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 Betreff des Beitrags: Re: Romeo and Juliet (2016)
BeitragVerfasst: 10.01.2017, 13:16 
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RA-infiziert

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Ich habs endlich geschafft, das ganze Hörbuch ein zweites Mal durchzuhören. An und für sich hat es mir gefallen, erinnerte mich in vielen Szenen aber auch an die Wunderschöne Zeffirelli-Verfilmung aus den 60er Jahren. Ging das noch wem so?


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 Betreff des Beitrags: Re: Romeo and Juliet (2016)
BeitragVerfasst: 01.02.2017, 17:38 
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Also das Kapitel 21 sollte man sich wegen dieser Stelle
Spoiler: anzeigen
https://mobile.audible.de/socialshare?id=32007f14-4e13-4fd2-892d-eaac6a86d452&source_code=ADEORHP0723159030
nur vorm Schlafengehen anhören. :pfeif:

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 Betreff des Beitrags: Re: Romeo and Juliet (2016)
BeitragVerfasst: 01.02.2017, 19:15 
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Nicole1971 hat geschrieben:
Also das Kapitel 21 sollte man sich wegen dieser Stelle
Spoiler: anzeigen
https://mobile.audible.de/socialshare?id=32007f14-4e13-4fd2-892d-eaac6a86d452&source_code=ADEORHP0723159030
nur vorm Schlafengehen anhören. :pfeif:


:burn: :burn: :burn: :bed2: Was soll Frau denn sonst dazu sagen? :umkipp:


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 Betreff des Beitrags: Re: Romeo and Juliet (2016)
BeitragVerfasst: 05.02.2017, 23:22 
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Lobende Worte in einer Review:

Zitat:
Several books used to extend reach of established franchises

By Dale Pollock Special Correspondent 17 hrs ago

When George Lucas walked away with $4.5 billion for selling his Lucasfilm and “Star Wars” empire to Disney, he left a fully functioning literary universe to the franchise’s new owner.

Just as Disney has been rolling out new “Star Wars” movie, the Lucasfilm juggernaut is also being used to promote the latest franchise entries.

A perfect case in point is “Catalyst: A Rogue One Novel” by James Luceno (Penguin Random House Audio, 11 hours, 10 CDs, $45), whose express purpose is to provide the backstory for the characters in the “Rogue One” feature film that came out last December, and had a worldwide box-office gross of over $500 million.

Luceno is a veteran at spinning out these audio supplements to the “Star Wars” saga. He’s written at least 20 novels that are related to the battle for the Empire, using the storm troopers and Death Stars that are focal point of the films.

Helping “Catalyst” enormously is the masterful reading by Jonathan Davis, who impersonates a variety of intergalactic creatures in telling the story of Galen Erso, his wife Lyra and their daughter Jyn, and how they are duped by master villain Orson Krennic, who is determined to use Erso’s scientific wisdom to make the Death Star a reality.

But it’s a flawed book. There is zero dramatic tension in “Catalyst,” and Luceno’s writing is redolent with techno-speak. If I had to listen to one more description of super-powerful lasers I would have been praying for the Force to intervene and put an end to my misery.

Another writer with an endless supply of stories was William Shakespeare. But that hasn’t stopped some publishers from trying to out-game him, too.

David Hewson and actor Richard Armitage, who previously partnered in 2014 with the successful “Hamlet, Prince of Denmark: A Novel,” are back with another original Shakespeare production commissioned by Audible.

In “Romeo and Juliet: A Novel,” Audible Studios, 11 hours, 10 minutes, $24.95), Hewson and Armitage triumph again.

It’s incredibly brave to attempt a rewrite of Shakespeare, and Hewson has done a superb job. Verona springs to life in this audiobook, expertly narrated by Armitage, who portrays a panoply of characters instantly distinguishable by their varying British accents. Mercutio, for example, sounds like Johnny Depp meets Keith Richards. It’s a curious choice for 14th-century Italy but totally entertaining.

Far from being the simpering Juliet, the slightly passive Shakespearean heroine is a feisty, back-talking tough young woman, interested in educating the masses and absolutely rebelling against the arranged marriage dictated by her father.

