The Splintered Universe is science fiction, published by Iambik Audio, and consists of three separate audiobooks.
In the third book of the Splintered Universe series, entitled Metaverse, Rhea Hawke travels back to Earth, hoping to convince an eccentric mystic to help her defend humanity from an impending Vos attack – only to find herself trapped in a deception that promises to change her and her two worlds forever.
Here’s an audio excerpt from Metaverse:
And just for fun, here’s a selection of proverbs that Rhea Hawke, the main character in the series, is known for using when confronting a challenging adversary or situation. Proverbs that we all can learn from:
“There are many paths to the top of the mountain, but the view is always the same.” Chinese proverb
“Knowledge is learning something every day. Wisdom is letting go of something every day.” Zen proverb
“The acts of this life are the destiny of the next.” Eastern proverb
“Never cut what can be untied.” Portugese proverb
“A little help is better than a lot of pity.” Celtic proverb
“What a fool does in the end, the wise man does in the beginning. “Italian proverb
“Be careful what you wish for; you’re apt to get it.” Chinese proverb
“She who has been bitten by a snake fears a piece of string.” Persian proverb
“He who wants a rose must respect the thorn.” Persian proverb
“A beautiful thing is never perfect.” Egyptian proverb
“Good soyka should be black like the devil, hot like hell, and sweet like a kiss.” Hungarian proverb
“The night hides a world, but reveals a universe.” Persian proverb
“The difficult is done at once, the impossible takes a little longer.” French proverb
“If you can’t dance, you’ll say the drumming is poor.” Jamaican proverb
“A cat pent up becomes a lion.” Italian proverb
“It’s not enough to know to ride; you must also know how to fall.” Mexican proverb
“Each of us must sometimes play the fool.” Yiddish proverb
“The only Zen you find at the top of the mountain is the Zen you bring with you.” Zen proverb
“Beauty without virtue is like a rose without scent.” Swedish proverb
“After the game, the king and the pawn go into the same box.” Italian proverb
“Call on God, but row away from the rocks.” Indian proverb
That’s the end of this special three part series on author Nina Munteanu and her series Splintered Universe. I trust by now you’ve purchased each book and devoured them all. If not, what are you waiting for? 🙂
After the successful audiobook tour for my novel A Time and a Place, I thought I would try to help fellow audiobook authors in a similar fashion. So once a week over the next three weeks (in association with Audiobookworm Promotions) I’ll be featuring content about Nina Munteanu and her audiobook series The Splintered Universe, narrated by Dawn Harvey. The Splintered Universe is science fiction, published by Iambik Audio, and consists of three separate audiobooks.
Here’s what the first book is all about:
Outer Diverse is the first book of the Splintered Universe Trilogy, set in and around the Milky Way Galaxy. The first book begins as Galactic Guardian Rhea Hawke intestigates the massacre of an entire religious sect, catapulting her into a treacherous storm of politics, conspiracy and self-discovery. Her quest for justice leads her into the heart of a universal struggle and toward an unbearable truth she’s hidden from herself since she murdered an innocent man.
And here’s what Nina Munteanu is all about:
She’s a Canadian ecologist and novelist. Her novels include: Collision with Paradise; The Cypol; Angel of Chaos; Darwin’s Paradox; The Splintered Universe Trilogy; and The Last Summoner. In addition to eight novels, she has authored award-winning short stories, articles and non-fiction books, which were reprinted and translated into several languages throughout the world. Recognition for her work includes the Midwest Book Review Reader’s Choice Award, finalist for Foreword Magazine’s Book of the Year Award, the SLF Fountain Award, and The Delta Optimist Reviewers Choice Award. Nina’s latest non-fiction book—“Water Is…” a scientific study and personal journey as limnologist, mother, teacher and environmentalist—was picked by Margaret Atwood in the NY Times as her #1 choice in the 2016 ‘The Year in Reading’.
Nina is a member of SF Canada. Much of Nina’s work is on the environment and sustainability, examining the role and evolution of humanity in the context of nature and technology. Her upcoming novel “A Diary in the Age of Water”, a near-future dystopia that explores the socio-political intrigues of water shortage in Canada, will be released in 2019.
