Showing posts with label EJ Kitchens. Show all posts
Showing posts with label EJ Kitchens. Show all posts

Tuesday, August 11, 2020

Tips for Finishing Your Novel (Lizzie)

On July 30 at 3:30 a.m. I finished my fifth full-length novel--less than a month before I had to have this 148,000 word baby edited, edited, edited, formatted, and uploaded for publishing. The unexpected length of the novel was only half of the reason I am running so close to deadline on Wrought of Silver and Ravens; the other reason is that finishing a novel is just hard. So I wanted to share some tips that I hope will help you finish yours with fewer late nights.


Tips for Finishing Your Novel 

1) Expect the writing, especially of those big scenes, to be hard. Don't be surprised by that but have a plan in place so you can keep moving along.

2) When you're feeling stuck, study the craft of writing. Just reading a few pages of K.M. Weiland's books on story structure or listening to Brandon Sanderson's lectures on writing science fiction and fantasy will often stimulate my brain and help me through my plot difficulties.

3) Take frequent breaks to stretch or walk or do the dishes. Your body needs the exercise, your kitchen the cleaning, and those tasks where you can put on music and zone out for a bit are great for letting your brain relax and then explore new ideas. It's easier for you to delve deeper into your characters and story world when you're not staring at a computer screen, fingers poised. So as you walk or do hands-on work, rest your mind for a bit and then daydream about the story world and characters. Your story will be richer for those details that seem to come more easily when you're not writing. 

4) Listen to the appropriate music. If you have a fight scene or other heart-pounding dramatic scene to write, listen to epic music, like Two Steps from Hell or movie music. Mood is important. 

5) Recharge by reading and watching things you enjoy.

6) Don't stare dumbly at the computer screen re-reading your masterpiece for hours because you're too tired or intimidated to actually write new material. Re-reading can be helpful to get you started, but if it's most of what you're doing, just go to bed and get the rest you need to do more the next day. Also, if at all possible, or unless you're a night owl, don't put off your writing until 9 p.m. when you're already tired.

7) Stick it out. Sometimes you do need to sit at the computer for hours until the words flow. Plan any late-night marathons carefully so they won't cause trouble the next day when you're bleary-eyed and possibly short-tempered.

8) Write trash. You've all heard this before--the first draft will be terrible. Writers don't write; they rewrite. You can't edit what you don't have written. So if you hit a rough patch, skip it and come back, or just write junk and then keep on and fix it later.

9) Check the plot and the characters. A difficult time writing could mean there is something not working in the story--a hole in the plot or a character who's poorly developed or not consistent--that needs to be fixed.

10) Love your characters and your story. This one might be the most important because it helps you remember why you even want to finish the book in the first place. Also, the more you know something, the more you love it (usually). So loving your characters and story means you've done your homework to make them real to you. If your characters are real to you, if the goals and problems they face are meaningful to you and not shallow artifices to move the story along, then you'll love the story more and so will the readers.

11) Enlist friends to help keep you accountable and/or to give you feedback on your story as you go along. A critique from a trusted friend often spurs me on.

12) Set a deadline and establish some kind of accountability or incentive to finish. This could be a pre-order date, a swearing-off of tv until the book is finish, or whatever will motivate you. Just be sure to set a realistic deadline for finishing the book.


If you have trouble finishing a novel, I hope these tips help you. Do you have any other tips that you would recommend for finishing writing a story?

Tuesday, June 9, 2020

Wrought of Silver and Ravens: A Twelve Dancing Princesses Retelling Story Snippet (Lizzie)

Ever since reading an illustrated children's book of "The Twelve Dancing Princesses," I have loved the story. I've read a few retellings (my favorite being The Firethorn Crown by Lea Doue), but I must admit a preference for that beautiful children's book, which unlike most retellings, focuses on the soldier with the invisibility cloak who frees the princesses rather than on the princesses themselves. This winter I had an unexpected idea for a retelling of the story set in my Magic Collectors world. Only this tale is set in the ancient past, in the incomparable land of walled cities of white stone perched on cliffs above deep blue seas, where sandals rather slippers are worn, where soldiers and not just princesses are respected. Into this beautiful, dangerous land comes a hunted young wanderer, a man of secrets, who gets more than he bargains for when rescues a prince, not the least of which is the responsibility of guarding the prince's seven cursed sisters.


