Guest Post, Becki Willis, The Lilac Code

The setting for this book, The Columbia Inn at Peralynna, is quite real, and used with the permission of its owners, David and Dr. Cynthia Lynn.

My husband and I first discovered this intriguing boutique bed and breakfast in September. We were charmed by the unique layout and, particularly, by our warm and gracious hosts. We returned again in February, when the Lynns graciously showed us around their home and their community. (Royal Taj Restaurant, The Iron Bridge Wine Company, and the old Savage Mills cotton mill complex are also real places.) Cynthia and I spent many hours in the four story great room, discussing our mutual love for books and writing, and brainstorming future plots.

The inn has a fascinating story behind it. It is, indeed, fashioned after a CIA safe house in Germany that Cynthia thought of as her family’s vacation home. She told me she simply thought their parents threw a lot of parties and took their five children on spur-of-the-moment trips, often in the still of night. It was years before she realized her parents were spies and that those clandestine encounters were related to national security. In fact, the American pilot Francis Gary Powers (you probably remember the name from the blockbuster movie Bridge of Spies) was debriefed at the safe house her father.

During my last visit, I had the pleasure of listening to Cynthia and her sister Dot recall memories of the house, their parents, and their unique lifestyle abroad. Oh, the books these women could write! The character of CIA Agent Logan McKee is, in fact, Cynthia’s creation and will be the main character in a fiction series—non-classified, of course—that she plans to pen in the very near future.

I hope you enjoyed this book and the glimpse shared into The Columbia Inn at Peralynna. The next time you’re in the Baltimore/Columbia/DC area, you owe it to yourself to meet the Lynns and to stay in their beautiful home. Be sure and tell them I sent you. (And don’t forget to look for those secret staircases!)

By the way, Boonsboro, Maryland is only an hour away, where you can visit Turn the Page bookstore and the Boonsboro Inn, both owned by author Nora Roberts.  

Until next time,

Becki

My Inspiration by The Princely Papers by Mohanalakshmi Rajakumar

I was in college when Princess Diana died in her fatal car crash. At the time I didn’t understand why my friend was so upset – she called me that morning and woke me up to tell me – but over the years I’ve come to understand what a complicated legacy she had and also what an amazing impact she had on so many different areas; fashion, charity, media, motherhood, etc. 
 
The idea for this book was always a whim, something lurking in the back of my brain for years as a ‘fun’ project I might never get to. And then as I got caught up with my writing goals, Diana’s boys, as the princes are known, were getting older and making big choices, like getting married, etc. and the idea for the book came back. 
 
The Princely Papers is more the story of a mother like Diana and two children, a girl, Victoria, and a boy, Albert, who inherit both their mother and father’s issues (and throne!). I hope readers will enjoy this imagining of what it’s like to a royal. 
 
It would be really fun to see this made into a film or television series, like The Crown; I could see James McAvoy playing Albert and maybe Jessica Chastain as Victoria. Their mother would be much harder to cast…. Maybe Uma Thurman or someone with a theater background.
 
 
 
 

Q&A with Rachel Amphlett, Gone to Ground

Tell us about the process of turning your book into an audiobook.

The process started out relatively simple. I just went onto ACX and listed the book book as being open for audition. Within a few weeks, the auditions started coming in. After that was when the real work began.

Was a possible audiobook recording something you were conscious of while writing?

I never considered turning Heart of Stone into an audiobook initially, but then I had readers asking for it.

How did you select your narrator?

I listened to the auditions and then I got in touch with Lacy. I had no idea how to go about the process, but Lacy was very forthcoming right from the get go. We got along immediately, which made it easy for me to choose her. Lacy is the one who suggested that we bring in a male narrator for the part of Alexander. She got in touch with a few for auditions, and I ended up choosing Jeffrey.

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?

I worked very closely with Lacy for this book. After every recorded chapter, I would give feedback on moods, emotions, character personalities, etc. In fact, I think I might have driven her crazy with the amount of feedback I gave her, but she denies it :)

Were there any real life inspirations behind your writing?

A little bit, but not much. For example, the guitar player that Alexander discovered in Venice is based on a real life experience. My husband and I stumbled upon this guitarist in Venice, Italy and fell in love with his music. La Biga is also a real place. It’s a little cafe across the street from the Colosseum in Rome.

Are you an audiobook listener? What about the audiobook format appeals to you?

Other than Heart of Stone, I have never once listened to an audiobook. I should probably start...

