Q&A with Audiobook Narrator, Jeffrey Hutchins

High Resolution Front Cover_5947720I had the opportunity to catch up with Jeffrey Hutchins this week, for a quick Q&A. You may recall, Jeffrey is the narrator of Scarred: A Civil War Novel of Redemption.

Your voice is the perfect compliment to Scarred, how did you manage to discover my book and what prompted you to audition? 

I saw the book listed on ACX (Audiobook Creation Exchange) and liked the premise of the story. I have a natural southern drawl and thought my voice might be a good fit for the book.

What do you do when you’re not narrating audiobooks—or is this your full time job? 

I’ve been co-owner of a multi media production company for over 20 years. I’ve done several voice overs for many of the video projects we produced, including voicing three children’s personalized CDs. I’ve always liked doing the voice over and when a friend told me about ACX I decided to give it a try. This was actually my first book! I just finished my second and have three more authors waiting for me to narrate their books. Looks like this will end up being my full time job. I’m hooked!

How do you prepare for a narrating session? Is there research involved? Is it a straight read from the book? 

First I read the book, taking notes as to different characters. Contact the author and find out what they have in mind for different characters, who might play them in a movie. Listen to YouTube videos of different dialects and accents. I also research pronunciation for words I’m not familiar with.

How long, on average, does it take you to complete an audiobook. 

The first (Scarred) took about 10 times longer than the second! But it looks like its going to take about 5 – 6 hours of reading, prep, recording and editing to produce one finished hour of the book. Hopefully I can get that time down as I learn more.

What do you find most enjoyable about narrating audiobooks? 

Doing the different characters. The first book I auditioned for, I didn’t realize I should even be doing character voices, so I didn’t. Needless to say I didn’t get hired either. Then I listened to a couple of audiobooks (I know I should have done this first), and started getting hired right away.

What do you find least enjoyable about narrating? 

Editing, it takes a long time and is very tedious work listening to my mistakes and cutting and pasting the parts together to make it sound both conversational and interesting.

One or two scenes in the book require a Germanic accent, which you do so well. Where did you learn to do the accent? And are there others you do as well?

I hate to say it but (don’t laugh) I though of Hogan’s Heroes, Colonel Klink! Only a little meaner. I never even knew I could do a German accent, so I don’t really know if I can do others. But I hope to try!

Being from Louisville, are you a Civil War buff?

Not really, but I learned quit a bit from narrating Scarred and found it fascinating.

Did you enjoy reading Scarred? Why?

YES! The story was really good. Action, adventure, history, love, loss. . . what else could you ask for!

What piece of advice would you give someone looking to get into audiobook narration? 

Check out ACX.com – And listen to an audio book BEFORE you audition for narrating one!

Want to hear more? Check out Jeffrey’s audition submission:

And visit Audible.com to find out how you can get Scarred for free—with a 30 day trial membership.

Posted in Scarred, Writing Life

Hear Ye! Hear Ye! Scarred Makes the Move to Audio

headphones and a book

Click for the Audiobook

According to multiple sources, audiobooks are “the fastest growing segment in publishing”. Generating $2.8 billion dollars in 2015, the number of audiobook titles published this year has more than doubled since 2013.

With these stats top of mind, and SCARRED: A Civil War Novel of Redemption ready for publication in print and digital formats, the next step was figuring out how to publish the book in an audio format. Audiobook Creation Exchange (ACX), owned by Amazon, is a company which easily facilitates the process of converting a book from written form to a downloadable audio file.

The entire process is quite simple and user-friendly. The first step is to find a narrator. The author selects a specific scene from the book and pastes it in an ACX file. ACX then notifies all potential narrators registered in their system that they can audition with the hope of being selected as the “voice” for the book. Within several days, four audition submissions showed up for Scarred—and all were very professional and articulate.

I’d selected a scene in which the protagonist, Zach Harkin, while incarcerated in Andersonville Prison, is interrogated by an Austrian prison commandant, Henry Wirz. The scene is tense: Both Harkin and Wirz want something from the other and with Wirz in charge, Harkin must somehow find a way around him.

