A consequence of my publisher, Five Rivers Publishing, shutting down operations this year was that the novel I had published with them, A Time and a Place (which I will henceforth refer to as ATAAP in this post), was delisted from most book sellers. It therefore became imperative that I get it back out there lest it become well and truly out of print.
My experience with Five Rivers has been a uniformly positive one all the way through and this proved true at the end as well. I say Five Rivers but really I mean Lorina Stephens, the soul, essence, and driving force of Five Rivers. Lorina ensured that the transition of rights was as painless as possible, transforming all the rights for ATAAP back to me (and the rest of her authors) without any fuss or bother. The situation with Audible proved a little problematic for some of Lorina’s other authors as Audible was a bit of a stickler with third party producers involved, but it turned out to be easier for me as I was the sole performer and producer on the audiobook version of ATAAP. Three or four emails with Audible and we got that all sorted out.
Amazon, Barnes and Noble, Kobo, Indigo and so on was a little more time consuming. I decided to release what turned out to be a second edition of ATAAP under my own publishing house, Donovan Street Press. I took the opportunity to scour the manuscript and eliminate about eight typos that had driven me crazy since the original publication. Even though I had gone over the manuscript umpteen times after we finished editing it back in 2017, I’d still managed to miss those eight. It is unbelievably difficult to catch every typo in a novel. Your eye scans right past them. Every time I read a book from one of the major publishers I delight in spotting typos as they make me feel better about mine. Typose exist in just about every book you will ever read (and if they don’t, I don’t want to hear about it).
Typos in the original version of ATAAP included (in no particular order):
P 186 the only way could think of (missing the “I”)
P180 passenger street (should be passenger seat)
P363 excess spaces in sentence
P291 made a mess of it (should be make a mess of it)
P289 eying (should be eyeing)
Diane Savident (should be Diana Savident) (this was rather embarrassing for me as Diana was a family friend)
P28: should be “the two of them vanished…” (Not the two of them had vanished)
P181 print version: should be Nissan Rogue (not Nissan Rouge) (invariably over the last three years I’d be out running errands and I’d find myself behind a Nissan Rogue, and I’d think of that typo. I’d grit my teeth and think, “I’m following a typo.”)
P375 “You’re here, where ever here is, allowing people to use you (to) wipe out entire civilizations” (missing “to”)
Rereading the manuscript, I was also horrified to discover a story glitch, a missing bit of narrative hand-holding regarding the nature of Sebastian. Probably not a big deal to the average reader, as Sebastian’s nature eventually becomes crystal clear, but it really needed to be made explicit early on. So this was an opportunity to correct that with the addition of a bit of extra dialogue in Chapter Five.
Finally, one reader had pointed out in private correspondence that I had exhibited a particular fondness for the word particularly. You will find far fewer instances of this word in the Second Edition of A Time and a Place (and in any future novels I write).
Despite the over abundance of the word particularly, ATAAP has managed to receive some pretty good reviews since its original publication in 2017. Releasing a second edition was an opportunity to include some of those reviews off the top of the book. I’m grateful to the following authors for their kind words in support of the book: Andrew Weston (author of the internationally bestselling IX series), A.B. Funkhauser (author of Shell Game: A Black Cat Novel), Brian Wyvill (author of The Second Gate), and comedian, actor and writer Matt Watts (Newsroom, Michael: Tuesdays and Thursdays).
All these updates required getting a new ISBN and hiring Eric Desmarais to produce a new layout (Eric had done an excellent job on the original layout). I’ve also contracted an updated cover from original cover artist Jeff Minkevics which I hope to make a part of ATAAP‘s Second Edition sometime in the next month or so.
Because it was important to get ATAAP back out there, I’ve already released the ebook and Kindle version on the sly through Draft2Digital. You will find it at every major online book retailer. Physical copies are still available but they will be second hand. I’m waiting to publish the second edition of A Time and a Place in physical form once I have the new cover in hand which, as I mentioned, will hopefully be in the next month or so.
I should also point out that the version of ATAAP up on Audible is the original version. Maybe I’ll update that version too one day, but to be honest I’m not in a rush to do so. Too many other important things to do, like finish my second novel, Captain’s Away. More on that later.
