Showing posts with label audio books. Show all posts
Showing posts with label audio books. Show all posts

Sunday, July 24, 2011

An outrageous boo for a book!

Will baritone Leandro Vasquez obtain the release
he is seeking, with Jeannie Jacobs, an older opera patron?
What's a book boo? Not a bad review, if that's what you're thinking.

A boo is an audio clip made using Audioboo, a site that allows you to upload or record sound from your smart phone or, in this case, from my laptop.

I thought about all the writing I could record as I experimented with Audioboo. One obvious choice came to mind: an excerpt from my novel DEVILED BY DON, which I read at a residency in the Wilkes University Writing Program.

It's my favorite scene from the entire book. My Wilkes classmates loved it.

Now you can listen to it, too. And read the accompanying text below, if you like, since the boo finishes a few lines earlier than the scene.

In case you're wondering, this is definitely a PG-13 boo! Just click the round button below to hear my boo!

An excerpt from "Deviled by Don"-- The Divo (mp3)


DEVILED BY DON, Chapter 20, "The Divo"

New Yorkers reacted to Leandro Vasquez like he’d come out of nowhere. They said things like, “Where were you hiding?” and “Who kept a delectable thing like you under wraps?” And not just female New Yorkers either.

Well, he wasn’t hiding now. Leandro Vasquez, who had been a lowly gaucho in Argentina who sang to his cattle, was performing in New York City of all places. Now that he’d been seen by New York critics, producers, and agents, finally he was somebody in a way he’d never been before. And he had wanted all that. But tonight, more than anything else, now that he’d earned the applause and the reviews and the critical acclaim he sought, he needed release. He was bursting with sexual energy. He wanted to get the head.

“I want to—get the head,” he whispered in the ear of the blonde actress seated beside him.

“I want to get ahead,” she said, “but first I have to use the little girl’s room,” and slipped out of her chair with a rubbery ease signifying she was more than tipsy.

“Get the head?” That was the expression; he was certain of it. So, why had the lovely blonde deserted him?

A matronly woman slipped into the empty seat beside Vasquez. As he turned to face her, she held out a hand with rocks the size of coffee beans on more than one finger but wore no wedding band. He took it, kissing her wrinkled flesh which felt thinner than parchment to his full lips. Though intially the feel of her skin had put him off, her overall appearance was very pleasing. She looked trim in an off- beaded gown the color of casaba, falling off her shoulders. Her eyes were aquamarine and reminded him of Vivian Perelli’s. Soft, full, dewy.

“I’m Jeannie Jacobs,” she said with the confidence of a woman who lacked for nothing. “And you are an incredible specimen of a man.” Then she shuddered, and the beads lining her décolletage rattled softly against themselves, creating flashes of light tinkling against heaving, freckled breasts.
Vasquez marveled at the reactions of American women. In Baltimore, they were wild for his Giovanni. What was it about American ladies, that they couldn’t tear themselves away from bad boys? Unfathomable—this weakness for men who used them and then discarded them. He intended to take full advantage of this baffling inclination.

He wondered if this older lady gave the head. Could he ask her that? Could he pull her aside and say, “Madam, you intrigue me. Would you like to give me the head?”

Back in Argentina he would say, “Haceme un pete.” If he said that now, would she understand what he wanted?

“Now that you’ve conquered New York, Mr. Vasquez,” Jeannie said, “what’s next?”

He leaned in close, tasting her flowery scent, and said in a husky voice, “Haceme un pete.”

*
He slipped the key card into his hotel room door and let her in first. Wordlessly, he removed his jacket from around her shoulders and tossed it on the floor. Jeannie unraveled his bow tie and began loosening the studs on his tuxedo shirt. She slipped her hands inside, first stroking then kneading his bare chest, moaning softly. Leandro slipped the strap off her shoulder and eased her gown down to her waist. He expected to see bare breasts but was surprised by a little strapless bra barely covering her nipples. He unfastened it with a one hand and massaged her generous breasts with the other. He bent over and said in a low voice, “Haceme un pete.”

If he said that to a girl back in Argentina, she would crack him across the mouth. Then she would go tell her father. Then her father would shoot a hole in his heart.

“What is this ‘Haceme something,’ Leandro?” she said breathlessly.

She didn’t know Argentine Spanish? How to explain this. You’d think a woman who’d been around the square as many times as she has surely would know what he wanted. What he needed. He took her hand, placed it on his crotch and moved it up and down. She rubbed him a few times before reaching up, unfastening his pants, and undoing the zipper. Little Leandro sprang out from confinement.

