Erggo

Karen@KarenCommins.com

Karen Commins

Award Winning

Atlanta Audiobook Share-rator™

Archives for 2021

How to highlight text of iAnnotate search results

As far as I know, iAnnotate software doesn’t have a way to automatically highlight all your search results.

However, good ole MS Word — even my 2004 copy for Mac — has that option under Find and Replace. This article has instructions.

In addition to or instead of highlighting the text, the Find and Replace formatting box lets you make font changes like underline and bold to the search results. You can even change the font, its size, and color on each search result.

Of course, you also can change the font type and size for the entire document in Word, which you can’t do in iAnnotate. PDF means “portable document format” and was devised as a method to present the text in the same way to all users regardless of their software or hardware. As long as a document is a PDF, you have no ability to change the size, color, or type of the font.

If Word can’t open your PDF, you can cheaply and easily convert it to a Word file using Adobe Export PDF.

Once you’ve made all the global changes you want in Word, iAnnotate automatically opens Word files and converts them back to PDF.

By the way, you can pretty quickly manually highlight your iAnnotate search results if you don’t want to transfer the doc to Word and back. With the search results showing on the right side of your iAnnotate screen, tap the Highlighter tool on the left side with your document. Then, tap on each search result to go to the next instance, and highlight the word.

 

 

Members of my NarratorsRoadmap.com site can watch my 12-module video course on iAnnotate to learn how to use this software to its fullest advantage in prepping audiobooks.

 

Assembly Tips for Custom-Size Studiobricks Booths

At my previous house, we constructed an additional 16′ x 19′ room in 2005 for my studio. I bought a 6′ x 8′ WhisperRoom which fit well in that space. I happily used it for 15+ years.

After moving to this house in 2018, my WhisperRoom seemed a little too large for the room I chose for the studio. I bought a 6′ x 7′ Studiobricks booth earlier this year. It was delivered in 2 large boxes on 11 May.

Drew and I had watched several assembly videos of standard booths and looked through the instructions from Studiobricks. We thought we were prepared and that the two of us could easily and quickly put the booth together. After all, we’d built the WhisperRoom at each house and disassembled it twice. In fact, Drew almost single-handedly disassembled it this last time for its sale.

Reader, we were not prepared, in large part because Studiobricks (SB) did not send the correct instructions for my booth! This article will outline things we learned through the trial and error method over several weeks and tips for assembly of custom-size Studiobricks booths.

Before I continue, I do want to say that SB has been extremely responsive to our messages. However, I would have expected that a company that’s been in business for over 10 years would have all their documentation ready and wouldn’t piece-meal it to the customer as they run into problems. If we’d had all the correct guides at the beginning, we could have saved a lot of time and frustration. I do recognize, though, that the company is greatly expanding its US sales and continuously improving its products and service all the time.

[Read more…] about Assembly Tips for Custom-Size Studiobricks Booths

How I Get Stuff Done

Last week, the Audio Publishers Association held its annual conference (APAC), which was skipped last year due to COVID-19 and was virtual this time. They ran it on a site that gave us a virtual meeting space, networking areas, and an exhibit section like an in-person event.

The planning committee had asked me to be one of the experts meeting with small groups of narrators to address their particular questions in the Business Diagnostics session. I had the great pleasure of talking with 6 groups of narrators about time management and marketing/branding topics.

One participant’s question took me by surprise:  I narrate. I write. I create content for a membership site. I have a full life beyond work. How do I get so much done?

I say I was surprised because I’ve often wondered the very same thing about other people!

[Read more…] about How I Get Stuff Done

Thoughts About Advice in Narrator Groups

You don’t have to be a student of American history to know about the Donner party.

In the 1840s, this group of around 90 people had heard about the wonders of California and decided to travel west to seek their fortune.

Rather than following the rutted road of the hundreds of settlers before them, they took an unproven shortcut given by a person who had not actually made the trip he proposed and therefore had no business in directing others to go that way. None of the Donner party had traveled the route before, either, so they had no experience or knowledge to measure the shortcut against.