Wrought of Silver and Ravens releases August 25, 2020. This is the rough draft of part of chapter 1 and chapter 2. I hope you enjoy it!

Panoramic view of Dubrovnik

Wrought of Silver and Ravens

Chapter 1a


It wasn’t quite cold enough to kill a man. Nor was it wet enough. Athdar Owain Leonidas swiped his hand on his shirt, in the little area his cloak had kept reasonably dry, then touched two fingers to the unconscious man’s throat. Or boy’s, depending on how they gauged maturity in this land. Though wearing a soldier’s garb, and some marks of status, his face gave the appearance of one just short of manhood, about seventeen or so. Boy, then. Soldier.
Enchanter.
Athdar’s fingers warmed quickly with magic, yet rose only slightly with a pulse. He straightened as much as the cave would let him and backed away from the enchanter, savoring the warmth of magic in his hands despite a twinge of guilt.
Water dripped from his hair onto his forehead, and he pushed his hair aside, shivering, and considered the unconscious boy again.
Cold and wet. Together they might be enough. Especially with his wounds.
The question was, did Athdar care enough to do something about it? It would keep him in these ruthless borderlands longer than he wanted, and he still had his llewod gwerthfawr to care for.
But he soon found his feet carrying him out of the cave into the misting rain and along the cliff side in search of limbs for a fire. He guessed he did care, or at least knew he should. Despite the fact that the boy was an enchanter, and no good ever came from them, not for Athdar’s kind.
A half hour later, just before the sun would disappear over the mountain peaks, Athdar squatted beside a pile of wet limbs in the cave. There were few specimens Athdar would classify as trees in this land of rocks and scraggly shrubs, but he picked up a glorified twig from the pile and braced it upright between his knees.
“You’re going to have to warm us both, you know.”
The enchanter-soldier-boy had started moaning, so Athdar didn’t feel as bad talking to him. And he spoke in the common tongue. The few traders who’d ventured out from his homeland and returned had striven to teach them all they could before the Leaving. He’d picked up more in the few years since his clan’s departure. “I ran out of magic a ways back. And everything’s wet here.”
He wrapped his left hand around the boy’s and cupped his right around the tip of the twig. When his left hand warmed with magic, drawn from the enchanter, he snapped the fingers of his right. The tip of the twig burst with a orange and yellow flame. There was something else in the warmth of the magic—a spell. Perhaps many. With a hiss, Athdar dropped the enchanter’s hand.
Could an unconscious enchanter bespell him? Or was the enchanter himself bespelled? How did spells work on one of Athdar’s kind? Or did it depend on the spell?
But now was not the time for that, whether the enchanter was the bespeller or the bespelled.
Athdar touched his finger to the base of the magical fire, then ran it along the length of the limb, dragging the fire with him. He tossed the blazing limb on the pile and repeated the process until he’d built a respectable fire.
When the enchanter moaned, Athdar twisted around to feel the boy’s face and hands. He could sense magic under the enchanter’s skin but pushed it away instead of calling it. Rather, he focused on his skin’s warmth. The boy had a fever, yet also a chill to his skin. The fire would fix the latter. The herbs Athdar’s mother had shoved into his pack before they were separated might fix the former.
Using a hand on the cave ceiling to gauge how much he could straighten, he picked up a limb to use as a torch and shuffled farther into the low cave. A crevice in the tunnel wall created a nook hidden from the main chamber.
Mewl. Mewl.
A smile twisted Athdar’s lips. Not that the nook would stay hidden for long if anyone used their ears rather than their eyes.
Athdar knelt before two wooden crates. Four sets of golden eyes gleamed up at him. Four pink tongues, rough as only felines’ are, and half as many clawed paws, sought out his fingers. Remembering his patient, Athdar drew his hand back in time to avoid their lick-and-bite greetings. After picking up his pack, he returned to the main chamber.
Working in the dim firelight, he made a poultice from several herbs, then cleaned and rebound the enchanter’s wounds. As he tied off the bandages, his gaze skimmed the unconscious boy. Knife wounds, rope burns, possibly a broken rib. That was only the wounds he could see.
What was he going to do with an injured enchanter? He couldn’t take him into a village and leave him. He didn’t know if he could trust the villagers. They’d likely take care of the boy as one of their own, and a person of status, but Athdar? As a foreigner, they’d tell anyone who asked that they’d seen him.
He touched the boy’s forehead again. Warm with fever. He could feel the warmth of magic ready to answer his summons, but he had no justification for taking it now. Why hadn’t the boy used magic to defend himself?
Would what magic wounds look like on an enchanter or sorcerer? Would they be visible to the eye?
Athdar stilled, memories threatening to crowd into his mind, then shoved the few remaining bandages into the pack and hurried back to the crevice.
Meeeeowl.