Is there a particular part of this story that you feel is more resonating in the audiobook performance than in the book format?

I think Lacy did a fantastic job with Krystina’s backstory. It was such an emotional chapter and I feel that her performance really shined in that part.

If this title were being made into a TV series or movie, who would you cast to play the  primary roles?

I did have two celebrities in mind when I was describing the character's appearance, although they were not my intention when I started out. It just sort of happened that way. For Krystina, I pictured Lacey Chabert with curly brown hair. I envisioned Ian Somerhalder for Alexander. As for how they would act out the roles, I didn’t think that far ahead.

What do you say to those who view listening to audiobooks as “cheating” or as inferior to “real reading”?

I don’t think it’s cheating. I think we live in a busy world. Finding time to sit down and read can be a challenge for some who love a great story. Listening to an audiobook is just another outlet for readers to get lost in the pages.

How did you celebrate after finishing this novel?

When I finished writing it, I didn’t celebrate. I panicked because I knew I would have to hit the “publish” button on Amazon. For the audiobook, I was more of a veteran by that point. I held a full blown party on Facebook for the audiobook release and held massive giveaways for the occasion. Then I poured a large glass of wine :)

In your opinion, what are the pros and cons of writing a stand-alone novel vs. writing a series?

Oh, where to begin… Heart of Stone is book one in a trilogy. The second book has been released, but I’m still writing the third. Readers are constantly asking for a release date for book three - the pressure is real! It’s made me rethink my ideas on tackling another trilogy in the future. Sometimes I feel like one-and-done is the way to go. However, I love reading trilogies, so we’ll see.

What bits of advice would you give to aspiring authors?

Never give up. It’s hard work, but determination is key. I once read somewhere that 97% of writers don’t finish their book. I don’t know how true that is, but if that number is accurate, it makes me sad to think about all the great unfinished stories out there. Strive to be among the 3% of writers to become a published author.

Do you have any tips for authors going through the process of turning their books into audiobooks?

I recommend ACX for first timers. I also recommend establishing a good rapport with your narrator(s), as I think it helps with getting an accurate performance of the character personalities.

What’s next for you?

Set in Stone, book three in The Stone Series. I’ve had so much going on with the first two books, that I’m a little behind schedule with that book.

Q&A with Jennifer S Alderson, Adventures of Zelda Richardson

Do you believe certain types of writing translate better into audiobook format?

I don’t know about better, but I do believe mysteries work well as audiobooks. Listening to my own reminded me of old radio shows, when every episode ended as a cliffhanger meant to keep readers and listeners engaged so they keep reading or listening to my story.

How did you select your narrator?

Two of my novels have been recorded as audiobooks. Carol Purdom was one of several narrators who auditioned for The Lover’s Portrait. I believe her calm, soothing voice is the perfect choice for this dual timeline mystery about Nazi looted artwork. Rituals of the Dead is a faster-paced adventure thriller and demanded a different kind of reading. I had received a few auditions but they didn’t seem right. I found Chelsea Stephens through ACX and asked her to audition. Her narration had the energy I was looking for and she did a great job of keeping the story moving forward at a high tempo, as the printed book does.

How closely did you work with your narrator before and during the recording process?

I worked closely with Carol Purdom during the entire production process of The Lover’s Portrait. She would send me raw files every week so I could check the many foreign words, as well as make any suggestions regarding her accents. I would comment on the files and – if needed – she would make any changes before moving forward. Once she was finished, they were edited and uploaded to ACX. That was the first time I listened to the entire book in one go.

Chelsea Stephens recorded all of the words on our ‘difficult to pronounce’ list and sent them to me for approval before starting to narrate Rituals of the Dead. I did not hear any of the chapters until the entire audiobook was recorded and edited. To be honest, whenever Chelsea would send over a progress report, it was extremely difficult not to ask her to send a chapter over! Those may have been a nerve-wracking few weeks, but her performance was so good, my nervousness dissipated as soon as I started listening to the final product.

Did you give them any pronunciation tips or special insight into the characters?

Both narrators asked for detailed character sketches and pronunciation tips. Considering the large amount of foreign words, character and place names mentioned in both books, that’s not surprising! I also recorded videos of myself pronouncing the Dutch words and sent them to both narrators. That was tremendously useful for all of us.

Were there any real life inspirations behind your writing?