As a direct result of taking the disastrous advice about the shortcut, most of the party didn’t live to tell the tale. Those who did live endured unimaginable and grisly hardships in camp.

People today have heard about the gold rush in audiobooks, leading many to decide to become a narrator. While mistakes in audiobook narration don’t carry such severe consequences, they do have repercussions. Therefore, narrators participating in online forums need to be careful about the advice they give and take.

[Read more…] about Thoughts About Advice in Narrator Groups

Ongoing Masterclasses and Acting Classes

I think it’s safe to say that every professional, no matter the occupation, constantly undertakes training to improve their subject matter knowledge and learn new ways of doing things.

When I worked my first career in information technology, I had to stay current on software and hardware releases and understand how each component could affect the overall operation. In addition to taking specialized classes from vendors, I continuously read forums and magazines devoted to technology.

I would also experiment with new software in a lab environment. The worst thing we could do was install unproven software on our live system and then deal with the fallout from unhappy/downright angry system users who were thwarted from completing their tasks, or worse, lost work due to our changes.

While my job as a narrator doesn’t immediately affect other people, I still prefer to get training and experiment with my narration in a safe space.

 

Deyan Masterclasses

Last fall, I undertook 6 masterclasses from the Deyan Institute. Narrator PJ Ochlan hosted guest casting directors Jesse Bickford (Blackstone Audio), Gabrielle de Cuir (Skyboat Media), Guy Oldfield (Macmillan Audio), Caitlin Garing (Harper Audio), Khai Dattoli (Deyan Audio), and Linda Korn (Penguin Random House Audio) in separate 3-hour sessions in which 20 narrators performed a passage of our choosing.

Prior to 2020, I’d only been able to attend one of these masterclasses because they necessitated a trip to LA. With COVID-19 causing everyone to stay home, I was thrilled when I saw these classes would be offered over Zoom.

In each session, the industry director and PJ would give us guidance about ways to make our read better. We’d try a take 2 and sometimes 1 or more additional takes to incorporate their direction. With the slightest changes, a read can go from serviceable to superb.

They would point out areas in the text that were rich with clues about the underlying subtext that could lead to more nuanced acting choices. I can’t overstate the importance of developing the skill of taking the notes given to you and doing something that expresses you understood and are incorporating the direction into your read.

Each director had a different style, but all tried to help us approach the text more authentically — in other words, to be able to present the scenes as though they were really happening to us. Not only did we improve our performances, but listening to the feedback given to others proved highly valuable.

For instance, when thinking about your listening audience, it’s more helpful to envisage the exact type of person who would want to listen to THIS book instead of a general person close to you.

I’ve signed up for 4 more masterclasses over the next 2 months and am looking forward to the first one this Thursday with Iris McElroy (Harper Audio).

Acting for Audio

Meanwhile, I’m in my 6th week of Joel Froomkin’s Acting for Audio 14-week intensive course. Outside of a 10th grade speech class, I’ve never had an acting course. I’ve heard and read about many of the topics we’re discussing each week and enjoy seeing how they apply to acting in front of a microphone.

Only 10 narrators are in each section of the 3-hour classes to give us time for our performances and Joel’s lecture.

We have to plan and practice a short scene each week to meet certain criteria. Even though we normally work off camera in the booth, doing these tasks on camera helps fire the imagination to better visualize scenes and add physicality as we narrate.

Knowing that I’ll be performing over Zoom means I have to decide what to present, work through the logistics of doing it for an online audience, and practice a number of times before I’m ready to go live for the class.

Many of the exercises have come with a written assignment. In answering the questions, I’ve been surprised at some of the things I’ve never considered and learned about myself.

In both the masterclasses and the acting class, it’s been very interesting to observe the performances. Even without the text in front of us or knowledge of the scene beforehand, we can tell when the narrator wasn’t being true to the emotion of the scene or was otherwise unconvincing, like when an attitude crept into a character voice that didn’t match the author’s intent.