So, long story short, there’s a new, updated version of A Time and a Place out there, folks. Feel free to check it out.
This is both a review of Den Valdron’s book The Mermaid’s Tale and a reflection of sorts. Because The Mermaid’s Tale is a thought-provoking book. I mean that literally—it has provoked many thoughts. But before I get into those thoughts, a few disclosures. I share a publisher with Den, Five River’s Publishing, and I’m a tiny bit acquainted with him, virtually at least. We’re both members of SF Canada, Canada’s National Association of SF professionals. And editor Robert Runte edited both our books when he was Senior Editor of Five Rivers. I don’t believe any of those factors has influenced my opinion of The Mermaid’s Tale.
I’ve been curious about this book for a while because there is some buzz about it. People are talking about it, writing about it. I first heard about it the weekend Robert Runte signed me to Five Rivers. He didn’t mention the name of the book, but during our conversations that weekend he mentioned that he’d signed another book that he was quite excited about, that he thought was challenging, and now I’m fairly certain that he was talking about The Mermaid’s Tale.
After The Mermaid’s Tale came out, I read comments by others that suggested this book was a cut above. On Goodreads and in emails. On the SF Canada Listserve over the years I’ve read emails by Den in which he has proven himself to be eminently readable. When Den writes an email on a list-serve you generally read it. He’s thoughtful and considered. Smart. Reflective. Only natural to expect those qualities in a book written by him. So I went into this book with high hopes. I wanted to like it. I wasn’t disappointed.
I have many writer friends. Some are professional, at the top of their game, successful. Others struggling, or just starting out. I have bought books from many of these folks over the years. Some of the books are good, some not my cup of tea. If I don’t like a book, I won’t finish it and I won’t review it. If I like it, I’ll finish it. Usually, I’ll rate it on Goodreads. Sometimes I’ll write a review as well. If I know the writer, I try not to give a book less than a four or five star review. This is because I know how hard it is to write and sell books, and I know that a three star review won’t help sell books. If you’re reading this and thinking, wait, I gave one of Joe’s books a three star rating, don’t feel bad. It’s okay. I want you to be honest. I’m just explaining how I operate, not how you should operate.
Sometimes when I give a book a five star rating it’s not because I think it’s the best book ever written. Sometimes I’m employing other criteria. Maybe I think it’s a five star book for that author, or there’s some other quality about the book that elevates it to five star status. You may not agree with this approach. I don’t care—it’s my approach, refined over time. Why am I telling you this? Because I want you to know that in this case I’m giving The Mermaid’s Tale five stars because I think it actually deserves five stars. I think it’s a five star book.
A confession based on a fragment of memory. Years ago, when I was working in a certain capacity for CBC Radio, somebody sent me some chapbooks. I think they were about zombies, and I think it was Den who sent them. I might be misremembering. I got sent a lot of books at that time because of the projects and shows I was involved with. I didn’t have time to read all the books I was sent. The CBC gets sent a lot of stuff. When I worked on the show Q we had a table that we called “The Table of Shit.” It wasn’t all shit. It was just stuff we got sent that we set out so that people could pick through it. Eventually a lot of this stuff winds up lining the shelves along the atrium. I hung onto the chapbooks for a while, then, like much of the rest of what I was sent, they made their way to those shelves. I never read the chapbooks. They were snatched up pretty quickly by someone else. I hope they found a good home. Now I wish I’d read them, because if they were in fact from Den, I’m pretty sure they were worth reading.
Even if they weren’t from Den they’re worth mentioning because like I said, if I recall correctly, they were about zombies. The Mermaid’s Tale has nothing to do with zombies, but it’s all part of the same continuum. The Mermaid’s Tale is about orcs and dwarves and goblins and hobgoblins and vampires and giants and trolls. Now, I love science fiction and fantasy, and I’m not generally a snob, but even I, when confronted by books and chapbooks about zombies and the like, become instantly suspicious. I suspect that what is before me is probably not very good. It’s probably poorly written, poorly thought out, poorly edited, shallow. In other words, I’m prejudiced against the subject matter. Whoever wrote those chapbooks about zombies produced them before zombies hit the mainstream. I saw zombies and pretty much dismissed them. A few years later, Walking Dead hit comic book stores and the airwaves and zombies became huge. Mainstream. I saw that stories about zombies could be compelling. Yeah—I wish I still had those chapbooks.
