The Audiobook Opportunity for Authors
Authors and readers love audiobooks. Many authors are considering publishing audio editions of their book to add to their backlist.
Creating an audiobook has many benefits for independent authors.
With all the great reasons to create an audiobook, you’ll want to know how to work with your narrator.
Interview with Audiobook Narrator Jonathan Waters
Performance artist Jonathan Waters shares tips for authors about keeping your narrator happy. Plus you have an inside pick at a narrator’s recording studio and how he works to produce a finished hour.
Video Time stamp
0:54 What a narrator looks for in an author
2:06 Good communication
5:17 Character comes alive in narration
6:17 Provide a “casting call”
9:20 The Author in the director’s seat
9:45 How to give notes back to the narrator
14:39 The narration recording studio
19:47 What is a finished hour of production?
23:36 Editing author suggestions
24:35 The editing process
28:33 Narrator tip for authors
If you think Jon is right for your book contact him on Facebook at Jonathan.waters.524.
Two Places to Find and Audition Narrators
For years, ACX has been the go-to place to find narrators for your book. With thousands of voices to choose from, you can refine your search with many options for the voice and tone you want for your book. You can pay for the production or find a narrator who agrees to split the royalties. You book will be distributed through Amazon, Audible, iTunes with choices on distribution and royalty rates.
A new option for audiobook creation is Findaway Voices. The process is different. You tell Findaway Voices what you are looking for and they send you selections. You can always ask for more recommendations. Once you choose your narrator, you pay upfront. Your audiobook will be distributed to many outlets giving your book a much broader reach than ACX. And your royalty is higher.
Once you have selected the right narrator for your book or series, act as a professional in your interactions. You want to let your personality shine through, but treat your narrator with respect. He or she is a professional artist with other clients. Make it easy for your narrator to work with you.
Steps you can take.
You and the narrator are partners in the audiobook creation. You selected this performance artist as the right person to tell your story. Think of them as a member of your team. Give them encouragement and praise the work when deserved.
With the right attitude, you and your narrator will be on your way to creating a finished audiobook listeners will love.
How to Bring Action to Your Mystery
Mystery tropes like - the corpse, evidence hunt, sweating the perp, summation - comprise elements of the mystery novel readers expect. Action scenes will help build tension and, a well-written action scene pulls your reader into the story.
Don’t overlook action scenes to add dimension and empathy to your story. Action scenes have a place in the various mystery sub-genres. Just because you’re not writing a police procedural don’t overlook adding action to your mystery. An action scene is not necessarily a fight scene. Enhance even the coziest cozy with your heroine eavesdropping behind the commemorative statue in the town square.
Action Scene Basics
You may be used to thinking of action scenes as car chases, fight scenes, escaping the villain in the London Tube and the like, but action scenes are any time your sleuth has a physical moment. Just like the cozy heroine hiding behind the statue.
Action scenes can be written in a variety of styles. Read authors who write great action scenes to get a feel for how they are written and in differing styles. The Write Life suggests a few:
Mario Puzo, Lee Child, Karin Slaughter, John Connolly, Deon Meyer, Patricia Cornwell, Elmore Leonard, Louis L’Amour, Larry McMurtry and Robert B. Parker have all written novels chock full of bad characters doing very bad things.
Action Scene Basic 1 - Tone
Write in the style of your story. Avoid changing the tone because you’ve read Elmore Leonard and want to imitate his style. The scene should feel like an integral part of your story. If you write action in another style, it will jar your reader out of the story instead of being pulled into the tense moment.
Action Scene Basic 2 - Pace
Slow down and speed up. Slow down the pace to guide your reader through the action. Don’t just describe the blows, tell the reader how your protagonist sleuth responds. A straight blow by blow of punches and counter blocks isn’t enough. Describe your sleuth’s physical reactions. Describing the fight in this way makes it immediate to your reader and gives the feeling of speeding the action.
Action Scene Basic 3 - Minimize Feelings
If you’ve ever been in a fight or attacked, you know feelings don’t play a part in action. They come later. At the time of the action, the sleuth’s priority is winning the fight, catching the bad guy, getting to the next bend in the road without trashing the vehicle, etc. She’s not thinking about how her friend Norman is doing right now.