“Was that a question, Cumi? You want to know what’s for dinner?” Athdar used the torch to find the two hares he’d snared earlier and not been able to dress yet. “I think you know. You’ve smelled them all evening. Well, come on then. Dinner is served.” He slid the crates’ gates up and backed away as the four llewod gwerthfawr cubs tumbled out. Luath made a leap for the hares in Athdar’s left hand, which he quickly raised out of the way. Dana and Lytse collided on their wobbly legs and toppled over. Coming out last, Cumi stretched, rubbed his boot, then batted at the hares.
“Come on then.” Nodding toward the main chamber, Athdar shuffled back to it, careful not to step on the paws batting at his feet. Cumi let out a meowl as she entered the chamber, her golden eyes fixed on both the fire and the enchanter beyond it. “Good girl, but they’re not for you.” He snatched her up by the scruff as she tried to dart past him. “No, Cumi.”
Settling on the cold rock floor on the other side of the fire from the enchanter, Athdar released Cumi, then tossed the hares to the cubs. Scooting closer to the fire, he held out his hands to warm them, then picked up another limb and called to the magic he’d used to light it. The fire vanished, and Athdar gripped the charcoaled stick like a large pencil and began to draw on the cave floor. Three ravens, wings spread in flight, took shape, slowly, as he glanced up often check on the cubs. Finished with their dinner, Luath and Lytse wrestled with each other. Cumi and Dana had their heads down and rumps up, eyes on the enchanter.
He tossed the stick back into the fire and leaned forward to grab Cumi and Dana. He sat them in front of him, the ravens between them. “Leave him alone, you two. He doesn’t want to play. And I don’t know how his magic would affect you. It’s time to see how much you remember from your training.”
He whistled three short notes, and the cubs lined up across from him and laid down. He passed his hand quickly over the drawings, charcoal smearing onto his fingers as he lightly touched them.
“All right, Miss Lytse, which of these has the enchantment?”
Lytse, petite and cautious, stepped lightly forward, sniffed the first raven, then the second, and sat behind the second. “Good girl.” He rubbed her head, giving her a touch of magic, just enough to make her fur glimmer. She shook her fur out, sending a sparkle of golden light into the chamber, and pranced back to her place. Athdar passed his hand over the ravens again and called Dana, who mimicked his sister. Luath didn’t bother sniffing. He simply sat on the third raven and wouldn’t get up until Athdar shoved him aside in a playful tumble.
As Cumi pranced up to the ravens, Athdar’s lips curved at the corners. She sniffed the first, the second, and finally the third raven, then looked up at him, head cocked. He shrugged. She sniffed each raven back up to the first, then looked up at him again. He stared bank at her expectantly.
Her rump started to slowly lower behind the first raven, her gaze staying on him. Athdar raised an eyebrow at her. She stilled, then growled at him. Chuckling, Athdar gave her a quick scratch behind the ear, then passed his hand over the drawings again. Cumi sniffed them all, glancing up at him from the second one. When he didn’t respond, she moved to the third, and looked between it, the second, and him. One corner of Athdar’s mouth curled up. With a flick of her tail, Cumi turned lengthwise and flopped down to cover both the second and third ravens. Laughing, Athdar picked her up and put her in his lap. “Very good, Cumi. Looks like I can’t trick you, after all.”
He gave her a good belly rub as her siblings played with one another. With a short whistle, he called them back to attention, then laid his hand on the center raven. Whispering, he pulled his fisted hand up. With a deft twist of his wrist, he opened his hand. An ethereal raven darted into the air, swooping over the cubs’ heads. Cumi’s claws dug into Athdar’s legs as she twisted around and scrambled out of his lap to join the others in chasing the illusion.
He watched until they tired, then cleaned up their crates and dinner, and put them to bed. After digging through another pack for his own dinner, he returned to the main chamber, ate a few crackers and some cheese, gave the boy a drink of water, and settled down against the cave wall, grateful for the fire’s warmth on the damp, cool night.
Night … He could scout out a village to dump the enchanter in at night. Someone would take him in. Athdar need not show himself. But he didn’t want to leave cubs alone with the enchanter again. What if he woke? He could hurt them, or they him. Athdar could stay with the enchanter a couple of days, until he began to wake, then leave him some food and go his way. He’d done enough for the enchanter as it was.
Voices warred in his head. The priest proclaiming that all were their neighbors and should be treated as such, the common distrust and frequent hate among his people for both enchanters and sorcerers. The histories telling of the horrors they suffered in the Caffin Wars because of “good” enchanters and evil sorcerers both. They were the reasons his kind had been sent into hiding at the end of the Caffin Wars. Time was forcing the half-magics back into the world, but there were no great heroes to save them now. Only common men and women who would seek to control them and profit by them.
Even magic, like a gold band, wears thin over time, Athdar, his grandfather had told him as his home disappeared behind him. A city walled with magic cannot stay hidden forever. We must leave, clan by clan, before the walls vanish. Now is the time for us to return to the land of men and magic and vanish among its peoples. But we will be no one’s slave this time. No one’s living wand or disposable weapon. No enchanter will know our power, no sorcerer enslave us.

