Showing posts with label Lewis Hancock. Show all posts
Showing posts with label Lewis Hancock. Show all posts

Sunday, July 14, 2019

Row, Row, Row Yer Boat…


I’m all for a challenge and I genuinely enjoy acquiring new skills. It’s probably for this reason that I am au fait with the basics of building a dry stone wall, what to do when passengering a Formula 2 sidecar outfit, how to use an electric arc welder, or the etiquette of engaging in a sword fight. You never know when such knowledge will come in handy.

Yup, that's me on the back, lapping Mallory Park!

I confess, though, it wasn’t entirely with research in mind that I ventured out onto the waters of the River Derwent this week to try my hand at rowing. This past winter, I’ve been plagued by increasingly painful back problems and have been advised by my physio that I need to do some physical exercise beyond giving my brain a workout at a computer keyboard, or undertaking general DIY.

Neither of which count, apparently.

So, considering the Captain of the Derwent Rowing Club, Lewis Hancock, is not only a friend but also the very fine narrator of two of my audiobooks, what better place to start?

Lewis Hancock, at the audiobook recording of DANCING ON THE GRAVE
“Be sure to bring a change of clothes,” was his somewhat ominous warning beforehand. I did so. Including shoes. And a towel.

My only experience of rowing has either been a) on a machine in a gym, or b) in an inflatable dinghy getting from yacht to shore when nobody can be bothered to attach the outboard motor.

Neither of which, I discovered, adequately prepares you for rowing on a river in a specialised craft designed for that purpose and no other.


For a start, the rowlocks are not called rowlocks. Neither are they attached directly to the sides of the boat. Instead, they are spaced away from each side on an outrigger with a swivel, a pin and a gate at the end of it. Into the gate goes your oar, with a squared-off sleeve in the appropriate place so when you present the blade of the oar to the water, it’s likely to be at the same angle, time after time.


Unlike the aforementioned inflatable dinghy—but in common with the rowing machine—these craft have a sliding seat so, as you lift the oars clear of the water and feather them, you slide forwards and bend your knees, providing maximum leverage for the next stroke.

Of course, getting the hang of keeping your left hand over the top of your right at all times, sticking to your own side of the river without getting tangled up in the overhanging trees of the bank, and avoiding other watercraft—or shouting in enough time that they avoid you—is akin to patting the top of your head and at the same time rubbing your stomach, reciting poetry, and tap-dancing.

Whilst balanced on a girder.

And in case you were wondering why there are no selfies taken of me actually out on the river in the aptly named Yellow Peril, that’s because there was absolutely no way I was going to carry something so susceptible to water damage on my first time out.

the Yellow Peril. (yellow being a warning colour in nature...)
I’m happy to report, however, that I did not hit anybody else on the water. Neither did they hit me. Nor did I collide with overhanging trees, or anything other than the landing stage of the Derwent RC boathouse. And then it was merely a gentle return to safe harbour.

So there.

But did I enjoy it? Well, yes. It was strangely peaceful, energetic and hypnotic in the rhythm of the thing. Frustrating when my co-ordination failed me, and immensely satisfying when I managed to put together a run of maybe half a dozen decent strokes. At which point the stout little Yellow Peril put on a surprising turn of speed.

And will I be going back?

You betcha.

This week’s Word of the Week is mustang, which as well as being a wild horse, and a model of Ford, is also naval slang for an officer who has come up through the ranks from ordinary seaman to any rank above warrant officer. He—or she—is therefore supposedly wise to the tricks pulled by those in the lower ranks.

Sunday, February 24, 2019

Talking of Books: A Look At Audio

Zoë Sharp

One of the best pieces of advice I ever received about writing fiction was to read the words aloud. Reading your own work really helps you to pinpoint those clunky bits of narrative or dialogue, or those descriptive scenes that go on for just a bit too long.

Better yet, I’ve found, is to get somebody else to read your work back to you. After all, you as the author know how the rhythm of the story should run and where the emphasis should go for maximum dramatic effect.

"Listen very carefully. I will say this only once..."

But, if those clues are not present in the way the words are presented on the page, then your reader is never going to be able to reproduce that same rhythm in their head. I’ve always believed that more than the subject matter, the characters or the plot, it’s the individual voice of the writer that turns casual readers into continuing fans.

When you pick up a book by an author unknown to you, before you’ve finished the first paragraph—often even the opening sentence—you just know if you like the sound of that writer’s voice. I had this with the first Robert B Parker novel I picked up, the first Ken Bruen and the first Lee Child. More recently, I happened across the Wyatt Storme series by WL Ripley. They all have such a distinctive style that flicks a switch inside my head. Something in the back of my mind goes, “Yes!” and I have to read on.