Here is the audio segment submitted by the winning narrator:

I thought the narrator, Jeffery Lynn Hutchins, nailed it. He captured Wirz’s German accent very well, and his conversational timing was impeccable. It was important to have pauses between Wirz’s questions and Harkin’s responses as those moments of silence increased the tension. Hutchins, from near Louisville, Kentucky, also had a very appealing and natural southern drawl which helped with much of the other “twangy” dialogue throughout the book.

Hutchins was notified he’d been chosen and then the two of us worked out a financial arrangement to move forward. Once that was finalized, the formal narration started with Hutchins submitting a chapter or two at a time. I would listen and make some suggestions, he would dub in changes and we worked through the whole book.

During this entire process, which took nearly six weeks, we never talked on the phone. Our communications were by email or through the ACX system, but I felt I knew Jeff just because I had become so used to hearing his voice. One day, after the audiobook was approved and ready for publication, I got a call on my cell phone. When I said, “Hello,” the voice on the other end said, “Mike?” with that same wonderful accent I’d come to know from the audiotapes. My response was simply, “Jeff.”

I think he might have been surprised that I knew it was him—I’d know that voice anywhere. We talked for a bit, and agreed we’d try to work together again.

Hear more HERE (And find out how to get the audiobook for free!)

 

Posted in Scarred, Writing Life

The Beauty of Historical Fiction

51fgwlvlrlI’ve always been a big non-fiction reader—historical non-fiction. While most such books are not nail-biters, I finished the book with a certain amount of knowledge I didn’t have before. It was that left brain thing again: trying to put two and two together, figuring things out. I would slug my way through all the facts, names and dates with the firm belief I was gaining knowledge and historical understanding.

Then came The Killer Angels by Michael Shaara and other historical novels which delivered history in a storytelling format. These were a double whammy: I became more knowledgable and, at the same time, I was entertained! The pages flew by and time stood still. Like manna from heaven.

The presentation of accurate facts, dates and names in a story format has been recognized as an effective way to teach history to young students. They learn the history while enjoying the read. In my first book, Home Again, General Albert Sidney Johnston, the commander of the Confederate forces in the western theater, is shot at the Battle of Shiloh. History books tell us nobody really knows who shot him, but the evidence indicated he might have been shot from behind his own lines. I was consulting with Woody Harrell at the time who was past superintendent of the Shiloh National Park. The protagonist in the book, Union sharpshooter Zach Harkin, found himself unnoticed up a tree in an area that was over-taken by the Confederate forces and behind enemy lines. Harkin shoots Johnston wounding him (he died a short time later). I indicated the time as 2:00 in the afternoon. Harrell came back and said, the time was actually about 2:30 so I changed the text. A map in the book indicated the exact spot on the battlefield where this all happened. It’s all there exactly like it was on April 6th, 1862. The fictional part of this action does not interfere with actual facts. This scene is one of the most exciting in the book and the reader will come away with a thorough understanding of the battle, while also entertained.

Another, arguably important component of a good read is often missing in non-fiction: emotion. I read somewhere that historical non-fiction will tell you what happened and historical fiction will tell you how it felt. As emotions cannot be recorded and generally are not part of the written record, a good fiction author can fill in and supply a much more compelling narrative. As an example, on the morning of the third day of the Battle of Gettysburg, Longstreet expresses his doubt as to the efficacy of Lee’s plan to send Pickett on his famous last gasp charge against the entrenched Union forces. Shaara’s Killer Angels captures the emotion and tension of that scene beautifully—using historical fiction. The reader feels like he is there. An impossible feat for most authors of pure non-fiction.

Good historical fiction becomes a favorite genre for both history buffs and fiction lovers. It has something for both the right and left side of our gray matter.

Posted in Home Again, Scarred, Writing Life

What if…?

 

Screen Shot 2016-09-05 at 10.21.44 PMSeveral posts ago, we discussed the most powerful question in developing a scene: What if …?

A fiction writer has the most unbelievable tool in the world to work with and that is his/her imagination. Whatever a scene involves, through the writer’s imagination, the reader gets pulled in and the story goes forward.

You may think a particular scene is already well-described, carries the story forward, and has ample drama and excitement. Does that mean there’s no room for improvement? Asking What If…? will help you answer that question.