Action Scene Basic 4 - Move the Story Forward
Like any scene in your novel, the action scene must move the story forward. Your sleuth either gets closer to the perp or loses the round. The action scene must fit into the story leading your reader to wonder what comes next. An action scene just to have action bogs down your story. You reader will wonder why it is happening. Any time a reader stops being in the story to wonder or think you’ve lost them. The action scene must advance the story.
Action Scene Basic 5 - Be Realistic
A heroine who has no training will not win a fight with three trained assassins. Do your research. If your hero is in a car chase, watch simulations or play video games to get a feel of how quickly you must react in a fast-moving car. Things can spin out of control very quickly. Learn some basic fighting movements like the difference between a thrust and an undercut. Learn how a sidekick differs from a knee to the groin. Do the moves. It’s research. The more you understand the movements, the better you can make them come alive for your reader.
Enliven Your Mystery
Creating clues and suspects is part of the puzzle of writing a mystery. You can enliven your story with well-placed action scenes. Keep the basics in mind. You may find action scenes are fun to write. And, best of all, they keep your reader turning pages.
Challenge Your Sleuth With Mysterious Suspects
Suspects are the lifeblood of your mystery. Without them your mystery sleuth would have no challenges and solve the mystery in an instant. While evidence, clues, and red herrings help your reader keep guessing, the suspects provide personal interaction with your sleuth. That interaction is the story world that keeps your reader turning pages.
Your challenge as a mystery writer is to create characters that challenge your sleuth. Your detective must track down, examine, and determine each suspect’s relationship to the victim. Each interaction with a suspect drives your sleuth - and your reader - toward the final solution.
Four Steps to Create a Suspicious Character
Each suspect had a relationship with the victim. Use that relationship to provide insight into the victim’s world. But, each suspect also has a private life. That private life is what drives the interaction with your sleuth.
Start your suspect by building a rich background.
Go way beyond The Thug as a character. Give the thug a name, a background with relationships, a physical fallibility, and emotional weakness. Adrian McKinty creates a memorable layered hitman, Markov, in his novel Falling Glass in a relationship with his girlfriend which up the stakes of his assignment.
Authors like Ruth Rendell, Ann Cleeves, and Elizabeth George build their mysteries on deep psychological character portrayals. Even if you are not writing a “psychological” mystery, you’ll build reader engagement by delving into your characters.
The Suspense Secret
The more readers see your characters hiding secrets the more they engage in solving the mystery. Your sleuth works hard to uncover the secrets suspects hide. Your readers will work just as hard as suspects throw up screens and hide personal secrets.
The secrets your suspects harbor do not need to be related to the murder. A suspect can appear suspicious by hiding a personal secret that doesn’t relate to the victim or the murder. The very act of attempting to hide a secret creates tension in your story. Tension keeps readers turning pages.
Rich supporting characters give your readers an engaging reading experience. The obstacles they create for your sleuth are obstacles for readers who are trying to solve the mystery.
Inside The Sleuth’s Head
First-person point of view the narrator tells the story directly to the reader. The character speaks about himself or herself and share what they are experiencing.
Create a deep connection with your readers when your sleuth tells the story. You create an intimate portrayal of thoughts and emotions.
Traditionally, first person POV stories are told from one point of view. Some writers use multiple characters, each telling the story from a personal point of view. Multiple first person points of view allows you to expand the views for readers.
Advantages of First-Person Point of View
First-person puts the reader inside the narrator’s head immediately. You have the advantage of portraying intimate thoughts and emotions. Each moment the narrator feels, your reader feels. You deliver all the narrator’s senses of sight, sound, smell, taste, and touch.
Because your reader is inside the narrator’s head, they experience the emotions - their hopes, despair, love - with maximum emotional impact.
You create a strong sense of empathy in the reader through the narrator’s reactions to situations and other characters. Readers understand the character’s motivations behind actions and whether the narrator’s logic is right or not, the actions make sense to the reader.
The first-person voice gives the story a clear identity. You submerge your reader far into the world you create.
You can hide exposition in the narrator’s thoughts. The narrator’s thoughts about situations like class structure or social inequalities are integral to the narration. As a writer, you are spared the narrative trap of info dump to familiarize readers with the narrator’s milieu.
First-person narrators don’t have to be reliable. The story is told from the narrator’s point of view. The narrator can lie or misdirect the reader in a way that third-person narrative cannot do. Although an unreliable narrator doesn’t work well in a mystery, an unreliable narrator can tell a great crime story drawing the reader into a personal view of circumstances.