Nina regularly publishes reviews and essays in magazines such as The New York Review of Science Fiction and Strange Horizons. She has been staff or guest writer for several online and print magazines or newspapers including Amazing Stories, Clarion, Niverville Citizen, and CBC Canada Writes. Nina co-edits Europa SF, a European speculative magazine. She was assistant editor-in-chief of Imagikon, a Romanian speculative magazine, and currently edits for Grimoire Books, USA, and Future Fiction, Italy. She has also served as acquisition editor of several anthologies such as “Water” (Reality Skimming Press) and “My Canada” (IOWI). Nina was interviewed or an invited speaker on topics to do with science & climate change, eco-fiction, writing and publishing at: The Globe and Mail, CUIT Radio, Delta Optimist, the Editors’ Association, Gazeta SF, Mississauga News, Impakter, Langley Times, THAT Channel, Observatorul, Planet S, Speculating Canada, Times Colonist, The Commentary, World Poetry Café, Wonderville, CanCon, and When Words Collide, among others. Nina was the science fiction writing Guest of Honour at Limestone Genre Expo in 2016.
Nina has taught writing since 2005 and currently lectures at George Brown College and the University of Toronto. She has been a writing coach and editor since 2005 and has worked with novice and established writers toward successful publication. Her books on writing “The Fiction Writer: Get Published, Write Now!” and “The Journal Writer” (Starfire) are used in universities worldwide. They were translated into Romanian and published by Editura Paralela 45.
Here’s an interview with Nina Munteanu about her book, her series, and the process of turning it into an audiobook:
Tell us about the process of turning your book into an audiobook.
The process was magical for me. It was professional and proceeded at a pace that felt productive. All of this was mainly because of the professional relationship I had with the narrator. From audition to each step of quality assurance in ensuring character voice, pronunciations, mood, tempo, etc. the narrator and I were in good communication. The final product shows. I can’t recall how long it took for each audiobook to be created, but it didn’t feel long.
How did you select your narrator?
Dawn Harvey auditioned for my first book along with two other narrators through the audiobook publisher, Iambik. I picked Dawn because her voice resonated with my idea of my main character, Rhea Hawke, a cynical badass detective on a mission to save the world. Dawn’s voice carried attitude and sarcasm as well as compassion and kindness. It was exactly what I was looking for in my paradoxical character. Given that the book is told in the first person, the main character voice was critical. Dawn just nailed it. When the second and third books came out, I just HAD to have Dawn do them too–not just for consistency, but because in my mind, Dawn WAS Rhea.
How closely did you work with your narrator before and during the recording process? Did you give them any pronunciation tips or special insight into the characters?
We worked fairly closely. Dawn took the driver’s seat in it. She was very professional. She sent me sections of audio to check for tone, voice, etc. She created a list of voices (I had at least twenty different alien species she needed to create unique voices for–one with multiple mouths! And another was a kind of “amoeba”–her voices were splendid!) and a list of terms with her pronunciations for me to vet. She had also asked for more information on the characters, which I was able to provide, given I keep a character dossier on all characters I create.
Were there any real life inspirations behind your writing?
There were many, but I’ll tell you about one. My historical fantasy The Last Summoner was inspired by a work of art by Croatian artist Tomislav Tikulin. It was the image of a magnificent knight, standing in a huge drowned cathedral–littered by war– the knight gazes up at the vaulted ceiling. A great light shines on the knight in streams of white gold. It sent my imagination soaring with thoughts of chivalry, adventure and intrigue. Who was this knight?
How do you manage to avoid burn-out? What do you do to maintain your enthusiasm for writing?
Burnout happens when you push too much or let others push you too much. Letting go and flowing with my own creative juices and inspirations is something I had to learn to do. There’s a balance, of course, because discipline is also necessary to get things done. Working for others as a writers, I often have deadlines. I deal with this by prioritizing my work and setting (or accepting) realistic deadlines. I don’t procrastinate and start early to give me time to let things sit and my creativity flow and meander freely. When I’m working on several projects (which is most of the time), I let myself move from one to the other as my muse takes me; this allows the creative process to flow unrestrained and more efficiently. Burnout arises from frustration; I feed my whimsical muse so this doesn’t happen.
Are you an audiobook listener? What about the audiobook format appeals to you?