As an example, in Home Again, one of the protagonists, Zach Harkin, finds himself up a tree during the Battle of Shiloh. He is a Union sharpshooter and his position in the tree afforded him visibility to do what sharpshooters do. The tree was in the middle of a Union camp which was over-taken by Rebel forces late on the first day of the battle. Zach had no chance to get down, so he stayed hidden in the tree while the Confederates occupied the camp directly below. He was in a real pickle. To make it worse, a terrible thunderstorm swept through during the night leaving him wet and miserable. The rebels were sleeping in tents under his tree. What could he do?

What if…? Well, he could stay in the tree until morning, then sneak out—not very exciting. He could climb down the tree and try to escape—maybe. He could fall out of the tree, break his leg and wind up captured—no, doesn’t really carry the story forward in the right direction.

The answer for me was to have Zach climb down the tree—wet and miserable—in the middle of the storm. He pulled the flap back on one of the tents in which Rebel soldiers were sleeping, and announced he needed a place to sleep (with his best southern accent). The sleeping soldiers begrudgingly made room for him and there he slept, a Union sharpshooter sleeping with the enemy. Early the next morning that same camp was retaken by Yankee forces and Zach was back on the right side, all happening with exact historical timing—except for the fictional protagonist. Pretty cool stuff.

Asking this simple What If…? question can apply during your first draft or better yet, during revisions. There is always plenty of room for improvement with the opportunity to make a really good scene a great scene.

Posted in Beginnings, Home Again, Writing Life

SCARRED: A Civil War Novel of Redemption

Excerpted from SCARRED: A Civil War Novel of Redemption. Available on Amazon.

High Resolution Front Cover_5947720

Virginia, 1863

The grey early morning light seeped through the tall sycamores next to the river bank. The hollow sound of a distant hungry woodpecker broke the silence. The scope of a rifle followed the Confederate sharpshooter as he climbed the tree to his hidden platform. The scope’s spider lines centered on the man’s head and Zach Harkin squeezed the trigger. Blood and bone splattered against the tree as the gunshot echoed through the forest.

Zach climbed the tree and stared at the jawless dead man. Searching, he found a logbook. Inside the logbook was a picture of a woman.

Chapter 1

Knoxville, Tennessee 1908

Chris Martin read the sign above the door: “Harkin and Son, Gunsmiths” and a bell tinkled as he entered. The old man behind the counter had a deep scar from his hairline across his cheek to his chin. But even more noticeable was the scar around his neck, just below the jawbone. It looked like a tight necklace etched into his skin. It had been plainly caused by a hangman’s rope.

The well-worn wood-planked floor creaked as Chris walked to the counter. A steaming pot on the old, potbellied stove in a back corner of the room reminded him of the way his grandfather made coffee by just boiling the grounds in water. The fresh morning air mixed with the pungent smell of Hoppe’s gun oil which permeated the room. The sun shone through the front windows, illuminating the man’s face and cast a sharp shadow over the rifles hanging on the wall behind him, the veiled significance of which he would later learn.

“My name is Chris Martin,” he said, offering the old man his hand.

“Zach Harkin. Welcome. And how can I help you?”

“I am a columnist with The New York World.” Harkin’s face turned dour, but Chris continued, “My paper has asked me to write a series of articles about the Civil War and specifically about your exploits at Shiloh as a sharpshooter. Your heroism is well known. Is that coffee I smell?”

“Mr. Martin, what I did at Shiloh could have been accomplished by anybody handy with a rifle. I am no ‘hero’ and have never claimed to be one. I do not think further conversation would do you any good.”

Looking for another tack Chris said, “You sure have a lot of handsome firearms here. Mind if I look around a bit?”

“As you wish.”

When The World gave this assignment to Chris, he decided the first thing to do was to learn about guns: How they were used, their various advantages and disadvantages, their power, range, accuracy, and ease of action. He visited several gunsmiths in the New York area discussing the attributes of Spencers, Sharps, Colts, Remingtons and all the variations. The gunsmiths were eager to talk about their wares, and surprisingly, he developed a keen interest himself.

Chris spent several days consulting with John Jovino, a noted gun expert in New York City. Jovino had heard of Zach Harkin and even knew of his gun shop in Knoxville. Jovino was able to guess about some of the rifles Zach might have and prepared Chris with details.

