Writing a Booktrack: Show Add sound, don’t tell
So, I’m unfeasibly chuffed at being a Booktrack/Hugh Howey competition finalist. And surprised – no, really I am. Because I know that some entrants uploaded their own music, and while I can bash out a few Coldplay numbers on the piano, I’m no Chris Martin.
Luckily for me, Booktrack already has an astonishing collection of music, ambient sounds, and sound effects available. The trick is knowing how to find the perfect tracks to convey the mood and heart of the story. And my top tip for doing that? A Thesaurus! More on that later.
I have found that, when I explain the concept of a book soundtrack to someone new to the idea, a progression of expressions tends to pass across their features: confusion–bemusement–doubt. And then you have to explain the, “But how does it know how fast you read?” business. And then the, “But isn’t it really distracting?” business.
This is all understandable – it’s a whole new way of reading, and it takes some getting used to. And if you like to read curled up in a quiet corner, the purring of the cat in your lap the only sound disturbing the silence, then the idea of music and sound effects playing along to your book may make your toes curl. And if it’s not done properly, it can indeed put you right off your reading.
But if it’s done well, it can bring a whole new dimension. It’s like the difference between a well-written book and a badly written one. With the former, you are swept along, lost in the words because they are so well put together. With a badly written book, everything jars and you can’t get into it. Similarly, a good Booktrack will just be there, in the background; you will be almost unaware of it. It could be the quiet pattering of rain as a character stares gloomily out of a window, or the gentle sound of waves breaking on a beach as two lovers walk along the sand. And then a new sound, creeping in almost unnoticed, sends your subconscious a clue that the tone of the story is about to change.
I recently compared reading one of my ghost stories (The College Street Ghost – click on these links if you’re brave enough) with and without the soundtrack, and the silent version now feels as if there’s something missing. I wrote this story specifically for Booktrack, and found I could actually leave out a phrase here and there because I was using music to convey the mood and meaning instead. Perhaps we need a Booktrack version of the “Show don’t tell” rule of writing: “Add sound, don’t tell”.
Luckily for me, Booktrack already has an astonishing collection of music, ambient sounds, and sound effects available. The trick is knowing how to find the perfect tracks to convey the mood and heart of the story. And my top tip for doing that? A Thesaurus! More on that later.
I have found that, when I explain the concept of a book soundtrack to someone new to the idea, a progression of expressions tends to pass across their features: confusion–bemusement–doubt. And then you have to explain the, “But how does it know how fast you read?” business. And then the, “But isn’t it really distracting?” business.
This is all understandable – it’s a whole new way of reading, and it takes some getting used to. And if you like to read curled up in a quiet corner, the purring of the cat in your lap the only sound disturbing the silence, then the idea of music and sound effects playing along to your book may make your toes curl. And if it’s not done properly, it can indeed put you right off your reading.
But if it’s done well, it can bring a whole new dimension. It’s like the difference between a well-written book and a badly written one. With the former, you are swept along, lost in the words because they are so well put together. With a badly written book, everything jars and you can’t get into it. Similarly, a good Booktrack will just be there, in the background; you will be almost unaware of it. It could be the quiet pattering of rain as a character stares gloomily out of a window, or the gentle sound of waves breaking on a beach as two lovers walk along the sand. And then a new sound, creeping in almost unnoticed, sends your subconscious a clue that the tone of the story is about to change.
I recently compared reading one of my ghost stories (The College Street Ghost – click on these links if you’re brave enough) with and without the soundtrack, and the silent version now feels as if there’s something missing. I wrote this story specifically for Booktrack, and found I could actually leave out a phrase here and there because I was using music to convey the mood and meaning instead. Perhaps we need a Booktrack version of the “Show don’t tell” rule of writing: “Add sound, don’t tell”.
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