All of my books are directly inspired by past travels, my background in journalism and ICT, as well as my strong interest in culture and art. After a short career as journalist and computer geek in Seattle, Washington, I spent several years exploring countries in Oceania, Central America and Asia. After living in Darwin, Australia for almost two years while studying cultural anthropology and aboriginal art, I moved to Amsterdam, the Netherlands to study European art history. During my studies and journeys, I have come across so many incredible and intriguing stories that I could write a hundred art-related travel mysteries and not have to repeat myself.

The Lover’s Portrait is a suspenseful “whodunit?” about Nazi-looted artwork that transports readers to wartime and present-day Amsterdam. To write it, I used my own experiences as a collection researcher and exhibition assistant at several Dutch museums as a starting point.

The Lover’s Portrait came to be because I was curious about Nazi-looted artwork and wondered what would happen if two people claimed the same painting. During many lectures at the University of Amsterdam, we spent a lot of time discussing restitution cases involving looted-art, especially paintings stolen by the Nazis during World War Two. I often wondered what would happen if two people claimed the same painting. This question became the central plot of my art mystery, The Lover’s Portrait. The rest of the stories and characters were inspired by archival research I’d conducted into this dark period of Dutch history.

My latest thriller, an adventure mystery set in Dutch New Guinea (Papua) and the Netherlands, was directly inspired by my work as a collection researcher for a fascinating exhibition of Asmat artwork, Bis Poles: Sculptures from the Rain Forest, held in the Tropenmuseum in Amsterdam. During the course of my work, I came across so many stories about head hunting raids, crazy anthropologists, hapless colonial administrators, and insanely brave missionaries that I knew I had the basis for a fascinating mystery about artifact smuggling in my hands!

All of the characters in the historical chapters of this novel are based on real explorers and their first-hand accounts of their experiences – the most famous of which was Michael Rockefeller. His movements are so well-documented it was easy to use Rockefeller’s general experiences as a starting point for Nick Mayfield, though my character is definitely not Rockefeller. Information I found about Reverend Zegwaard and several renowned Dutch explorers, such as Carel Groenevelt, also helped to shape the story and motivations of the characters.

Is there a particular part of this story that you feel is more resonating in the audiobook performance than in the book format?

In parts of both The Lover’s Portrait and Rituals of the Dead, the suspense seems to be more intense in the audio version than the print version. When listening to The Lover’s Portrait for the first time, I was happily surprised to hear how well my descriptions of Amsterdam work when read aloud. I had the same burst of joy when hearing how my descriptions of Dutch New Guinea (now Papua) sounded in Rituals of the Dead.

What do you say to those who view listening to audiobooks as “cheating” or as inferior to “real reading”?

If listening to an audiobook allows someone to ‘read’ a book they otherwise would not be able to (because of time, a medical condition, etc.) how can that be seen as inferior?

Since the release of my first audiobook, I have had listeners thank me for recording an audio version because they suffer from migraines or other physical ailments that prevent them from reading, are commuters who have no other free time to read so listen to books in their cars or on public transportation, and others who are too busy to sit and read for an hour so combine audiobooks with household chores. These are all readers who would not have discovered my work had I not created an audiobook of it. So no, I do not agree that listening to a book is cheating. If anything, making two of my novels available as audiobooks helps me reach a new target audience.

How did you celebrate after finishing this novel?

An extended happy dance then a delicious meal and fine wine. The day after is reserved for something fun I have been putting off because of writing – going on a long bike ride, a day at the spa, an extended lunch with a friend, visiting a museum exhibition, that kind of thing. After that, it’s business as usual. My son still needs to be brought to school, marketing plans need to be created, and my other books still need promoting.

In your opinion, what are the pros and cons of writing a stand-alone novel vs. writing a series?

Technically the books in my Adventures of Zelda Richardson series can be read in any order as stand-alone novels. They are a series only because they follow my protagonist, Zelda Richardson, on her travels around the globe. As an author, I enjoy having at least one reoccurring character to start my story with, because it gives me a sense of familiarity. I know Zelda well, and what she would and would not do. Readers also get to know her better and watch her grow as the novels progress. Luckily those who have read the series like her and enjoyed seeing the direction she heads. Yet, having Zelda surrounded by a shifting cast of characters enables me to explore new personalities and keeps the story fresh. I am afraid I would get bored if the cast stayed the same in every book. That is also why I try and set each novel in a different location. It allows me to indulge my wanderlust by researching a new setting and ensures I do not rehash old descriptions of the same places in each story.

What’s next for you?