As we immerse ourselves in the characters and story during our narrations, we must allow ourself time to make the discoveries and feel the emotions as the characters would in that moment.

If a director and other colleagues can detect a narrator’s disconnection during these classes, our listeners likely will also hear it in our audiobooks.

I think of the Deyan masterclasses like an appetizer and Joel’s classes like Thanksgiving dinner. I don’t want to give too many specifics about each because doing so wouldn’t be fair to my colleagues who paid for these experiences.

I’m grateful these wonderful instructors have held these classes online and know that my narration skills have improved with each one. I highly recommend both the Deyan Masterclasses and Joel Froomkin’s Acting for Audio course for audiobook narrators who want to take their intepretation and acting skills to a higher level.

 

5 Things I Learned From Margaret Mitchell’s Letters

I always wondered why Margaret Mitchell didn’t write another novel after Gone with the Wind. I thought she could have feared the critics’ comments as they compared a second book to the epic, monumental achievement of her first. Nothing could ever live up to the reputation of her Great American novel.

However, when I narrated Road to Tara: The Life of Margaret Mitchell by Anne Edwards, I learned one big reason for Mitchell’s later absence from the bookshelves of new releases: she was too busy responding to correspondence about her book to write another book!

 

I’ve read the 2 books of her letters linked below. I’ve also been collecting the pictures of her letters posted by eBay sellers.

Mitchell published GWTW in June 1936, and it instantly became a runaway bestseller. David O. Selznick then paid the highest price to that date for the movie rights, causing Mitchell’s celebrity to rise even higher.

Suddenly, all the newspapers and magazines wanted to do interviews with the reluctantly-famous author. In numerous letters, she described fans as jumping out of the bushes at her home to get her autograph.

She was so besieged by people who wanted her to sign their books that she stopped signing them after a couple of months. However, she replied to hundreds or maybe thousands of letters requesting an autographed book to explain why she wouldn’t do it — and then signed the letter!

Maybe Mitchell felt compelled to respond to almost everyone due to her inborn sense of graciousness and Southern hospitality. Maybe she secretly thrilled at being a celebrity and sought to keep more recognition coming to her.

Whatever her reasons, she spent all day, every day, immersed in and often overwhelmed by her mail. For instance, she fielded fans’ questions, as well as requests for speaking engagements and material mementos.

Although Mitchell vowed not have any part in making the movie, she answered and wrote a barrage of letters about it. She also kept eagle eyes and a tight rein on the foreign rights and translations of her book, initiating and participating in countless exchanges about those aspects of publishing.

I think of Margaret Mitchell often when I’m reading, replying to, and writing my email and communicating in online forums. I learned a few things from the way she dealt with her voluminous correspondence that I want to share with you.

  1. Use templates, and then liberally copy and paste.

Margaret only had her trusty typewriter and reams of paper at her disposal. What might she have achieved and how productive might she have been with a computer? Rather than re-typing the same info to multiple people like she did, we have the luxury of copying and pasting from one message to another.

If you find yourself sending the same message on a recurring basis, create a template for that type of correspondence. For instance, I have a folder in Evernote containing my templates for numerous situations, including:

  • prospecting emails to publishers and authors (they ARE different!)
  • messages to authors who chose a different narrator from an ACX audition
  • requests for reviews
  • inquiries about licensing rights
  • asking permission to add people to my mailing list

I even have a template for newcomers who leave me voice mail asking to talk with me about becoming a narrator! It’s super fast and easy for me to open my Evernote app on my phone, find that template, and copy and paste it to a text message back to the originating phone number. In the time it took for me to write or you to read that sentence, I could have taken those actions, responded to that query, and moved on with my day.

2. Create and use keyboard text shortcuts.

Facebook Messenger, WordPress, and other platforms don’t maintain my email signature. As pictured below, I set my keyboard text replacement to automatically and magically type Cordially, Karen Commins when I type the 3 letters ckc and press space or return.

