Ian asks: “Do audiobook listeners, narrators, and producers have any tricks to adjust pacing, either on playback or during creation? Does writing with audiobooks in mind change the way you write?”
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Ian asks: “Do audiobook listeners, narrators, and producers have any tricks to adjust pacing, either on playback or during creation? Does writing with audiobooks in mind change the way you write?”
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Robert asks: “How would you go about subverting the expected pacing of a genre and still make it work?”
Resources Mentioned:
One Shot by Lee Child
Trevayne: A Novel by Robert Ludlum
The Hunt For Red October by Tom Clancy
Debt of Honor by Tom Clancy
Coma by Robin Cook
The Andromeda Strain by Michael Crichton
24 Hours by Greg Iles
Code to Zero by Ken Follett
Breaking Bad
Lost
24
Leonard Bernstein: Grammar of Classical Music
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Zoe asks: Can you talk more about story beats and “scenes and sequels”?
Resources Mentioned:
Sapiens: A Brief History of Humankind
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Lyssa asks:
“Do you think about ‘scenes and sequels’ when writing?”
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Tim asks:
“Is it possible to have too much action in an action/adventure book?”
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Caine asks:
“What did you mean by ‘granularity’ in fiction?”
And JR asks:
and “How do you control the plot arc so that it works in short stories”
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