As the novel moves inexorably toward what you dread — the tragic deaths of the two star-crossed lovers — let me just say that this novel provides incredible relief and changes that destiny. No spoiler here.


There are also young writers establishing new potential franchises, notably Maria Semple, the best-selling author of “Where’d You Go, Bernardette,” which attracted an enormous listenership of millennial women.

“Today Will be Different” (Hachette Audio, 6.5 hours, 8 CDs, $30) continues Semple’s hot streak, offering a distinctive voice in her first-person saga about a professional animator, wife and mother named Eleanor Flood. That voice is wonderfully supplied by Kathleen Wilhoite, a veteran actress.

Semple is trying to hold her many-faceted life together: she has an inquisitive child named Timby, a dream doctor husband and a bizarre professional career as an alternative cartoonist on a fictional TV network.

What distinguishes the novel is Semple’s funny prose. There are few contemporary novelists as successful as Semple in using the material of her own messed-up life to make her readers laugh. Even with a somewhat dark ending, “Today Will Be Diffferent” is more consistently humorous than any other book I listened to in 2016.

Dale M. Pollock is the former dean of the film school at UNCSA where he now teaches film studies. His Movie a Day blog appears on www.dalempollock.com.


http://www.journalnow.com/relishnow/books/several-books-used-to-extend-reach-of-established-franchises/article_0048c885-15b5-5684-9475-6e74b7bd5673.html?utm_medium=social&utm_source=twitter&utm_campaign=user-share

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 Betreff des Beitrags: Re: Romeo and Juliet (2016)
BeitragVerfasst: 26.06.2017, 13:42 
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Am 06.07.17 kommt die deutsche Version bei Audible auf den Markt, mit der ein anderer Weg der Präsentation beschritten wird. Hier wurde mit verteilten Rollen und einer Erzählerstimme eingelesen. Ungebrochen ist aber das Lob für Hewsons Version. :daumen:

Zitat:
5. Juni 2017
Jetzt spielt Julia die Hauptrolle: Julia & Romeo bei Audible


Am 6. Juli 2017 veröffentlicht Audible das Audiodrama Julia & Romeo aus der Feder von David Hewson. Obwohl es auf dem wohl berühmtesten Theaterstücks von William Shakespeare basierend, hat diese Version einige Überraschungen parat.
Alter Stoff?

Hewson wagt sich in seiner exklusiven Auftragsarbeit für Audible an einen Klassiker der Weltliteratur. Doch seine Interpretation bietet eine mutige und neue Sichtweise auf zwei Jugendliche, deren Liebe sie entgegen aller Vernunft zusammenführt. Denn die Eigenproduktion erzählt die Geschichte nicht nur aus Julias Perspektive, sondern zeichnet die Capulet-Tochter darüber hinaus als moderne Powerfrau auf der Suche nach Freiheit und Selbstbestimmung.

„Ich wollte die Geschichte so erzählen, wie sie Shakespeare vielleicht gerne erzählt hätte, aber zu seiner Zeit nicht konnte. Julia ist für mich die komplexere und spannendere der beiden Hauptfiguren. Ihre rebellische und willensstarke Art hat auch Shakespeare bereits angelegt, nun befreien wir Julia von den damaligen Zwängen. Wir erzählen die Geschichte aus Julias Perspektive neu und lassen sie die mutige und emanzipierte junge Frau sein, die Shakespeare nur andeuten konnte“,

betont der britische Bestsellerautor David Hewson (u.a. bekannt für sein Buch zur TV-Erfolgsserie The Killing).

Mehr als nur ein Liebesobjekt

Das Audible Original versetzt Julia & Romeo in den heißen Sommer des Jahres 1499 in Verona. Die Hauptperson ist eine junge Erwachsene mit intellektuellen Interessen, die sich ganz bewusst gegen die traditionellen Vorstellungen wendet, die ihre Eltern von der Rolle einer Frau haben. Julia ist Kind der heraufziehenden Renaissance. Sie entwickelt sich in dieser Version von einem verwöhnten Mädchen zu einer emanzipierten Frau. Doch aufgepasst, denn auch beim Ende orientiert sich Hewson nur bedingt an der Vorlage.