Chris picked up a beautifully restored 1861 Model Springfield rifle. While it appeared to have been heavily used, the stock had been refinished and the metal parts buffed to a steely shine. He looked down the barrel, noting the rifling. “Nice 1861 model,” he said. “First Springfield that had rifling, wasn’t it?”

“Yep,” the old man said, not looking up. Zach’s big hands dwarfed the small pencil he was using but the the writing was neat and concise. His sleeves were rolled up just below his elbows revealing large forearms with numerous small scars. Both wrists bore identical scars which looked like thin bracelets probably also caused by ropes. Chris thought to himself that this man must have been in the worst of the war.

He then picked up a Model 1855 Colt revolving rifle. With a six-shot cylinder that rotated each time the gun fired made it essentially a repeating rifle. The problem was that sometimes when the rifle was fired, the next shot could cause two cartridges to explode, one going down the barrel and the other through the shooter’s hand.

“I wonder if the original owner of this gun has a bullet hole in his hand,” Chris said.

The old man looked up, mildly interested.

Under the glassed-topped counter, another rifle caught Chris’s eye. It was a Whitmore forty-two caliber breechloader and it appeared to be in mint condition. “Mind if I have a closer look?” Chris asked.

The man handed the rifle over slowly as if it was something very special.

“Hmmm, a Nathaniel Whitmore. Made in Boston, probably 1855 or so,” Chris said. “Looks like it has never been fired.”

He stopped writing and looked up at Chris finally getting his attention.

“This lollipop rear sight sure made it effective for long-range shooting. Should be accurate way north of five or six hundred yards. Correct me if I’m wrong but this rifle was one of the favorites used by Berdan’s Sharpshooters in the war.” Chris knew Zach had served with Berdan and hoped he would be impressed.

“Well, I have to admit, you know your guns,” he said. “Let’s have some coffee.”

They sat down on wooden chairs on either side of the pot-bellied stove. The room was quiet except for an old clock ticking somewhere in the next room. The old man looked troubled. Between sips of coffee, he studied the floor with a deep frown on his face. His hair was gray, as was his beard, and the scar down the side of his face looked like lightning streaking between them. He was in excess of six feet tall, trim, and his clothing was well-worn, but neat and clean. He wore a pair of bib overalls with various tools sticking out of the pockets.

He looked up at Chris as if to speak then hesitated and returned his gaze to the floor. Chris stayed quiet. Finally, he got up, walked behind the counter and started wiping down the glass.

Chris started toward the door. “Mind if I come back tomorrow?”

“I’m here every day except Sundays,” he said flatly.

The Harkin shop was located on Gay Street in downtown Knoxville. Chris already knew Zach’s father had moved there from Manchester, Vermont in the 1850’s. Knoxville was a bustling “new South” city having grown steadily since the end of the war. Gay Street was lined with brick buildings housing stores, shops and offices. The streets were also brick with two sets of electric streetcar tracks connecting the city to outlying areas. The light posts lining the street had dozens of wires strung from their cross members, giving the impression of vibrancy and growth. The concrete sidewalks were crowded with shoppers and businessmen.

Two men were loading bundles of newspapers onto a horse drawn covered wagon with “The Knoxville Sentinel” brightly painted in red on the sides, while workers put the finishing touches on the soon-to-open Bijou Theater directly across the street. A few motor carriages passed by, the smell of their black exhaust mixed with the pungent odor of horse urine.

At the Lamar Hotel, a cheerful older man behind the reception desk looked up as Chris entered.

“Mr. Martin?” he asked.

“How would you know that?” Chris asked, surprised noticing a name tag pinned to his shirt that said, “Jerome Daniels”.

He laughed and said he could tell from the cut of my suit jacket, and they had only one reservation from New York. The man was bald and wore a white cotton shirt, wrinkled and stained in front. His footsteps sounded strange as he walked out from behind the desk, and Chris couldn’t avoid glancing down at his wooden leg.

“Chattanooga Campaign, back in ’63, Rebel cannonball,” he said matter-of-factly. “This is my sixth stub. Wear ‘em out almost as fast as they can make ‘em.” He picked up my bag and hobbled toward the staircase.