The narrator doesn’t have to be the protagonist but can be the one viewpoint that tells the story happening around them.
Drawbacks of First-Person POV
The major drawback of writing entirely from one person’s point of view is that it is limited. Because the reader experiences the world only through that character’s eyes, as a writer, you cannot share other characters’ thoughts and feelings.
Although you can describe the physical appearance of other characters through the narrator’s point of view, you can’t describe your main character. Don’t think about having them look in the mirror. The closest you can get is to have other characters periodically respond to a physical attribute.
By nature, first-person point of view is limited. As a writer, you will be challenged to present the big picture. You can’t give that character too much knowledge. Especially in a mystery you want to avoid giving away that big picture by giving your narrator too much knowledge.
The Personal Sleuth
Philip Kerr’s Bernie Gunther is a great example of first-person narrative. Set in Nazi Germany, Bernie offers his opinions and deals with consequences of his outspoken interaction while solving crime as a private detective.
If you decide to tell your mystery in first-person, know that you will work with limitations. On the other hand, you have the opportunity to build a strong emotional bond with your reader.
A View from the Edge - Third Person POV
How you tell your mystery makes a difference. Point of View (POV) is the voice that tells the mystery to your readers. Third person point of view allows readers to know what the narrator thinks and experiences without going directly into their head. You limit the perspective to one person’s perspective.
Ursula K. LeGuin gives a great description of third person limited point of view in her writing manual, Steering the Craft.
Only what the viewpoint character knows, feels, perceives, thinks, guesses, hopes, remembers, etc., can be told. The reader can infer what other people feel and think only from what the viewpoint character observes of their behaviour.
Connect with Your Readers
Third person limited point of view creates an intimacy between readers and the characters. Even though the story is not in first person, as a writer you can reveal thoughts and responses that allow readers to sense and feel what the character does.
Using different scenes, you can tell the story from the point of view of characters other than your protagonist. Many mystery and suspense writers alternate between the protagonist and the antagonist.
Create Mystery with Uncertainty
Because the story is told from a limited point of view, the emotions, secrets, and backstory of secondary characters - especially suspects - remain uncertain.
You challenge your sleuth to dig deeper to discover motivations and actions these characters keep hidden. Your sleuth’s challenge is to peel back the layers of understanding to solve the puzzle.
When the character has limited knowledge, so does your reader. Your reader is trapped in the head of the character. As you keep secrets from the character, you build tension for the reader. Page-turning is the key to keeping readers involved.
As your protagonist encounters challenges, your reader follows along expectant for the next discovery. Good mystery writing involves keeping your character, and your reader, in suspense.
Reader Comprehension Evolves
As the mystery progresses, your reader’s perspective on characters and situations evolves. This evolution of understanding is exactly what mystery readers want. Because they see only what the character sees, they are tied to the discovery path of your mystery.
Writer Challenge for Third Person Limited POV
The most common challenge, for beginning writers, to third person limited point of view is the temptation to head hop. That means changing character heads within a scene. Don’t do it.
If you go outside the view of your protagonist, use separate scenes to illuminate another character’s point of view.
Limit the number of characters you use to narrate your mystery. Besides the protagonist and the antagonist, choose wisely if you want to let your reader inside another character. The point of your mystery is to create a puzzle for your reader. Too many viewpoints muddies the waters of your story. You are more likely to confuse the reader rather than enlighten them.
Choose the point of view before you begin your mystery. If you have doubts, try writing the beginning in first person and third person to see which flows better. I tried this a few years ago thinking I wanted to be inside the protagonist’s head in first person. As I thought about how the story would unfold, I realized that third person limited would work better for the mystery.
Alternating between third person and first person is a device some writers use: third person for the protagonist and first person for the antagonist. In the hands of a skilled writer, this technique can work.
Your Choice for Storytelling
Third person limited point of view is the standard storytelling device in popular fiction. Use this point of view to your advantage as you create a mystery trail for your sleuth.
Photo by Gaumont - © 2000
A Sidekick Amplifies Your Sleuth and the Story
The sidekick is a traditional literary archetype that will enhance your mystery novel. The sidekick can be a working partner or a friend. The sidekick’s role in the story will vary depending on how you choose to amplify your sleuth with the sidekick. The ways your sidekick can mirror your sleuth depends on his story role.