I like to listen to audiobooks in the car, especially when I’m on a long trip. I find it a wonderful way to enjoy a book. It’s very relaxing. When my best friend and I used to do road trips down to California from Vancouver, we took turns reading a novel or nonfiction book out loud as the other drove. It was lots of fun. With audiobooks I can do the same even when I’m the only one in the car!
What gets you out of a writing slump? What about a reading slump?
If I’m in a slump, it’s usually because I can’t figure something out–usually some plot point or character quirk or backstory. What helps me is to put the book I’m working on away and do something else. It could even be writing something else, so long as it isn’t my book. Or I could do something else on the book such as edit a certain section or research some element. Other ways I coax my muse back are walks in Nature, reading a good book, visiting the library or a bookstore and cycling.
What bits of advice would you give to aspiring authors?
Learn your “voice” and how it’s unique from anyone else. Write from the heart, write something that means something to you, and keep writing. Success in writing results from a passion to share. If you infuse your writing with passion, everything else comes with it: the patience and determination to learn craft, marketing, and the persistence in your pursuit.
Do you have any tips for authors going through the process of turning their books into audiobooks?
Know what you’re looking for to represent the “voice” of your book. Know the narrative voice you want for your book and don’t compromise on it. Work respectfully with your narrator: if they are good, they will turn your cherished book into something more than it was. Let it surprise you and delight you. Together, you and your narrator will become more than the sum of the parts. Enjoy the process and don’t rush it.
What’s next for you?
I recently finished my latest novel, “A Diary in the Age of Water”, which was picked up by a Toronto publisher and will be out in 2020. I am currently working on the third book in my “Alien Guidebook” series of writing guides. This one is called “The Ecology of Story: World as Character” and I’m having lots of fun with it! Re audiobooks, I’d love to work with Dawn Harvey again and I’m looking into creating a series of short audio films from my 12-chapter book on water (“Water Is…”). What do ya think, Dawn?…
This coming Tuesday, Sept 25th, I’ve been invited to participate in an open mic at the Parliament Street Library branch in Toronto.
The event starts at 6:30pm and goes until 8pm
I’ll be reading from my novel A Time and a Place. It looks like I’ll have time to read up to an entire chapter. I’ll try to pick a particularly interesting one…
And if that isn’t enough to entice you, fellow writer (and editor of the newly re-launched Amazing Stories magazine) Ira Nayman will also be present. His material is very funny, so if you don’t show up for me, at least show up for him!
I do believe there’ll be some other writers present to read as well.
In other terrifically exciting news, A Time and a Place is now available for your listening pleasure on Audible. But you know that already because of my last post. (Two posts in one day… haven’t done that in a while!)
I should also mention that my recent interview with Christine Cowley of Storylines on Hunters Bay Radio is now available online. You can check it out here.
Probably worth mentioning as well that my interview with Jessica Sanders of Jessie’s Coffee Shop is still available online here.
I had submitted the files to my publisher, who had forwarded them to Audible (ACX), only to have them rejected because they were less than 192 kbps. This didn’t make any sense to me as I was sure that I’d exported them from Audacity properly. When I checked the files out, though, I discovered that I’d actually accidentally exported a couple of files at 32 bit sample rate. It’s weird this only happened to a couple of files; why would the settings change for just a couple of files?
Anyway, I figured this was the problem, so I corrected those files and resubmitted them.
Audible still rejected the files.
So I went back and had another look. I thought I had the settings in Audible correct, but my mistake (well, one of my mistakes) was that I hadn’t actually checked the files themselves. This was really sloppy on my part. The reason I hadn’t checked the files themselves was because, well, I had checked the files, but I’d done so on a Mac, which doesn’t tell you the bit rate. It tells you a lot of other stuff, but not the bit rate, unless you jump through a few hoops, which I hadn’t done. I’d simply assumed that Audacity was doing what it said it was doing:
It says it’s exporting 220-280 kbps. So isn’t it? Nope!
Turns out I should have selected “Constant” Bit Rate Mode, which would have resulted in a guaranteed Bit Rate of 192 kbps.
Live and learn.
Because of this mistake, I had to re-export all my files at the correct bit rate of 192 kbps.