The wooden leg was rounded on the end and whenever he took a step, the thump on the old oak floor sounded like a slow cadence of a tired company of soldiers at the end of a long day of marching. Going up the stairs, he could only take one step at a time. He would lead with his good foot, then lift the bag up, and follow with his peg leg, talking all the time. Chris thought it better not to offer a hand, as he seemed too proud to accept. It took a while, but they eventually made it to the room on the third floor. As the valet unlocked the door, he asked Chris what brought him to Knoxville and Chris explained that he was interviewing Zach Harkin for a piece to be printed in the New YorkWorld. When Harkin’s name was mentioned, the old man’s eyes lit up.

“Do you know him?” I Chris asked.

“Went to school with him, hunted and fished with him. We were even at Shiloh together. Yes, you could say I know him.” He said everybody west of the Appalachians knew Zach Harkin, and proceeded to tell about the statue they had wanted to erect near Fountain City Park in his honor. Harkin fought the idea, threatening to sue the city if they continued their plans, so the idea was eventually dropped.

Chris opened the window of the stuffy room, rattling the counterweights and admitting the sound of the screech of a braking streetcar below. A stiff breeze wafted the heavy blue velvet drapes as they tugged against their gold-colored rope tiebacks. The floor was the same oak as in the lobby but had had much less wear. It was covered with a thin layer of dust which blew with the breeze. Against the back wall was a four-poster bed with a mattress that sagged in the middle. A chamber pot sat on a dresser beside a pitcher of water. Next to the pitcher was a vase containing three daisies all drooping in different directions.

Chris tipped Jerome, then sat at a small table and wrote a telegram to his editors confirming his arrival and promising his first installment of the Harkin story within a few days. He did not know if he would be able to keep that promise but he knew his paper was anxious to get started.

Then he wrote a letter to Sarah Elliott, the woman he hoped to marry when he returned. She shared Chris’s excitement about his assignment and both thought the articles could act as a spring-board for his career. They both believed the country was hungry for stories about soldiers who had distinguished themselves in the war. Chris, having been born in 1870 five years after the end of the war, represented a generation that had not experienced the war. They wanted to know more about the men who fought and how they reintegrated after they came home. The World and other newspapers had been relatively silent about the Civil War over the last few decades and Chris thought it was time to change that.

Chapter 2

After the New York World reporter left, Zach decided to close the shop for the day. The reporter had been nice enough. As a matter of fact he liked him. He seemed to know an awful lot about guns for a city fellow. Maybe he had been just trying to win Zach over like a good reporter. If so, he had succeeded. He seemed genuinely interested in what had happened way back then. Zach pulled the shades and locked the door, feeling a familiar heavy weight on his shoulders. It was more like a vague darkness that was always there, coming closer, then fading. Sometimes it enveloped him and held him captive and he would wonder why he was put on this earth and he would sink into despair.

He went up to his bedroom and sat on the bed. Reaching into the bedstand drawer, he pulled out the logbook he had taken from the dead soldier’s side so long ago and stared at the picture of a woman inside. . . . 

Read more.

Posted in Excerpts, Scarred

Character Assassinations

1728_y4Home Again is about two young boys who go off to war. The premise has been around a while, but these two, Luke and Zach, were very special young men who distinguished themselves during the course of the Civil War.

As my writing of the story progressed and each character developed, I fell in love with both. I certainly didn’t love them at first, I had no idea who they were, but they grew on me. Zach was big and mature and not easily intimidated by anybody. Not that he was cocky. . .he had that quiet self-confidence that easily carried him through scenes that severely tested him. Luke, on the other hand, was the opposite. More slight in build, he just wanted to prove he was worthy. He was also impulsive, never thinking his actions out in advance, always jumping into the fray with a ‘devil-may-care’ attitude. It was his wonderful free spirit that made him appealing.

In the end, both Zach and Luke go home damaged. Zach goes home with what we now call post traumatic stress disorder and Luke goes home with physical wounds that prove to be fatal. While writing the last scene with Luke, I had trouble finishing the final scene. I dearly wanted him to make it, but it wasn’t in the cards for him. Each time I reread the end my throat would swell up and tears would come. I even tried rewriting the ending so Luke could survive. But the back story of the book centers on the North returning to normal after the war, the South was literally destroyed. Luke returning to his destroyed home was the manifestation of the whole plight of the South.