Although some sleuths work alone, using a sidekick in your mystery can illustrate your sleuth’s weaknesses or strengthen his personal traits. When you expand your protagonist with interaction with a sidekick, reader’s engage with your story.
The Role of the Sidekick
The sidekick has a special role in your story and that is to accompany the hero on his quest. In a mystery, the sidekick helps your sleuth track down the murderer.
The sidekick is not necessarily a mentor. The role of the mentor is to appear periodically and provide sage advice. Your sidekick doesn’t have to do this. The sidekick wouldn’t be a sidekick if he wasn’t there through thick and thin.
Your sleuth and the sidekick have a connection that sets them on the trail of discovery to find the murderer. Even if the sidekick is assigned to your sleuth - this often happens in police crime novels - they both are set on solving the mystery.
How The Sidekick Mirrors Your Detective
Because the sidekick and the sleuth work together, they have something in common. It may be a knowledge of police procedure or a common interest. In the film The Crimson Rivers, thoughtful Pierre Niemans (Jean Reno) works with action-oriented Max Kerkerian (Vincent Cassel). Though they are often at odds on procedure, they both have the goal of finding the killer. John D. MacDonald created Meyer, the economist, to help readers understand Travis McGee in his long-running series.
The sidekick holds up a mirror to your sleuth by highlighting their strengths and weaknesses. Sometimes the sidekick compensates for the weaknesses by having an opposite personality or style of response. Some sidekicks may pick up the slack, others may not. The sidekick can highlight the strengths by pointing them out when your sleuth meets an obstacle.
Points to Consider as You Create Your Sleuth’s Sidekick
As a writer, you have a lot of leeway as you create your sleuth’s sidekick. Your sidekick can be male or female, younger or older or the same age, new to the game or an old hand. It’s up to you to create a sidekick that will accompany your sleuth on the discovery journey.
The Sidekick Supports Your Sleuth
Your sidekick supports your sleuth physically and emotionally as they work to solve the whodunit puzzle.
Collaboration is the Fast Way to Book Cover Design Success
Every author wants an eye-catching cover for their book that draws potential readers to their book. Your book cover is the first step in the buying journey for many readers. Unless you as an author are also a graphic designer, Investing in a skilled graphic designer is worth every dollar spent. For authors on a limited budget finding a good cover designer is the first outside investment to take to give your book the best opportunity in a competitive market.
Prepare for Collaboration
Your responsibility as an author is to convey the concept of your novel. If your book is first in a series, you’ll want to share the sense of your series as well so the artist can set up a replicable model that makes your series readily identifiable.
As an independent author, you can minimize cost and speed up the design process by preparing information for your cover designer.
For this cover, I wanted to focus on the grain merchant’s daughter, a bodyguard, and a broken contract. We got them all in the cover.
Co-Create The Final Image
Depending on your cover designer’s personal working style, the process of arriving at agreement for the final image requires communication. It may be through a series of messages or a brief video conference with screen sharing.
I’ve been working with Ryan J. Rhoades for several years with cover design for the Argolicus mysteries. This session took a little longer than usual because the conversation was typed rather than spoken. Ryan communicates with his clients through video conferencing. As he shares his screen, you can watch the cover take shape, move elements around, change colors, and other changes before your eyes.
Wait Before Final Approval and Delivery
Give the image a rest for at least 24 hours before you give final approval. Go back to revisit the cover and look for any details that may distract or need emphasis. For example, in this cover there was a squiggly line in the background that was distracting. We took it out, did some shading, and arrived at the final image.
Two Skill Sets, One Cover
As an author, you may fall into the trap of thinking your creative skills transfer to cover design. A little knowledge is not only dangerous, it can be detrimental to your book sales. If you are starting out with a limited budget consider a cover designer as an investment in your author career.
Skills to the Fore as Your Sleuth Apprehends the Killer
In the first act of the mystery, you laid out all your detective’s skills one by one as new situations arose. In the middle, you frustrated all those skills by exposing your sleuth’s weaknesses. Now at the end, you can bring back those skills and strengths as your detective confronts the killer.
Your detective has learned from his mistakes in the middle. Now, as she confronts the killer all her skills come into play to reveal the killer. She knows how and why the killer attacked the victim. She must do one last task - get the killer to confess. Or, if the killer doesn’t confess, your sleuth must make it clear that the killer is the one who committed the murder.