I have created a number of text shortcuts for things that I type frequently:

  • my email address
  • sign-off sentence in email
  • daily tasks like walking my dog
  • my web site URLs

MacOS has text replacement as a built-in feature. From my quick Google search, it looks like you have to use a separate text expander utility in Windows to get this functionality. I saw this one recommended on several sites, and its capabilities go beyond simple text replacement.

I have multiple Gmail accounts, and I noticed that text replacement only worked in some of them. I Googled the problem and learned that you have set the Gmail Spelling setting to Spelling suggestions off.

3. Don’t answer everybody even when you know the answer.

Mitchell prided herself on the depth and accuracy of her historical research for GWTW. She felt compelled to set the record straight whenever anyone questioned the facts in her book. Instead of defending her previous research, she could have spent that time doing new research for a new project.

This tip is becoming one of my mantras! I remind myself of this point when I am reading Facebook forum threads. I’ve decided it’s not my job or even in my best interest to share my knowledge every time the opportunity presents itself.

In addition, I receive LOTS of messages from narrators, authors, and wannabes via email, text messages, and social media. As I’ve previously noted, if I personally assisted everyone who asked for my help, I would never have time to do any work of my own.

I state on my Contact page:

Due to the volume of requests that I receive, I may not personally respond to your message. I prefer to answer publicly so that more than one person benefits from the answer.

If I can quickly point someone to a blog article or other resource, I am very happy to do so. Otherwise, since I have stated my policy, I feel no guilt when I sometimes need to press the delete key. I especially use the delete key when I know someone wants to sell me something or I can tell that writing a suitable answer would take more than 5-10 minutes. I make a note of questions that require more involved answers for subjects to explore here on the blog.

4. Don’t put others’ needs ahead of your own creative output.

I saw a quote recently that speaks to this thought:

“When you say yes to others, make sure you are not saying no to yourself.”
— Paulo Coelho

When I re-read my journals, I’ve noticed that I’ve said on too many occasions that I didn’t even start on my project for the day because I was helping other people.

Helping people gives me joy. I feel it’s a large part of my purpose.

I’m realizing, though, that I can help more people in the long run by prioritizing my creative projects (like writing this article!) ahead of helping a single person in the moment.

5. Get to the point quickly, and don’t bury the lede.

Mitchell’s letters show her immense strength and charm as a loquacious storyteller. She wrote the most chatty, lengthy letters and would wax on for paragraphs assuming that her recipient was devouring her every word with keen interest.

People today are too busy and get far too many sources of info hammering at us every day.

When I worked as the deputy branch manager in my government IT career, my boss complained that he received lengthy emails that left him wondering what the person wanted him to do. He often forwarded such messages to me to decipher and resolve.

At least once a week now, one of those kinds of messages appears in my inbox. If I can’t quickly figure out what the person wants from me, I delete the message.

A while back, I did some research to learn the ideal length for a prospecting email to a potential client.  One writer uses a 5-sentence rule.

The sweet spot falls between 50 and 125 words, which is not much longer than a tweet. I use this site to check the length of emails before I send them.

You also may want to compose messages on your phone because more people are now reading and replying to emails on their phones. If you have to scroll your message, it’s time to make some cuts!

If you wonder why your emails go unanswered, one article writer commented that, like my former boss, s/he felt anxious when seeing large blocks of text. Do they have time to read it? Would they get all of the sender’s points? Do they need to read it carefully? Do they have time to write a long response?

When I’m drafting a message, I may write it in linear/chronological fashion about the situation, which naturally causes my call to action to fall near the end. I then move that action to the 1st or 2nd sentence so it’s immediately clear to the recipient why I sent the message and the action I want them to take. I’ll also enter the action as the subject of the message. I’ll edit the message to use a journalism-style of inverted pyramid where the least important info is left to the end.

 

Applying these 5 guidelines to my own correspondence and forum participation enables me to spend more quality time on my own projects. How do you make time for your creative work? Please leave a comment!