Even readers took exception to the ending. They couldn’t believe Luke was gone. One reader suggested I write another book revealing that Luke wasn’t really dead, but was nursed back to good health by his girl friend, Carol. I always appreciated those kinds of comments because they proved the emotional attachment readers felt and, to me, that was the best compliment of all.

Posted in Beginnings, Writing Life

How Writing Calmed My Bi-Polar Disorder

bipolar_smiley_by_dogwalla-d5op1shIn an earlier post, I mentioned my life changed when I read the first 3000 words I’d written of my soon-to-be novel—though I didn’t realize quite how much. While I didn’t really notice it at the time, others saw clear changes in my normal (I use this term loosely) behavior.

Few people know that from an early age, I suffered from depression, which would later be diagnosed as bi-polar disorder. Sometimes, for no apparent reason, my mood would dramatically shift. One day I would be calm and steady, and the next I would be riding on a cloud, bordering on giddiness. Then the lows would hit. I’d become quiet, sedentary, weepy and sullen. Over the years, a wide range of medications were prescribed for me—some more effective than others. Those were difficult days for my wife to understand. Luckily for me, she was supportive and knew to lay low during those down times.

Interestingly, there were no mood fluctuations during the first several months after I started writing. Everything remained on an even keel. One close friend, who suffered from the same malady, asked me if I had changed medications. I came to understand my “steadiness” was a direct result of the effects writing was having on me.

When I next visited my doctor, I filled him in on what was happening and asked to get off the meds. He said to give it a year and if I had no recurrence of the symptoms, I could wean myself off. We waited. It’s been more than a year now and I am free of symptoms—and taking no meds. And I’m much happier than I used to be.

How about that?

Ironically, the only way to prove my writing is responsible for the shift is to stop writing. But I don’t intend to do that for a very long time . . . .

Posted in Beginnings, Writing Life

Getting Comfortable with Conflict and Crawling

20d40a5c6bf6cad957770082cb8ce2fbThis writer had no idea about scene structure, conflict, dialogue or any of the other elements of writing a book. I thought I’d write a wonderful story in which the character(s) would go through experiences ranging from happy to harmonious. This was probably a reaction to my childhood—where there was a lot of conflict. During those periods of conflict, I would hide in the barn or get lost in the woods. To this day, I have trouble getting through the conflict in a book or movie, even though I know the ending will be satisfactory. Sometimes, during tough scenes in movies, I need to get up and leave, coming back when the conflict has ebbed.

However, I have learned, conflict is absolutely essential. Conflict allows the character to be developed to their fullest, so the reader can learn as much as possible about who that character really is. Think of “Little Red Riding Hood” or “Jack and the Beanstalk”, what would those stories be without the wolf and the giant ogre. What would they be without conflict? I introduced conflict in the very first chapter of my novel Home Again, and we see it clearly again in the third chapter—conflict is front and center. I worked hard to get comfortable with conflict and to find ways to incorporate it into my writing, in spite of my history.

After I had been at it for three or four weeks, I happened to go to a lecture on cinematography, presented by a professor from the University of Miami, Rafael Lima. After the lecture, he stood around and talked to some of the guests, and my wife urged me to talk to him about my writing project. The professor, who has subsequently become a close friend, treated me as an equal and was interested in what I had to say. When I sent him my manuscript (probably 10-12 chapters), he promptly replied with strong encouragement. So much so that I thought he was putting me on. I think he sensed I needed the positive reinforcement.

To this day, I can feel his presence when I’m writing. His most important bit of advice was something I will never, ever forget. It may sound very simplistic, but he told me to “crawl into the skin of the character.” What does he see? Hear? Smell? Feel? It sounds so basic, but it’s so very important.

Here is example from the very first page of chapter 2 of Home Again:

The passage before crawling into the character’s skin:

“…Lying on the ground, Zach used an old butternut log to steady his rifle.”

The passage after crawling:

“…Lying on the ground, using an old butternut log to steady his rifle, Zach felt the cool dampness of the early spring earth through his long wool underwear.”