14:54 Q: I’m confused. I’ve heard about Aristotle’s three-act structure, but you talk about four acts. Why is that?
Pull Out All the Stops
Finally, you can reveal your protagonist’s skills. Whether it’s deductive reasoning, observation, determination or a combination of skills, get your reader to see how all the frustrations and setbacks naturally led to the final revelation.
You are about to write The End.
36 The war of attrition begins as the antagonist’s forces fight harder and your protagonist is isolated from the allies and resources he was counting on. The antagonist’s minion or resource that was neutralized is brought back into play or replaced by someone/thing even more powerful.
Your detective can’t make contact with any of her allies and has to go after the killer alone. The killer now seems to have an ironclad alibi or escapes an approach by your detective. She’s got to take this on by herself and the killer is just beyond her grasp.
You’re in the plot structure climax, stage four: war of attrition
37 Your protagonist steps forward to battle the antagonist mano a mano. The true extent of the antagonist’s power (and the depths of his evil) become clear, and the antagonist gains the upper hand. (Twist here?)
Your detective finally finds the killer. But the killer has a surprise for the detective. Your detective may have made a false assumption or misread the killer’s intent. The killer pulls out one last trump card, one the detective didn’t expect. Whether it’s a battle of wits or hand to hand fighting, the killer plays that one last card.
You are head to head in the plot structure climax, stage five: mano a mano.
38 Your protagonist realizes how he can strike the decisive blow and defeat the antagonist—and he does. (This is the last place in your story for a twist.)
The detective looks the killer in the eye and gets the confession. In the battle of wits, he pulls out the piece of evidence that condemns the killer. In a physical fight, he wins. Twist this up by having the opponent inadvertently supply that one last piece. The killer may hem and haw but finally admits to the crime.
In plot structure, you are there! Climax, stage six: from the ashes of disaster.
39 Your protagonist reacts to the defeat of the antagonist who is or has been disposed of, and out-of commission allies might be recovered or revived. (Subplot A) (Subplot B)
In the aftermath of victory, your detective surrounds himself with supporters. The opponent gives up, for the moment, in the wake of the detective’s victory. The love interest may appear one last time. Any loose threads from anywhere in the story get tied up here.
Plot structure: resolution, stage one: sweeping up.
40 Your protagonist and any surviving allies may celebrate their victory and console each other on their losses as they tie up all remaining loose ends (including a romance subplot, if there was one). Your story ends with your protagonist reaffirming how he’s changed and how he’s remained the same as a result of his ordeal (through both his words and his actions).
The detective celebrates either at a party or home alone. The love interest may join him. One last pithy thought on fighting crime from your detective.
Mysteries often combine 39 and 40. You’ll need to use your discretion. If you are tied to 40 chapters, add another chapter earlier, with a complication, of course.
You are done! This is resolution, stage two: reconnection in plot structure.
You Did it! You Wrote The End!
All the planning and brainstorming paid off. The conclusion reveals your sleuth as the hero your readers will love. Celebrate all the frustrations and setbacks you dreamed up. Revel in your creation of a sleuth worthy of your reader’s attention from start to finish.
Now, put the manuscript aside for at least a week. Don’t even peak. Work on your next story. Take a vacation. Give your family your full attention. Just let the manuscript simmer. It’s OK to write possible changes - you’ll think of some - but don’t look at the manuscript. Give it a break. That way you’ll be able to enter the editing process with fresh eyes.
You can understand how the work you did on your character background at the very beginning and any additions you made as you wrote, help deepen your character, their skills, and reader involvement.
Congratulations! You finished your mystery.
Zara Altair writes mysteries set in ancient Italy. Her course for beginning writers Write A Killer Mystery is coming soon. Get on the notification list.
Photo by niu niu on Unsplash
The Detective Finds Clues in the Killer’s World
Let the complications roll! Your detective screws up, asks for help from the wrong people, stumbles over his weaknesses. If it’s bad, bring it on. In the final section of Act II (Four-Act Structure) your detective dives deeper into the killer’s world as the ultimate exploration of the victim’s world.
As you are developing your story line, take some time to brainstorm some really nasty ways to confound your detective and threaten not just his discovery process, but the detective as well.
13:39 Q: Is there a difference between evidence and clues?
15:49 Q: I want to write a crime novel. Should my detective be a private investigator or a police investigator?