I confess I have this same feeling when I start to listen to an audiobook by a particular narrator. There are some books by authors I love, but I simply can’t stand the way the narrator sounds. And vice versa, some narrators are so good, I’d listen to them read from their shopping list if I got the chance.


Much as listening to Rowan Atkinson go through an imaginary school register is a riot, for some reason I’ve never found his Mr Bean character funny.

Lewis Hancock falls firmly into the category of narrators I could listen to all day. (I wonder if I could persuade him to record that Rowan Atkinson sketch…?) I know I’m not the only person who thinks so. I’ve listened to all kinds of books he’s read, some of which would not have been my usual choice. But with Lewis speaking the words to me, I am invariably glued to the story.

I was lucky enough to have Lewis as the narrator for THE BLOOD WHISPERER and he made a wonderful job of it. I have to confess, though, that the extract they chose for Amazon UK sample is taken from the one mildly kinky sex scene in the book, which I’m not sure is entirely representative. I swear I can hear the smile in Lewis’s voice as he’s reading it.


Last week, I spent a day in Manchester at Greenbank Studios in Sale, listening to Lewis record part of DANCING ON THE GRAVE, which came out in print and digital formats last year. The audio edition will be out very soon from Oakhill.

Lewis spends a lot of time before he gets to the recording stage prepping a print-out of the manuscript. He adds his own punctuation so he’s not taken by surprise by convoluted sentence construction—although I do try not to include too much of that.

Lewis Hancock, in an uncharacteristic serious moment.

He also checks pronunciation of unfamiliar places and names, and chooses suitable voices for the different characters if they’re not specified in the text. (And there’s nothing worse, he reckons, than mentally rehearsing one accent for a character, only to find out near the end of the story that they speak with another. Or—worse still—it not being mentioned until book two…)

The technician at the studio was Liam Wheatley. It was his job not only to handle the actual recording of the narrative, but to monitor the quality of the sound and check for errors.

Liam Wheatley at the flight deck.
Watching Liam work was amazing. Originally from a screenwriting background, he’s been working for Greenbank since 2014 and can actually read the waveform of the audio track. So, if there was unexpected background noise, or Lewis tripped up on a sentence, he was able to instantly pinpoint the location. He’d take the cursor back to partway through the last clean section, which he’d play to Lewis in the sound booth next door, cutting back to recording just before the error so Lewis could pick up the narrative again. And he did it in less time than it’s just taken me to explain the process.

This means that Lewis feels able to stop and go back if there’s a piece he’s just read that he’s not happy with, without worrying about slowing the job down too much.

Liam also follows the text on screen, and pays enough attention to point out the occasional missed or transposed word. Sadly, not everybody takes such care over the text.

He takes just as much trouble over post-production. The system he uses, Pro Tools, marks all the pick-up points so Liam can go back later to close up any extended pauses. He also removes any page-turning noises, mouth clicks or breaths. Having listened to THE BLOOD WHISPERER, as well as other recordings done by this partnership, I can vouch for the quality of Liam’s work.

Spending the day watching Lewis and Liam work was illuminating. Here are just a few of the notes I took during it:
  • Try to pick names that are easy to pronounce quickly, unlike Frederickson, Blenkinship, and Sibson.
  • Quick swaps between characters with very different accents can be very tricky.
  • Exciting bits flowed better. It seemed easier with some impetus behind the words.
  • It’s very hard when using a Geordie (Newcastle) accent, to have a character say angrily, “With all due respect, sir!” and not have him come out sounding Scottish.
  • The words "bull bars" can sound remarkably like "ball bars", which conjures up entirely the wrong image!
  • It would make life much easier for the narrator if you invented a character who spoke with a stutter or a lot of phlegm in his voice…

So, my question this week is, do you listen to audiobooks more now than you used to? Do you follow certain authors or certain narrators particularly? What irritates you about an audiobook recording? What do you like best about them?

My thanks to Lewis and to Liam for their patience and forbearing. I tried not to stick my oar in too often, guys!

If you’re looking to have an audio recording made of your work, it would be well worth talking to Liam at Greenbank Studios. Contact him at GreenbankLiam@gmail.com.

This week’s Word of the Week is vicissitude, meaning a passing from one state to another, an alternation, mutation or change, usually for the worse. It comes from the Latin vicis meaning change.

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March 8-10
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