An honor to be acknowledged by the folks at ForeWord. As you might imagine, perhaps the greatest challenge for anyone in the creative arts these days is making sure people know about the work. Readers, moviegoers, music fans, TV binge watchers — we’re all busy, with so many choices as to how to spend our free time. So it’s gratifying (and helpful regarding sales) when critics and friends respond positively to the material. In that spirit, I would like to invite anyone who’s read and enjoyed Cascade Falls to WRITE A REVIEW on Amazonor GoodReads or both (you can copy and paste). Just click the links and you’re good to go! I (and my publisher) would be most appreciative. And for those of you who haven’t yet had the chance to take a look? It’s a fun summer read.
Wishing you a wonderful summer, full of many great books.
At long last, FOREWORD Book of the YearnomineeCASCADE FALLS gets its audiobook, read by the brilliant Beth Broderick. Thank you, Tyson Cornell and Rare Bird Lit. Available here on Audible, soon on ITunes. Order early and often!
There’s that expression: “Wherever you go, there you are.” I’m not completely sure how it applies here, but I’ll figure it out eventually. It was a true thrill to record the Cascade Falls audiobook, a testament to the talents of world class actress, Beth Broderick. (As many of you know, I also had the good fortune to work with Jason Alexander on my first audiobook, Elevating Overman.) Yet as wonderful as both of these experiences were, there were instances throughout the process where I received icy stares through the glass booth, followed by the sentiment, verbalized or not… “How do you expect anyone to say this line?” Full disclosure: I didn’t. I never even thought about it. That was my TV life. One of the reasons I started writing novels was to be able to play with language; invent prose that was lean or fanciful as the scene dictated. Never once did I think about someone having to read it aloud. Should I have thought of it? I’m not sure. The difficult passages weren’t dialogue, but description — the novelist’s bread and butter. Part of me felt guilty that it might take seven takes to get a line right, but then, after we nailed it, the guilt started to disappear. After all, this was my creation. The actors just have to understand that. And yet… I find myself wondering if having watched them struggle with complex phrasing will make me change the way I write in the future. Will I subconsciously simplify in the interest of making my words more pronounceable? Or will I continue to elucidate and expostulate in the effulgent manner to which I have grown accustomed? Your guess is as good as mine.