„David Hewson wollte eine radikale Neuinterpretation der Geschichte, ohne Tabus. Dabei ist er so konsequent und mutig, dass einige Wendungen Shakespeare-Kenner überraschen werden“,

verrät Michael Treutler, der bei Audible für das EU-Programm verantwortlich ist.
Ein moderner Klassiker

„Uns hat überzeugt, dass für David eine moderne Inszenierung nicht bedeutet, Julia und Romeo nach New York zu versetzen und ihnen ein Smartphone in die Hand zu drücken, sondern dass wir die Charaktere dem heutigen Zeitgeist anpassen, ohne sie aus ihrem historischen Kontext zu nehmen. Das ist genau der Mut, den wir bei unserer Zusammenarbeit mit Autoren suchen.“,

fügt Michael Treutler noch hinzu.

Ähnlich wie bei dem 2016 erschienenen Audible Originals Macbeth: Ein Epos von David Hewson nutzt der Autor und Shakespeare-Interpret auch in Julia & Romeo wieder eine moderne Sprache, um den Klassiker in zeitgemäßes Audio-Entertainment zu verwandeln. Dabei besetzt Audible mit Yara Blümel (Julia) und Nicolas Artajo-Kwasniewski (Romeo) die Hauptrollen mit zwei äußerst renommierten Sprechern. Zum weiteren Sprechercast gehören u.a. auch die bekannten TV-Schauspieler Barbara Schöne und Michael Mendl sowie Friedhelm Ptok als Erzähler. Regisseur Christian Hagitte und Audible-Produzentin Katja Reister zeichnen für die Produktion des Klassikers verantwortlich, die zudem mit einem eigens komponierten Soundtrack überzeugt. Die anspruchsvolle und aufwendige Neuvertonung macht Julia & Romeo zu einem beeindruckenden Stück für die Ohren.

Das neueste Audible Original ist ein zeitloses und mitreißendes Abenteuer über Liebe, Identität, Werte und Selbstbestimmung, das die größte und tragischste Liebesgeschichte der Weltliteratur neu erzählt.

Julia & Romeo erscheint am 6. Juli 2017 und ist bereits jetzt vorbestellbar.


http://www.nerdlich.org/2017/06/05/jetzt-spielt-julia-die-hauptrolle-julia-romeo-bei-audible/

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 Betreff des Beitrags: Re: Romeo and Juliet (2016)
BeitragVerfasst: 21.10.2017, 18:13 
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David Hewsons 'Romeo and Juliet' wird als Buch erscheinen:

Zitat:
Dome Press to publish Shakespearean novelisation Juliet and Romeo
Published October 20, 2017 by Lisa Campbell

The Dome Press has signed Juliet and Romeo, described as an old story told in an "entirely new way", putting Juliet at the centre.

The publisher bought world English language rights to David Hewson's Shakespearean novelisation from Alice Lutyens at Curtis Brown.

Hewson has written several adaptations of Shakespeare for Audible, including Romeo and Juliet which was read by Richard Armitage and inspired this novel.

Rebecca Lloyd, publisher at The Dome Press, said: "Juliet and Romeo tells an old story in an entirely new way, bringing it to a whole new audience. Funny as well as tragic, with a Juliet at the centre with whom modern women can relate, and with a real twist in the tail, I loved it and am very excited to be the publisher.”

Hewson added: “This is Richard’s version and more — rewritten as a historical tragedy set in the real Verona of 1499 with twists Shakespeare may have hinted at but never wrote. I can’t wait.”

Juliet and Romeo will be published in May 2018.



https://www.thebookseller.com/news/dome-press-publish-shakespearean-novelisation-juliet-and-romeo-657421

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 Betreff des Beitrags: Re: Romeo and Juliet (2016)
BeitragVerfasst: 08.12.2017, 17:51 
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Wohnort: Richard's Kingdom of Dreams
Audible UK hat mal wieder ein Richard Foto herausgekramt:

Zitat:
audible.co.uk‏@audibleuk

#FridayFeeling When you have no weekend plans (apart listening to @RCArmitage read you a story)


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https://twitter.com/audibleuk/status/939159698867150848

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 Betreff des Beitrags: Re: Romeo and Juliet (2016)
BeitragVerfasst: 07.03.2018, 13:34 
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Richard hat wieder einmal ein Vorwort verfasst:

Zitat:
David Hewson@david_hewson

One other thing I should say about the forthcoming book of Juliet & Romeo. Mr @RCArmitage has kindly written the foreword for which I'm very grateful.