Another passage before crawling:

“Zach carefully aimed his rifle for the second shot…”

 And after:

“The smell of the thawing earth rose to his nostrils, mixing with fumes of the gun oil he had applied the night before. Pressing his cheek to the custom-made walnut gunstock, he felt the silky coolness of the wood. His right hand tightened on the rifle grip…The bill of his hunting cap shielded his eyes and helped him focus on the target…He rubbed his finger on the side of the gunstock to increase sensitivity…”

Whenever, a new scene is introduced, the reader needs to be “grounded” in the scene. Following the characters senses is an effective way to do it.

Photo credit: The Sneetches and Other Stories by Dr. Seuss.

Posted in Beginnings, Home Again, Writing Life

Turns Out You Can Go Home Again

Slide_rule_scales_backRe-reading the three thousand words again, I wondered where it all came from. Years ago, I was an engineering student at Ohio University. The required courses did not include any electives, but for some reason I added a creative writing class to a long list of boring technical requirements. The first day the professor asked us all to write a short story which I handed in the next class. The following week he read my story to the class. I have to admit I was happy that he read it, but I wasn’t awed. After all, I was a slide-rule toting (yes, it was a long time ago), nerd who loved number theory. I always figured those kinds of guys can’t spell, let alone put two or three sentences together. So, while it was one of the few ‘A’s’ I received in four years, I totally forgot about the class and that short story.

The story was about a young, southern Civil War soldier who goes home after the war only to find his home destroyed and family gone. When I was typing I envisioned that short story to be the last chapter of my novel. So all I had to do was write the beginning and middle…it sounded so simple.

My wife finally came home from playing golf that day. I wanted her to ask me how the book was coming along. I was sure her tone would be sarcastic, but evidently she forgot that I had said I was going to write a book. After waiting a while I had to ask her if she wanted to hear my first chapter and I proudly read it aloud. She was surprised that I had actually started the book, but her reaction to the reading was less, much less than I had hoped.

That first chapter had an inordinate amount of dialogue and her comment was that people don’t talk that way. She said it sounded “stilted”. I was to learn that she was wrong—and right—about that.

My casual reading has always been non-fiction, and I assumed fictional dialogue would be natural as if two or more people were in conversation. My first chapters were rife with long conversations that, in my mind, helped describe character and moved the story forward. The harsh reality, however, was much different. At a Kenyon College seminar I took some months later, for homework, they suggested I record a regular conversation, then type it out and read it. Reading an actual conversation is so boring its unbelievable. The writer must engage the reader by letting him/her interpret what the character is saying without saying it all in text. Here’s a brief example from the first chapter of Home Again just after Zach had made an unbelievable rifle shot:

“Wow, what a great shot. You sure are handy with a gun, son. I wish I could do that. I bet nobody in the county is as good as you,” Luttrell said.

New version that lets the reader work a little:

“Let me see that gun, son,” Latrell said.

Good dialogue engages the reader and let’s him or her fill in the unspoken blanks. That engagement draws the reader in, grounds him in the story and makes him understand what’s happening, as if he is actually there.

Posted in Beginnings, Home Again, Writing Life

Left Brain Meet Right Brain

coffee-cup-and-computerOn a nice sunny morning about three years ago, my wife was about to leave the house to play golf. Just before she walked out the door, she asked me what I was going to do all day. Embarrassed to tell her I had no definite plans and would probably read, I hesitated, then told her I was going to write a book. She left with a very dubious look on her face and I continued to read the paper enjoying a second cup of coffee.

An hour later, I started to think about what I had told her and the snide smile she would have when she came home and asked how the book was going. I would have a blank look on my face and her dubiousness would have been justified.

So I went into my (our) office and pulled up iPages on my iMac. I pressed ‘new document’ and sat looking at the blank page. After staring for a while, I started to type. I had always thought about writing a Civil War book, but never gave it serious consideration. I typed and I typed. For some unknown reason the words just spewed out onto the page.

What must have been several hours later, I stopped, hit the ‘print’ button and read what I had written. I didn’t know it just then, but at that moment my life changed! This change was subtle at first. I felt like a new born calf timidly taking his first steps. That same calf knowing instinctively that learning to walk is a good thing. I have always been a ‘left brain’, nuts and bolts, engineering type and this discovery that I had a ‘right brain’ that could create something from nothing left me feeling exhilarated.

Fishing and golf took a back seat as I plunged into this new found, wonderful experience: writing.

Posted in Beginnings, Home Again, Writing Life