator will put in six times more production hours than the final length of the book.” Yeah… took me a bit longer than that.

But I think it was worth every second.

For further thoughts on audio book production, check out this post.

A Time and a Place, published by Five Rivers Publishing, is now available on Audible.

Cover Art for A Time and a Place, by Jeff Minkevics
A Time and a Place

The Art of the Sale

After one launches a book, one must sell it.

If you thought writing a book was difficult…!

Of course, you don’t have to put any effort into selling your book if you don’t want to. You can just throw the book out there and hope that by some miracle it will get discovered because of its intrinsic value. There are writers who have had some success this way. But if you choose this path, I think you will be waiting a long time.

I feel an obligation to work hard at selling my novel A Time and a Place. For one thing, I spent a long time writing it. I’m happy with it. I think that it’s worth reading. Is it everyone’s cup of tea? Why, yes. Yes, it is. But I do think that there’s an ideal reader for this book and it’s up to me to find them.

My publisher, Five Rivers Publishing, invested in me and this book, financially and otherwise. Five Rivers artists and editors and book designers put their time and imagination into it. They deserve something in return for all that.

Thinking about what I owe my publisher and the book itself gives me the strength and will to overcome certain misgivings I have about selling my book.

What misgivings? Why should I feel bad about selling A Time and a Place?

Because doing so is somewhat at odds with my general philosophy of life. Apart from certain contexts such as work and family, I don’t expect anything from anybody. The world doesn’t owe me anything. If somebody gives me something—their time, a gift, a favour—it must be of their own free will. I don’t want anyone to do anything for me out of guilt or obligation. I will do the same for them. If I do something for you, it’s because I really want to (um, either that or because of some deep-seated unconscious psychological impulse influencing my actions that I am neither aware of nor can be held responsible for).

What this means is that nobody, not family, friend or stranger, is obligated to purchase A Time and a Place, or read it, or review it (or review it positively), or talk about it, or do anything at all to support it.

Nobody owes me or my book anything.

Because I feel this way, I feel a little funny about trying to convince people to buy it, because I don’t want to talk someone into buying it who might not have done so otherwise. Who might buy it out of charity or a sense of obligation towards me. I would prefer that people buy A Time and a Place because they’re actually interested in it, who might really enjoy and appreciate it.

Now, this is not to say that I don’t appreciate the support that I’ve received so far, whatever the motives may be. Support that has been legion, and that I do truly value.

In fact, I will never forget it.

All that being said, because I do feel an obligation toward the book and my publisher, and because I genuinely believe in A Time and a Place, I am doing my best to market and sell it.

The challenge now, I think, is to make A Time and a Place known to a wider audience. I fancy that amongst this wider audience there are people with whom it might truly resonate. A readership that might (dare I hope?) appreciate it on its own terms.

But how to reach this audience?

A Time and a Place is published by a respectable micro-publisher with limited resources. They are not in a position to mount an expensive advertising campaign. Nor can they afford a print run that will place physical copies of the book in brick and mortar stores across North America. And the print version is rather expensive. Finally, I don’t have the time or money to do a book tour.

On the other hand, A Time and a Place is available everywhere online as an e-book at a good price point. And it was very strong out of the gate. The book launch was a huge success, selling quite a few copies. In fact, it was Bakka-Phoenix Book’s (Canada’s top science fiction bookstore) best-selling Trade Paperback for the month of October 2017. A Time and a Place received a glowing review from Publisher’s Weekly (a prominent international publishing magazine), a review that was subsequently distributed to every major bookselling platform, including Goodreads, Amazon, Barnes and Noble, and more. The novel received some respectable media attention (CBC Charlottetown), and it has received excellent independent reviews on Goodreads and Amazon, where it’s currently rated at 4.6 out of 5.

So what does all that mean?

It means that I have a good book and a good foundation upon which to build. It means that I don’t have a huge media conglomerate behind me. It means that my publisher and I must do what we can with what we have.

It means that selling and marketing A Time and a Place is a bit of an uphill battle.

But that’s okay. I’ve been experimenting. And learning.

Early on, I did a Farmer’s Market in Summerside, Prince Edward Island, shortly after being interviewed by CBC Charlottetown. The table, which I shared with my sister, Susan Rodgers (author of the Drifters series), and Sue Campbell (author of Two Bricks Short: My Journey With Cancer) cost me ten dollars. I sold eight copies that day, three a direct result of the CBC Radio interview.

Summerside Farmer’s Market with sister Sue and new friend Sue

I spent a day at a Chapters in Oshawa. Sold nine copies there. But Chapters takes a huge cut (45%). Factoring in what each edition costs me (purchased from my publisher), I was forced to charge an exorbitant amount for each copy to make even a miniscule profit, so I will never do that again, at least for A Time and a Place.