Writers’ Guide to Homicide
Before the Confrontation It’s One Big Mess
26 Your protagonist retreats in the face of his worst disaster yet, a disaster that feels so much like that thing he never got over that’s he’s having déjà vu. He might’ve noticed a chink in the antagonist’s armor, but not soon enough to take advantage of it.
There’s another murder, your detective thought she understood the victim’s world but now she feels as though she’s back to the beginning. There’s a glimpse of the killer but either the detective doesn’t notice it or doesn’t give it due attention. Time to lick some wounds and then gaze around.
In plot land you’re at the aftermath of the second pinch point.
27 As he’s gathering new allies and resources, something your protagonist did (or failed to do) in Act Two because of his misbelief comes back to bite him on the butt. (Subplot A)
Your detective finds new connections, alliances among suspects he was unaware of earlier and now he realizes that he overlooked important information (back in Act Ii) that needs new examination. While these discoveries feel like a new beginning of sorts, his opponent jams it up with a new attack. This attack can take his eyes off the case and onto something personal like a flaw that is holding him back.
Yes, it’s complicated, and meant to be. You’ve arrived at the fifth complication in traditional story structure.
28 He’s got to eat crow, beg for help, sacrifice more resources or improvise within an already imperfect plan—and he can only blame himself. He starts to question his misbelief: his biggest success came when he’d temporarily abandoned it, but the idea of giving it up voluntarily is terrifying. (Subplot B)
So, that flaw, emphasized by the opponent, it’s got your detective in a heap of trouble and it’s all his fault. Your detective may need to ask the opponent for a detail or help. He starts to question his vision of the victim’s world. The love interest helps him look at that world a different way. But he resists because it’s not his way.
In structure this is the aftermath of the fifth complication and it’s messy.
29 Your protagonist attacks that vulnerability that he noticed earlier, and at first it seems he’s caught the antagonist unprepared—is victory at hand? (Subplot A)
The opponent encourages the protagonist to look at the victim’s world in a new way. He notices something new about the killer. Is it that easy? Just shifting perspective?
If you’re still hanging on to story structure this is the setup for the second plot point. Yes, you are headed toward Act III.
30 Nope. (Maybe there’s a twist here?) Either the antagonist was using that weakness to draw the protagonist in, or he reacted fast enough to protect it. Your protagonist gets one clear shot at the antagonist, but he has to give up his misbelief to take it, and he isn’t able to make that leap of faith.
The killer uses a smokescreen and the clarity fades. The detective has one chance to confront the killer, but he has to clear his vision of the victim’s world and antagonist gets away because your detective is still missing a piece of the puzzle.
You’ve reached the second plot point in story structure. It’s going to get wild now.
Confuse All Your Characters
With all the confusion, hot mess, and frustrations your detective struggles in this part of your mystery. Keep the story from sagging by mixing things up. Your detective’s opponent may unknowingly give her an insight while trying to stop her. Or, her love interest may threaten to call it quits. Keep your reader guessing. But still you want to keep them guessing about how the detective will solve all these problems and solve the mystery.
Amidst all the setbacks, your detective gets close to the killer. Even though your detective may overlook the clues in the middle of the confusion, the killer feels the pressure. The killer takes on the role of antagonist and actively works against your detective... even if it’s behind the scenes.
Zara Altair writes mysteries set in ancient Italy. Her course for beginning writers Write A Killer Mystery is coming soon. Get on the notification list.
Avoid the Sagging Middle in Your Mystery
Mystery writers have an advantage over many other genres when it comes to keeping the middle from sagging. Up to the middle the detective has delved into the evidence and suspects in the victim’s world
The essence of keeping a reader turning pages is heightened tension. Rather than episodic scenes where this happens and then that happens and then something else happens, you create tension by throwing up increasingly baffling obstacles for your detective.
In the chapters after the crisis in the middle, your detective gets glimpses of the killer’s world. These glimpses into the killer’s world are the mystery writer’s advantage, because the detective enters a world within a world. The killer’s world is inside the victim’s world.
In these chapters, the detective gets glimpses of the intersection between the two worlds.
What is a character bible?
How to liven up dialogue.
Reference Article Characters Don’t Speak in Semicolons
After The Middle
Zara Altair, Author
The puzzle of politics, the mystery of murder in ancient Italy. After Rome, before the Middoe Ages, Italy belonged to the Ostrogoths.