I am currently outlining the chapters of mystery number four in the Adventures of Zelda Richardson series – another art-related tale about thefts and forgeries. The spectacular theft of two Vincent van Gogh paintings from the Van Gogh Museum in Amsterdam – and their equally remarkable return – inspired the plot. Researching the novel, knowing it could still go in any direction, is always an exciting place to be in the writing process. It will most likely be set in the Netherlands, Italy, Turkey, and possibly Croatia. I am looking forward to researching the locations first-hand!

What’s Your Writing Process? by Barb Hendee

Normally, I avoid doing any type of “writerly” blog posts because for most people, they’re a good substitute for sleeping pills.

But . . . chatting about the human writing process is a little different. Nearly all of us write, whether it’s fiction, poetry, essays, letters, reports for work, etc. And everyone has a different process.

When I chose my major in college, people were shocked when I did not wish to go into teaching creative writing. Seriously. I’ve never taught a creative writing course. I did my master’s degree in composition theory, and I teach essay writing. The reason behind this is that I don’t have the first clue how to teach someone else to write fiction. It’s something that I “do,” but I don’t really understand it. I have a firm grasp of how to teach someone how to write an essay. I also spent years studying what goes on inside our minds as we attempt to write.  
 
When you hear the phrase “writing process,” it can mean several different things. For one, we all have a personal writing process—meaning in reference to the way our brains and habits function. There are perfect drafters, binge writers, over-planners . . . procrastinators, etc. The list goes on.

I’m a firm believer that deadlines play into this process. 
 
For example, my husband and writing partner, J.C. suffers from being a perfect drafter. He'll write a sentence and then stare at it. Something isn't quite right with that sentence. He'll change a few words--or maybe the order of the words--and then stare at the sentence again. Sometimes thirty minutes will go by, and he hasn't moved on to the next sentence. This is a stressful way to write, and these folks tend to start projects early if they are to meet a deadline.
 
Then there are procrastinators. These writers let the ideas churn and swirl inside their heads. They have been given two to three weeks to write a six-page project, and the ideas are still swirling twenty-four hours before the project is due, but not a word has been written. Ten hours before the project is due, they start drinking coffee like it's going out of style, and then they sit down and start hammering out words. They do get the project done, but they are often unhappy with it because it really needs to "cool" for a few days before quality revision can take place. But it's due and needs to be submitted.
 
Then, there are the over-planners. These writers love to do research and outlining. They will come up with a grand idea that excites them, and they will begin research. They also have two to three weeks for a project, but they spend most of that time doing research, taking notes, and outlining. They are having a fabulous time until they realize the project is due, and they haven't actually started writing yet.
 
I'm a "binge writer." I have a friend, another fiction writer named James Van Pelt, who is the complete opposite of me. He’s capable of getting up every day and writing three pages of a novel or story and then saving his work, closing the file, and going to work (he's also a teacher).
 
I am sooooooo jealous of him. I can't do that. With fiction, I have to become completely immersed (meaning “lost”) in a project. As a result, I only write fiction on breaks between college terms. But within a few days of starting a novel, I do nothing besides write from dawn to dark. This is a little hard J.C. because I'm also the cook in our house, and during those writing binges, we eat a lot of cereal, tuna sandwiches, and pizza.
 
But a few days into starting a novel, I'm getting up at 4:30 in the morning, making coffee, and pounding on keys. A Girl of White Winter is just over 80,000 words, and I wrote it in three and a half weeks. What’s more, I don’t remember writing it. I read it afterward, and I was very caught up in the story. It’s heart wrenching. Hah! But I don’t remember writing it.

This is not unusual. I’ve woken up to emails from students that read, “Barb, I finished the first draft of my essay last night at midnight. It’s on why Orca whales should not be kept in captivity. I got caught up in the topic, and I don’t remember writing it. But I just read it, and I think it’s pretty good. I’ve attached it here. Will you read it for me early and tell me what you think?”

I’m always glad to read projects early and give feedback, and I really understand what a student means when he or she says, “I don’t remember writing this.”
 
But the processes I list above are just several examples. What is your typical process? Think about this. Do you like your process? Or would you prefer to change it?

Q&A with Kathryn Guare, The Secret Chord

Tell us about the process of turning your book into an audiobook and how you selected your narrator.