I was invited to two Book Clubs, but only one of them followed through. Several members of the Book Club that did follow through purchased copies of A Time and a Place and actually read it before I showed up to talk about it. This was a lot of fun. Great food, great questions, and great company. My only regret is that I talked too much. I was just so excited to have the opportunity to talk about A Time and a Place to people who actually seemed interested in it.

And I’ve done a few other book-related events, but never sold more than three copies at any of them.

The most success I’ve had selling the book has been to friends, family and colleagues. Cutting out all middle-men allows me to charge the least amount for the book. And in every case they’ve approached me, so I don’t feel like I’m twisting anybody’s arm. I have a couple of rules around this. If someone happens to mention in conversation that they’re interested in purchasing A Time and a Place, I always follow up. As I mentioned before, I owe the book and my publisher that. If they’re still interested, I sell a copy or two. But if I follow up and nothing comes of it, I never mention it again.

I believe that many of these types of sales have been a result of making the book visible. To promote my book launch, I posted posters about the book all over the Broadcast Centre where I work. As a result, everybody who knows me there knows I wrote a book. Also, up until recently, I made a video every weekend that I posted on various social media accounts, such as Twitter, Facebook, YouTube, Goodreads, and Linked In. Sometimes the videos were directly about the book, sometimes they weren’t. But they all put me out in front of people. A surprising amount of people I know have watched these videos (usually via Linked In or Facebook). The existence of these videos, I am certain, has prompted sales.

A word about the videos. Every now and then I break out in a cold sweat, certain that I’m completely embarrassing myself with the videos. My friends assure that I’m not, even though it’s obvious not everyone gets my sense of humour. But I strongly believe that if you’re considering producing similar videos, some thought and craft has to go into them. Don’t just hit record and talk. I started by doing that and quickly realized that I owed the people watching them more than that. When I resume making videos in a few weeks, I plan to ramp up the quality even more. It’s also more fun to make well-thought out and produced videos.

Speaking of social media accounts, I’ve paid a lot more attention to them since the launch of the book, especially Twitter. By using the app Crowdfire, I’ve grown my Twitter following from four hundred to over fourteen hundred since Christmas. Has this resulted in any sales? I know of at least one (thanks Jim!) And I’m pretty sure Jim has loaned A Time and a Place to a friend, who showed up on Goodreads planning to read it. Word of mouth is extremely important. In fact, perhaps the most important.

Goodreads is something else I’m paying a lot of attention to, curious to see how it can help. Recently, I mounted a campaign to make A Time and a Place the number one book about teleportation on Goodreads. It wasn’t very difficult, as not a whole lot of people had voted for that particular list. But I noticed a slight uptick of sales following this campaign. I’m also trying an ad campaign on Goodreads, but a week into that has resulted in zero sales—in fact, zero clicks on the advertisements, so clearly some tweaking is required there. I plan to experiment with Facebook next.

I’ve come to the conclusion that it’s about selling one book at a time. After a while, the numbers add up. I’ve been very lucky with the support I’ve received from friends, family and colleagues, but for the book to truly succeed it has to break out of that group into the wider world. A Time and a Place has yet to do that to any meaningful extent. But I’m not giving up on it. Everything I read about marketing and selling books tells me that the single best thing I can do to help sell my books is to write more of them. So that’s the next big step. I am well into the second draft of a sequel to A Time and a Place.
If you have any advice on how I can do better, let me know in the comments.

Oh, and if you’re interested in a copy of A Time and a Place?

You know where to find me.

Joe Reviews His Own Book…

Joe Who?

Joe Who?

Apparently, according to Goodreads, it’s okay to review your own book. So here goes… a completely impartial, unbiased book review for my science fiction/fantasy time travel adventure A Time and a Place.

Let’s start with what this book is about. And I’d say it’s about two or three pounds. This is a book with some serious heft. You put this book on something it’s not going anywhere. There are a lot of pages, four hundred and three of them. If you like your book with pages, you’re gonna like this book, pages and pages of pages.

And there are words, folks. Big words, little words, and middle sized words that are juuuust right. We’re talking nouns, verbs, adjectives, indefinite articles, lightly seasoned with adverbs. But not too many adverbs. This isn’t JK Rowling we’re talking about here, who can get away with that sort of thing.

What do you get for your money? This book comes fully loaded with an index, chapter headings, acknowledgements, authors bio, there are even page numbers. And make sure you check out the font. It’s called a dirty font. But don’t let that put you off, this is a clean book. There are no bad words as this really is a book for people of all ages, young and old alike. Unless you’re 72, this book is not recommended for people 72 years old. But once you’re 73 you should be good to go.

Know that this book is only available in select bookstores because, let’s face it, not all bookstores can handle a book of this calibre. This is a book to be, if not read, at least purchased and placed on a book shelf of your choice with the spine facing out because it doesn’t make any sense to have the spine facing in.

Highly recommended, six out of five stars for this truly superlative effort in this completely unbiased book review of my own book.

Get it today while supplies last, there are only so many electronic editions out there.

A Little Ask

In which I ask a little something of you. But not much!

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