This meant finding the original sessions of each chapter. Doing so, I discovered another bit of sloppiness on my part: poor file management. I’d carefully saved each session using a specific naming convention, but I hadn’t paid much attention to where I saved the files, other than ensuring they were saved on a hard drive somewhere in, say, my house.
Well, at least I knew all the sessions were saved on a hard drive attached to my MacBook Pro. Fortunately, my searches usually managed to locate the required sessions. Unfortunately, they didn’t always do so. I could not find the final sessions for about four chapters. The good news was that I was able to find and re-open at least the penultimate session for each chapter. This resulted in a bit more work than I would have liked. And I became paranoid that I wasn’t re-exporting the absolute final version of each chapter. Because of this paranoia, I decided I needed to re-listen to every second of every chapter to ensure that they were in fact the absolute final, pristine product.
This cut into the writing time of my second novel, which I usually worked on during my commute, and so was a bit of a drag, but it had to be done. Fortunately, I was able to download the files from Dropbox onto my Smartphone, which meant that I could listen just about anywhere I went. Unfortunately, this usually wound up being in rather noisy environments, which meant that I could confirm the proper pacing of the sound files, and that there were no missed edits, and what the chapters would sound like in the real world, but I couldn’t really tell if there were any little clicks or pops or mouth noise etc.
So I listened to all twenty-seven chapters this way, and during the course of this exercise discovered several chapters that weren’t quite up to snuff. In the case of some chapters, it was because I hadn’t been able to find and export the absolute final version, but in the case of other chapters it was because the absolute final versions themselves just weren’t quite up to snuff.
By “up to snuff” I mean mostly that the pacing was off. The way I had read and edited them had resulted in readings that were way too fast. My brain couldn’t keep up listening to them. They threatened to ruin the entire product. Even if listeners couldn’t tell exactly what was wrong, what was irritating about the product, I was pretty sure that it would still bother them. All of these chapters needed to be re-edited. There were a few other minor issues too that I took the opportunity to correct, mostly sloppy enunciation, and some minor issues with the levels.
If I hadn’t exported the files at the wrong bit rate to begin with, I probably wouldn’t have discovered these other issues until it was too late, so I was glad about that.
Looking back, the single biggest hurdles I encountered during the production of this audiobook was the fact that I performed it myself, and did the whole thing all alone. There was nobody to tell me I was reading too fast, and I was too close to the product to realize myself where I was going wrong. I didn’t actually even clue in that there was a problem until after I’d finished recording the entire novel and completed the initial edit of the first chapter. Listening back to that initial edit, I was horrified at the pace of my read. So I re-edited the entire chapter and it was STILL too fast. It wasn’t actually until a few weeks went by and I listened to the chapter again with completely fresh ears that I was able to tell what the proper pace should be. So I edited it AGAIN and finally got it in the ballpark (I hope!).
I made the same mistake with several other chapters, thinking as I was going along that I was getting the pacing right, but again I didn’t have sufficient distance to be able to tell for sure. It was several chapters before I acquired enough experience to know to insert far more space than I thought I needed. Doing so made it far easier on subsequent passes to edit the material correctly, tightening it up a bit.
Had I been a seasoned performer, I would have been able to get the pacing right in the performance, which would have resulted in one heck of a lot less editing.
At least one chapter (Chapter Four) was so bad that I was forced to re-record the entire chapter. But by then I had a much better idea what I was doing, resulting in a performance that was much closer to the mark, and that required only a light edit.
Bottom line: it’s mostly about the performance. If you get the performance right, post-production becomes infinitely easier.
I’m not saying that writers shouldn’t read and record their own novels. But I am saying that if you do, have a second set of ears present—preferably, somebody who knows what they’re doing—so that they can set you straight during the recording, which will result in a whole lot less post-production time.
If you can’t have someone else present, maybe just do one section or chapter at a time. This should reduce the learning curve, and maybe by the end of the book your performance which be much closer to what it needs to be.
Still, despite having created a whole lot extra work for myself on this audiobook production, I’m fairly happy with the final product. I did not release it into the wild until I was satisfied with it. I’m also really happy to have this one under my belt. With what I know now, if I ever have to do this again, it should (theoretically!) go one heck of a lot faster.