I used “ACX”, which is an audiobook platform offered by Amazon to match up authors with narrators. It’s great, because all the technical bits and bobs that I know nothing about are taken care of. All I had to do was upload a script for the auditions and agree on the contract with the narrator to get it all started, then upload an audiobook cover and description for the Audible and iTunes listings. There was a process for giving narrators an opportunity to audition, using the script I’d provided. I was beyond thrilled to have Wayne Farrell agree to take on the work. He’d narrated one of my all-time favorite books (“The Spinning Heart”) and I could hardly believe my luck! 

Are you an audiobook listener? What about the audiobook format appeals to you? What do you say to those who view listening to audiobooks as “cheating” or as inferior to “real reading”?

Yes, I love audiobooks. I once had a job with a 1-hour commute both ways and I went through dozens of audiobooks. I love having someone tell me a story. It can be captivating in a way that’s different from reading it on the page, and I don’t think it’s cheating at all. It’s just a different sort of experience, and I just read a news story that science suggests listening to a book is a more emotional experience than seeing a movie based on it!. There are so many books and so little time! I’m happy to use anything that helps me get through more of them and I always have a paperback and an audiobook going at the same time (Well, not at the same time, but you know what I mean!)
 
Do you believe certain types of writing translate better into audiobook format? 

I’m sure that’s true. Probably books that are strong on plot, action and dialogue work the best, but whatever the genre, the things I find tedious when reading a book are the same things I have trouble with when listening to one. If there is too much exhaustive description of setting, or facts and figures, and too little language that pulls me into the story or subject matter, I start to get impatient. But for me, the narrator is key more than genre. If I am enjoying the voice, and the storytelling skills of the person narrating, I can put up with almost anything else.

Was a possible audiobook recording something you were conscious of while writing?

I think I probably had a movie more in mind than the audiobook. Not because I really wanted to see the book made into a movie, but because I could see the movie in my head as I wrote it. Some readers have mentioned that the book feels “cinematic” and they can also easily picture a movie.  However, I recently read a news story that scientists believe an audiobook can be a more emotionally involving experience for a reader than seeing a movie based on the book!

If this title were being made into a TV series or movie, who would you cast to play the primary roles? 

Oh, I’ve had this conversation with so many readers and friends! He’s probably a little too old for the role now, but I’ve always said I’d be happy with Hugh Jackman as Conor. The role he played in the film “The Fountain” struck me as closest to the appearance and personality of Conor. And I think Aaron Paul (Breaking Bad) would do a great job as Sedgwick. And for Kate, hmmm, maybe Alexis Bledel?
 
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? 

I did provide some brief descriptions of how I viewed the characters, but I thought it best to let the narrator develop his own approach, rather than asking him to adopt an accent or particular vocal style he may not be comfortable with. For me, it was most important that Conor McBride sound authentically Irish, which is why I was determined to have an Irish narrator. There were a few corrections when the UK/Irish pronunciation of a word slipped into an American character’s dialogue, but not often. Wayne has a remarkable range and facility with accents, and by the time I was listening to the chapters he’d already done his own editing and correcting. 
 
Were there any real life inspirations behind your writing? 

This book is mostly set in Vermont, and I am a native Vermonter, so there are a lot of settings drawn from my own experience. The setting for the Rembrandt Inn was inspired by my cousin’s gorgeous house in Greensboro, VT, which does overlook a gorge that has a brook running through it. My heritage is Irish, so the scenes in Ireland were also drawn from my experiences visiting the places on the Dingle Peninsula.

Is there a particular part of this story that you feel is more resonating in the audiobook performance than in the book format? 

Well, I have to admit that ever since I wrote the book, I was looking forward to having the romantic chemistry between Kate and Conor brought to life. I almost think hearing it in audio is better than the movie, because it is still the book the way I wrote it rather than an adaptation, and it was really a treat for me to hear!
 
What bits of advice would you give to aspiring authors?

The standard advice to writers is “write what you know” and I think that is very limiting and intimidating. My advice is “write what you want to know” because that opens up the world for you. Take the time to do the research to learn what you need to, then just go at it and don’t let anyone tell you that you can’t or shouldn’t do it.
 
Do you have any tips for authors going through the process of turning their books into audiobooks?

After you’ve found a narrator who has the voice and skill that you want, and you’ve given them some basic guidelines, you have to let it go and let them do the work. It’s like turning your screenplay over to the director and actors. If the narrator is focused on responding to your detailed direction it means they aren’t developing their own relationship with the story and the result will be less than it could have been.
 
What’s next for you?

I’m working on writing the fourth book in the series, and the audio version of the 3rd book, City Of A Thousand Spies is in production so it will be available on Audible and iTunes before too long. Stay tuned!