Now here we are with mermaids, orcs, trolls etc. I already knew this wasn’t going to be your usual mermaid, orc, troll story because it’s Den and because of the buzz around the book. This book contains these sorts of fantasy/horror cliché characters, and that might make it sound juvenile, but I assure you it’s not. One of the many strengths of the book is the spin it puts on all of that. These aren’t the mermaids, orcs and trolls we grew up with. They serve a purpose. They have much more depth. We feel for them. Boy do we feel for them.
The book is from a small independent publisher. Like I said earlier, it’s one that I share with Den. A publisher like this can’t afford to publicize its books the way a large publisher can. It’s print-on-demand so individual print copies are a bit more expensive than we’re used to. (I actually bought this book twice: first the inexpensive e-book version, then, because I realized I don’t like reading e-books, the print version. I’m glad I did. The print copy looks and feels great and was a pleasure to read.) Some people might be inclined to look down their noses at independent publishers. I have had people in the industry smile indulgently, somewhat patronizingly when I told them I was published by one. But thank God for the existence of such a publisher, because they find and publish quality books like The Mermaid’s Tale. Look up Five Rivers back catalogue. They have published many fine books by many fine authors. And they must be doing something right because they continue to do so.
You might be asking yourself: who is Den Valdron? This is a bit of a problem for Den and authors like him. When you’re not a name author, few are going out of their way to find books by you. So who is Den? He’s an aboriginal rights lawyer originally from the Maritimes in Canada. A man who’d probably rather spend most of his time writing but can’t because you can’t make a living writing these days, with rare exceptions. So he can’t pump out as much material as required to make an impression. He could be a Stephen King but he’s not as prolific and hasn’t pulled off a Carrie yet. But he might—just give him time.
Den won’t break out with this book, I expect. It’s special, all right, but it’s got a jaw-dropping act of violence near the beginning that I suspect some people won’t be able to get past. I can imagine it would be pretty triggering for some. It reminded me of a scene in one of Stephen R. Donaldson’s books, Lord Foul’s Bane, that I first read when I was about seventeen, and that almost made me stop reading that book, I was so outraged. The scene in Den’s book did not make me stop reading it, but I wondered about it. I wanted to understand its place in the book. It’s not random, it’s not gratuitous, it’s ugly and horrible. It’s integral to the plot, to the characters, to the theme. It would not be the same book without it. It’s referenced later in the book. It speaks directly to the characters’ pain. It’s tragic and awful and something that happens in the real world and therefore merits inclusion. How do we deal with such violence if we simply bury it, refuse to acknowledge its existence, and don’t talk about it in our art?
The Mermaid’s Tale deals directly with such violence. This is a story about characters who live in a violent world. It’s a story about the impact of that violence on them. It’s a story about characters who must live with the knowledge that they are reviled by everyone around them. Everyone, even themselves. It’s a story about the corrosive impact of that terrible knowledge upon them. But this isn’t just fantasy; all of that violence and hatred exists in our own world too. This is a reflection of that, and forces us to reflect upon that fact.
I should probably also mention that it’s a murder mystery, but, although important and well executed, and it’s the mystery that provides the scaffolding, that aspect is almost incidental. It’s the story, but not what the story’s actually about. The Mermaid’s Tale is greater than the sum of its parts.
We live in a world saturated with art and entertainment. It’s a golden age for television. A century’s worth of films to choose from. Hundreds of thousands of books published every single year. Much of this art and entertainment is very good, some of it sublime, created by gifted people know what they’re doing. We can’t possibly sample even a fraction of it. Like the unnamed protagonist in The Mermaid’s Tale who doesn’t stand much of a chance in her world, a violent book about an orc by an unknown author from a small publisher may not stand much a chance in this world.
And that’s a shame, because a book of this calibre deserves to be much more widely read.