Chapter 2


Eight years ago, beneath the castle fortress of Doromou, Kingdom of Giliosthay

It wasn’t a dream world. Or a real one. Was it possible to be somewhere in between? Ten-year-old Princess Thea raised her candle above her head. But its light revealed no walls or ceiling in the room that felt entirely too big for the space Thea knew it belonged to—a storage closet in the wine cellar.
The floor, a polished marble, was gritty with dust that slipped into her sandals. It suggested that this was a real place, as did the fact that she didn’t readily fall asleep while standing. “Mother?”
“Yes, dear?” Queen Thalassa stood a few feet away, watching her.
“Where are we? It feels too … big.” And not perfectly square or rectangular, or even one-storied. Though how she knew the space had three stories and an extension on one end like a chancel in a church was beyond her.
“What are your senses telling you, Thea?” She detected a faint smile in her mother’s voice. While that pleased her, she would have preferred an explanation, and a row of candles on the walls.
But her mother was a strict teacher. So Thea stilled her thoughts and focused on what her senses were telling her, especially on that peculiar one that made her shoulders hunch because it told her the walls and floor above were wavering and unsteady. “It’s a three-storied building with a porch on one end. It’s not stable.” She caught her mother’s broad waistband, wide and golden, and tugged gently, not caring if she were too old for clinging to skirts. “We should go.”
Her mother only answered with a laugh and a flash of light from her palm.
Chandeliers hanging around the room and sconces on walls flared to a comfortable brilliance, and the wavering feeling ceased. The place was sturdy now, like a bag filled tightly with water. Thea cocked her head at her enchantress mother.
Draping one arm around Thea’s shoulders, her mother pulled her close and gestured to the anomaly around them, a place built of magic. “Welcome to the Realm of Coryrosu, Thea, Realm Walker of Coryrosu. It’s time to begin your lessons.”

Have you ever read and illustrated version of The Twelve Dancing Princesses? What is your favorite retelling, if you are familiar with the story?


Tuesday, April 7, 2020

Audiobook Basics—Getting one produced is not as hard as you’d think

There’s been a good bit of buzz the last few years about audiobooks and how the market is growing and how indie authors should get audiobooks made. But before you throw your hands up and say there’s no way you can afford it or do it on your own, read on. It can actually be quite affordable—as in no upfront capital to get a professional narrator to do your audiobook. And depending on your distribution and production payment  choices, your royalty rate can be up to 40% of the retail price (20% if doing royalty share). And since many audiobooks are $15.00 or up, that’s a nice way to increase your income and provide great stories to people who prefer or rely on that format.

I’ve been thinking about getting an audiobook done for my first novel, The Rose and the Wand, for some time, so a few weeks ago I started the process, and I hope to have a completed audiobook soon. The process has been a blast so far, and I’m already planning to get my second novel made into an audiobook as well.

A lot of audiobook narrators are also theater and film actors, and since theaters are closed because of Covid-19 right now, now is a good time to get an audiobook done. The narrators have more time and could probably use the extra cash.