Un pete. Mi pija. Mi pija,” he murmured, grazing her lips with his, placing her hands on his penis, trying to impart understanding to her bejeweled hand just like Annie Sullivan spelling “wawa” into Helen Keller’s dainty palm.

Jeannie rubbed and rubbed his pija. Enough with the rubbing, he thought.

“I could buy and sell you many times over,” she said, covering his face with kisses. “But I didn’t have to—did I?”

Leandro heard her say, “Buy and sell.” She was a prostitute? A little old for a whore, he thought. But if she needed the cash to give him un pete, he was in no position to argue at the moment. With his left hand, he fished in his pants pocket and pulled out a few crumpled bills. He wasn’t sure how much he had. Enough to buy a couple rounds of drinks. Probably enough for un pete from a woman her age. He slipped the bills into her hand, closing it around them.

Jeannie tightened her hand around the money and stopped rubbing. She pulled her body away from his, yanking up her dress, gasping. “You think I’m a hooker? A goddamn hooker?” She raised her right hand, turned her palm towards his cheek and cuffed it. She clenched the money balled up in her left hand and threw it at him. “And here I thought you were a nice boy,” she said, turning her back to him. Then she stalked out of his hotel room.

# # #
So, did you like my boo? Then go boo, yourself.

Friday, February 18, 2011

Do you 'do' audio books?

"I don't do audio books," the woman said in a tone of voice implying audio books were a scourge on humanity. Even my sainted mother, who has macular degeneration, considers audio books as selling out. She intends to hang in with large-print books as long as she can.

Audio books have been around a lot longer than I've been listening to them.  I used to listen to NPR shows like "Morning Edition" and "All Things Considered" because it made more sense to listen to news than music or books for my job as the chief information officer at a university. Then I got a new job, one with a longer commute, one that didn't require being up-to-date on current/world events. That's when I decided to listen to audio books instead. Now, I'm not saying the NPR news shows don't have value--they do. But as a writer of fiction, the more books I can know by reading them or listening to them, the better for me.

I didn't say anything to the woman who doesn't do audio books in defense of them. If you knew her, you'd know it was a hopeless cause trying to convince her otherwise. (She doesn't do Harry Potters books either.) Let's hope she doesn't do blogs.

I don't know about you, but there are only 24 hours in my day. I have a full-time job. I have two blogs--this one and an opera blog. I have WIPs and books I'm polishing to shop. I review live opera events on a regular basis--which involves traveling out of town. I can't afford to not to use every means at my disposal to expose myself to other books.

The value of audio books

By listening to audio books during my commute, I'm taking in roughly 25 more books a year than without listening to them. That's a significantly higher level of exposure to other writers' work. I'm hearing how other writers:
  • use exposition, flashback, description
  • develop character through dialogue
  • build arcs for their characters as well as arcs for the book
  • end chapters on hooks
  • sustain suspense and elevate stakes

What novels and story collections have I listened to in the last year?

Here's a few titles off the top of my head:
  • Drama city by George Pelecanos
  • The year of secret assignments by Jaclyn Moriarty
  • Man gone down by Michael Thomas
  • The other Boleyn girl by Philippa Gregory,
  • Ghost a novel by Alan P. Lightman
  • The senator's wife by Sue Miller
  • Life of Pi by Yann Martel
  • The beautiful miscellaneous by Dominic Smith
  • Our story begins [new and selected stories] by Tobias Wolff,
  • People of the book by Geraldine Brooks
  • Blasphemy by Douglas Preston
  • Water for elephants by Sara Gruen
  • All we ever wanted was everything by Janelle Brown
  • Walking in circles before lying down by Merrill Markoe
  • True evil by Greg Iles
  • Run the risk by Scott Frost
  • Last night at the Lobster Stewart O'Nan
  • The invention of everything else by Samantha Hunt
  • The time traveler's wife a novel by Audrey Niffenegger
  • Fired up by Jayne Ann Krentz
  • Oh, my stars by Lorna Landvik
  • my current audio book
  • Castle in the Forest by Norman Mailer
Right now I am listening to In the moon of red ponies by James Lee Burke. It's so well done, I don't want to turn off the engine. Instead I linger at my destination a little longer just to hear more. The narrator is gifted--one of the best I've heard--bringing out all the nuances in Burke's writing.

The downside of audio books

The only downside is that I can't say I read the books, strictly speaking. "I heard that book," sounds dumb. So, I say I listened or was exposed to them.

The bottom line? I have the potential to be a richer writer, not to mention, better read, because of audio books. I do them and plan to keep doing them, thank you very much.