Astute readers of this blog may have noticed that I have been sprucing it up a bit lately. Less astute readers will not have noticed anything. Don’t feel bad if you haven’t noticed anything; many of the changes have been subtle. Why, I myself might not have noticed anything had I not been the one doing the changes.
Angela Misri kindly did the heavy lifting a few years back, establishing the look and the template and so forth. Since then I’ve long wanted to do some serious tweaking, and lately have found myself in exactly the right head-space to do so. Head space that should perhaps have been directed at working on novel number two (working title Captain’s Away), but I’m at a part of that project that requires some extra heavy thinking, which I’m doing as I putter around this blog.
So what have I done? Well, first of all I’m generating posts at a rate I haven’t matched since about fifteen years ago. A lot of them are from rooting around my laptop, peering into old files, where I’m unearthing all sorts of interesting treasures (well, to me, anyway) that I’d long since forgotten about, and that have proven good fodder.
I upgraded from basic Dreamhost to DreamPress to ensure better stability, better support, and faster loading.
I added a newsletter sign-up form in the right side bar (though I’m still not entirely sure it’s working properly. If you’ve signed up, best let me know via [email protected] so I can double check that your sign up worked).
I added content to my Media/Interviews page. Allow me to reiterate here that this blog does not itself generate any revenue (other than indirectly selling a few books, theoretically) and all the content I post I do so under the Fair Dealings provision of Canadian Copyright law. I think some of it is of historical interest to some people. I do my best to give credit. If I’ve posted anything (pictures, audio, etc.) that you own or have anything to do with that you would prefer I not post, just let me know and I will take it down. Check out my disclaimer here.
And oh yeah, I’ve updated that disclaimer.
A while back WordPress changed the way posts are created (from classic to something called Blocks) which screwed up the formatting of a lot of my old posts. I’ve cleaned them up to make them easier on the eye.
I’ve tweaked some of the content on various Pages, editing and adding bits here and there.
And I’ve updated links to other blogs, removing stale links and adding new ones. I was sorry to see some go, but in some cases the blogs haven’t been updated in years. And there were a few blogs that I should have added long since, such as Dr. Robert Runte’s blog, and, and Pigdump, and the Five Rivers blog. And I just find everything Den Valdron writes inherently interesting, so I’ve added a link to his blog.
Is any of this worth it? Well, it hasn’t resulted in any additional book sales that I can see. If that was the only reason I was doing it there certainly wouldn’t be much point. So, it’s worth it only in the sense that keeping up this blog is something that I enjoy. It relaxes me. And from time to time I hear from people who tell me they derive some enjoyment from it.
It’s been just over a year now since my debut novel, A Time and a Place (ATAAP for short), was published by Five Rivers Publishing.
Time to sit back and reflect a bit on the experience.
One year in and I’m not exactly in J.K. Rowling territory. Still got the day job and the bank account looks roughly the same. I did not expect anything different. I went in to this knowing that I might only sell dozens of copies, that it could have been critically ravaged; or worse, completely ignored.
I also went into it with the intention of making it as uniformly positive an experience as I could possibly manage. I’m happy to say that I’ve (mostly) succeeded on that front. And that it hasn’t been critically ravaged or ignored.
It was a year marked by at least a couple of miracles.
The experience started on an amazing note when, shortly after publication, I stumbled upon a positive review of A Time and a Place by Publishers Weekly. I hadn’t even heard of Publishers Weekly before publishing ATAAP. I had to look it up, and when I did, I was interested to learn that Publishers Weekly is considered one of the Bibles of publishing, having been published continuously since 1872. To get a positive review from them was enormous validation of all the work I’d put into the novel. It meant that the work had paid off, at least on a critical front. It also immunized me from any subsequent bad reviews. Publishers Weekly liked it! Who cared what anyone else thought? Well, I did care, but one positive PW review meant that I could easily stomach any other bad reviews.
In the Bistro of the Free Times Cafe before the launch. That’s genuine happiness you see on my face there.