Here’s a brief run down of audiobook production basics and my own experience. (I know I said brief and this post is anything but brief, but I wanted to give enough information for a good background—you can visit the websites and other blogs for more in-depth information.)
 
Audiobook cover The Rose and the Wand
I created this temporary audiobook cover to use
until my designer reformats the book's cover for me.

Audiobook 101: An outline of the process


1) Upload book information to ACX or Findaway Voices
2) Decide on method of payment and whether you want to go exclusive or non-exclusive with the distribution
3) Upload audition script
4) Listen to narrator auditions and choose a narrator. Then work with the narrator to set a timeline for completion and decide on rates, if paying upfront
5) Sign the contract, send the manuscript, and wait
6) Review the first 15 minutes of audio. Once you accept it (or reject, if needed), then additional chapters can be uploaded
7) Be patient as narrator produces and uploads each chapter, one chapter at a time.
8) Upload an audiobook cover
9) Accept the finished product, pay and/or sign final papers
10) Market

Audiobook 101: In a little more detail


1) Decided who to partner with for your audiobook production and distribution

Right now, I know of ACX (acx.com) and Findaway Voices (https://findawayvoices.com/). These two companies act as a go-between for authors and narrators and as distribution companies.

Working with ACX


ACX (connected to Audible and Amazon) offers several options to help connect authors and narrators and get audiobooks produced. Narrators can create profiles on ACX, and authors can search this database for a narrator of their choice and then approach the narrator via ACX message system. Or the author can upload an audition script with information about the book and production payment choices, and narrators can audition for the book.

If you use ACX, you have two distribution options: Exclusive (Audible, Amazon, and iTunes; 40% royalty) and Non-exclusive (can sell anywhere; 25% royalty). If you plan to go wide with your audiobook and can afford at least half of the upfront cost, you should consider Findaway Voices as well.

ACX offers three options for paying for the audiobook: 

Pay for Production 
Author pays the narrator (who is also the producer) upfront. Narrators charge a set price for each finished hour of the audiobook. This is call the Per Finished Hour (PFH) rate. A narrator’s PFH rate depends on their experience. Consequently, the rate can vary greatly. Some newer narrators may only charge $50-100 PFR while the more experienced narrators charge several hundred per hour. If you choose Pay for Production, you can choose Exclusive (Audible, amazon, iTunes; 40% royalties)  or Non-exclusive distribution (you can set up wide; 25% royalties).

How do you know how long your audiobook will be to help you calculate the cost? ACX will give you an estimate of how long your audiobook will be once you tell them your book’s word count. My ~90,000 word novel has an estimated length of 9.3 hrs. So if I did Pay Per Production for this book with a less experienced narrator (say one new to audiobooks but with theater and film experience and so still a great narrator) at the $100 PFH rate, that would be about $930. Findaway Voices has a very nice tool that gives you an estimate of the final cost based on your word count; however, their tool’s lowest PFH rate is $150. (https://findawayvoices.com/pricing/)

Royalty Share and Royalty Share Plus
In this option, the author doesn’t pay anything upfront. They must choose the exclusive distribution option. This is the 40% royalty. This royalty is split between the author and narrator, 20% to each. Check out ACX’s webpage and other blogs for more information on how you might buy out of this eventually, if desired.

In Royalty Share Plus, the author pays some of the production cost upfront and splits royalties.

As you’ve probably guessed, the more experienced narrators generally prefer Pay for Production, as it’s less of a gamble for them getting paid, but you can still get good narrators in the Royalty Share option. Of course, if you choose the latter, it’s especially important to work hard marketing to make sure your narrator gets paid back for their hard work.

Also, when exclusive with ACX, retailers set the price of your audiobook (and I think your royalty is from that retail price). ACX has a general estimate for retail prices here (https://audible-acx.custhelp.com/app/answers/detail/a_id/6656)


Working with Findaway Voices 


Findaway Voices offers Pay for Production and also Voices Share, where you pay half up-front and then split royalties. If using Findaway, you can distribute through 40 audiobook retailers and library platforms (so you can go wide), set your own price, and keep an 80% royalty. But note that this 80% is after the retailer’s ~50% cut, so it works out to about 40% of the list price (the same as ACX’s exclusive rate). So say you set a $10 list cost for retailers, e.g. for iTunes or Audible. The retailer (in this case iTunes) keeps 50% ($5) and sends the remaining 50% ($5) to Findaway; Findaway keeps 20% of that $5 ($1) for handling distribution and sends you the remaining 40% ($4). In Voices Share, it’s 60% to the author and 20% to the narrator; this requires some exclusivity (so Findaway can handle splitting the royalties, but it is still wide) and comes with a buy-out option. https://blog.findawayvoices.com/voices-share/