The second miracle was the book launch. The Merril Collection of Science Fiction and Fantasy (of the Toronto Public Library system) agreed to host the launch of the book. Having the launch at such a respected venue gave the launch some credibility, in my mind. And Bakka-Phoenix Books, Canada’s biggest SF&F bookstore, agreed to sell the book for me at the launch. And the attendance at the launch blew my mind. Seventy-eight people confirmed their attendance beforehand and I’m pretty show we had more than that actually show, as it was an open-door event. I remember walking into the Merrill Collection the night of the launch and being gobsmacked at how many people were there. It was a packed house. One of my favourite movies is It’s a Wonderful Life, and the classic line from that movie is “no man is a failure who has friends.” The book launch was my It’s a Wonderful Life moment. That night I felt like I had friends.
We sold fifty-eight copies of ATAAP that night, which made ATAAP the number one best-selling Trade Paperback for Baaka-Phoenix Books for the month of October 2017. It was a great start to the life of the book.
That same day my wife and I were invited to meet the Mayor of Whitby, Ontario. We had a great chat with Mayor Don Mitchell and he graciously purchased a signed copy of A Time and a Place.
Shortly after the launch, I was approached by a film/TV rights database called Rightscenter inquiring about the dramatic rights for ATAAP. I thought this sounded promising but apparently it’s actually just standard practice. Around the same time I was approached by someone about translating the book into Italian. These two events, along with the great launch and the Publishers Weekly review, made me think, holy cow, who knows what’s going to come of this book? But nothing came of either the film/TV rights or the Italian translation.
It was fun tracking ATAAP on Amazon.ca over the year, where it sat on Amazon’s bestseller list for Hot New Releases in Time Travel fiction for a while. I’ve conducted a few interviews about the book over the year, including one on CBC Radio Charlottetown (approved by the CBC ethics commissioner, a requirement because I work there), another for an online radio station in the states (Jessie’s Coffee Shop), and another just recently on Hunter’s Bay Radio in Muskoka (Storylines with Christina Cowley).
I spent one day in Chapters attempting to sell ATAAP (sold nine copies that day) and several days at various other events attempting to do the same (Bookapalooza, Ad Astra, etc). I’ve read from ATAAP at several events, including Words of the Season for the Writer’s Community of Durham Region, and twice at the Parliament Street branch of the Toronto Public Library. And I participated on a panel for Indie Author’s Day in Ajax.
I was roundly ignored by the organizers of Toronto’s Word of the Street, which stung a bit, especially after sending them (at their request) two copies of ATAAP, but apparently they’re run by a small team of volunteers, so maybe I just slipped through the cracks.
I had hoped that ATAAP might get shortlisted for an award or two (the Sunburst or the Aurora Award) but it didn’t even come close. My publisher had warned me that this would likely be the case but one must have one’s illusions.
Over time ATAAP continued to garner excellent reviews, mostly four and five stars, on Goodreads, Amazon.ca, Amazon.com, Kobo, Barnes and Noble, Chapters, Library Thing, Audible, and even one five star review on Amazon.co.uk. There is one two star review on LibraryThing and one three star review on Goodreads. Some of the reviews are by people I know and some are not. Without a doubt, ATAAP has received at least one or two extra stars from some of the people I know. For this reason, it’s hard to know where ATAAP actually sits critically. There is that positive Publishers Weekly review though, and several four and five star reviews from people I don’t know, so I think I can safely conclude that at least some people like the book.
Gradually the interviews, events and so on began to taper off. Sales, too, began to dwindle. To combat this, and at the behest of my publisher, I created an audiobook version of ATAAP, which was released a couple of weeks before the anniversary of its initial publication. As I type this, it has climbed to the top of the Amazon Audible Bestseller list (in the niche category of Science Fiction/Time Travel), fallen off that list, and climbed back up gain, where it currently sits at #2 on the Hot New Releases in Time Travel list.
That sounds impressive, but to tell you the truth I have no idea what it actually means. It could represent two hundred sales or two. The ways of Amazon and Audible are largely unfathomable. I won’t know until I get my Royalty statement from Five Rivers.
So, one year later I can report that although A Time and a Place has not made me rich or famous, it has been a thoroughly enjoyable experience. It has taken me to a few new places, made me a few new friends, and introduced me to a couple of new opportunities.
The thing about books, as someone told me recently, is that they have long lives.
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.
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.
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.
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.