2) Choose a narrator

Audiobooks are basically theatrical productions for the ear alone, which means your narrator needs to be able to do a lot of voices and emotions. To gauge whether a narrator is right for your project, you upload an audition script for narrators to perform. You only have 2-3 pages for your audition script (so about 5 minutes of audio), so choose your script carefully. Don’t just take the first few pages of your book. Choose two to three scenes that include your main characters and any other characters who are particularly important. Choose scenes with a range of emotions portrayed. You need to get a feel for how well the narrator “acts.”

When you set up your project, ACX will ask you about your narrator preferences.
a) Do you want a male or female narrator? Or both?

b) What kind of accent? General American? Scottish? Cockney? Southern US? There are a whole host of accents to choose from, and this can be intimidating. If you need help, you can open another browser tab, go to ACX’s narrators page and do a narrator search using the different options (different accent or voice style, for example). Narrator voice samples will come up, and you can listen to those to get an idea of what that accent type sounds like. You might also find a narrator you really like.  https://www.acx.com/ss

c) Voice style and age? What kind of voice do you want? A refined voice? A rough voice? Flirty? Cynical? Very young? Old?

Once you’ve made those decisions and posted your audition script (for ACX, Findaway will suggest narrators), wait while narrator create and upload auditions. Listen to those and contact the narrator you want to work with. Finalize details, including the Per Finished Hour rate, then sign the contract. I started out on ACX Royalty Share, but decided to ask the narrator I wanted to work with what her PFH rate was. While she was very talented, she was new to audiobooks and so had a lower rate. I offered to pay her upfront, and she agreed, and the book was switched to Per for Production. So you can switch methods from what you originally said, if your narrator agrees.

3) Set a timeline and be patient and wait for uploads

You will need to set a date for the narrator to upload the first 15 minutes for your approval. Talk with them about how long it takes. Don’t rush them, since you want a quality product. Once you’re approved the first 15 minutes, the narrator will start working on the rest and upload it chapter by chapter.

4) Be flexible and considerate of  your narrator’s time and effort

Have you ever written out a speech word for word and practiced and practiced it, and when you delivered it, you ended up speaking freely and changing up the words a bit? Well, some audiobook narrators will do that too. As I’ve listened to my chapters while reading along in my book, I’ve noticed some of those little words editors tend to cut but that we use in speech tend to get put back in. The meaning hasn’t changed, but it isn’t exactly word-for-word. Sometimes, narrators may accidently switch a word or two to something else, especially if they are working quickly for a fast turn-around time. Before you get upset, ask if it’s worth mentioning. Does it change the meaning substantially? If not, then it might be best to ignore.

Some narrators may be able to go in and change a word or two without re-recording, others might not without it sounding unnatural. Forcing them to re-record a twenty-five chapter over one word or two may not be worth it in the long run. Be gracious, but also be firm on what is really important. Look up the policies for what you can expect in the way of redos if you have significant issues. But do make sure you listen to all the chapters and make that the chapters uploaded in order.

5) Upload an audiobook cover 

This is not the same as your ebook or print cover. These are square covers about 2400 by 2400 pixels. Check the cover requirements and talk to your cover designer about getting your ebook/print book cover formatted for audiobook. If you can’t get that done, you might consider using a place like fiverr to get a cheap cover done. It won’t match, but not all do. ACX doesn’t like you to just put your vertically designed ebook cover on top of a square background either.

6) Finalize 

When you have all the chapters and the cover, accept the finished product, and pay and/or sign final papers.

7) Market

ACX and Findaway have advice on how to market. Check those out and get to work (especially if you used a Royalty Share option).


Do you like listening to audiobooks? I’ve only listened to a few, mostly non-fiction, but I am loving my narrator’s production of The Rose and the Wand. So I might have to start listening to more fiction audiobooks. Do you think you’ll get one done? If you have an audiobook? How was your experience? Any tips?