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https://twitter.com/david_hewson/status/971355760973303808

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 Betreff des Beitrags: Re: Romeo and Juliet (2016)
BeitragVerfasst: 28.03.2018, 16:20 
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Die beiden haben bestimmt auch nicht zum letzten Mal zusammen gearbeitet. :lol:

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 Betreff des Beitrags: Re: Romeo and Juliet (2016)
BeitragVerfasst: 05.05.2018, 22:27 
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Lobende Erwähnung von Richard aus Anlass des Erscheinens von Hewsons 'Romeo and Juliet' in Buchform:

Zitat:
The Cutting Edge, and more

May 4, 2018
Written by crimefictionlover


On the Radar — Lincoln Rhyme is right up there with the best detectives in crime fiction, and Jeffery Deaver has made the character a favourite with readers around the world. What’s fascinating about Rhyme, who was played by Denzel Washington in The Bone Collector, is that a spinal injury has confined him to his apartment. But his mind can roam and with the help of his partner and protege Amelia, out there gathering evidence, it’s almost as though there’s no crime he can’t solve. Or is there…?

We’re excited to bring you news of the latest in the series, plus eight more new crime reads, some of which are based on equally fascinating concepts. Read on and discover your next crime fiction favourite.

The Cutting Edge by Jeffery Deaver

Lincoln Rhyme is back for his 14th appearance, and this time he’s taking on The Promisor, a frenzied killer who targets happy couples as they are planning their big day. The first deaths are at a jewellers in New York’s Diamond District, where a pair of love birds were about to buy an engagement ring. As the paraplegic investigator Rhyme and his partner Amelia Sachs take on the case, and the deadly perpetrator, they are led up many a blind alley before the truth is finally uncovered in this twisty thriller that’s out on May 17. Author Jeffery Deaver is one of America’s leading crime writers and we interviewed him here.

Pre-order now on Amazon

Wrong Way Home by Isabelle Grey

It was 25 years ago when the Marineland resort burnt down on the Southend seafront. On that same night, a young woman was raped and murdered but no one was caught. Now DI Grace Fisher is tasked with taking a fresh look at the case after new DNA evidence is uncovered. Meanwhile, cub reporter Freddie Craig decides to make a name for himself by conducting his own investigation, but as his digging turns into an obsession, will either of them ever discover the truth? Out 17 May.

Pre-order now on Amazon

Dead if you Don’t by Peter James

Gambling debts? The ideal thing is to take your mind off them for a few hours by, say, going to a football match. That’s what Kipp Brown decides to do with his son Mungo, but when Mungo is snatched Kipp’s debts seem the least of his worries. The kidnappers have said not to go to the police but that’s just what he decides to do and Peter James’ veteran Brighton detective DS Roy Grace is on the case. It’s out on 17 May.

Pre-order now on Amazon

Fault Lines by Doug Johnstone

How do you feel about speculative crime fiction? In a reimagined contemporary Edinburgh, a tectonic fault has opened up. Tremors are an everyday occurrence and a volcanic island has appeared in the Firth of Forth. The new island is called The Inch, and it is a place volcanologist Surtsey visits for a clandestine meeting with her lover, Tom. But on her arrival she finds Tom dead and she panics.The decision to keep the death, and her affair, a secret is about to lead Surtsey into a nightmare of seismic proportions. Out now for Kindle and on 22 May as a paperback. Doug Johnstone’s Hit and Run is a must-read release from back in 2012.

Buy now on Amazon

What We Did by Christobel Kent

Bridget lives a quiet, unassuming life with her husband and son and works hard to keep her business going. Then a chance meeting changes everything when she sees the music teacher who abused her when she was younger. He’s with a teenager he’s clearly grooming and something snaps inside Bridget. Her carefully built facade is about to come tumbling down – but Bridget isn’t about to let that happen. And what she decides to do could have serious repercussions… Out 17 May. In June 2017 we reviewed the author’s book The Day She Disappeared.

Pre-order now on Amazon

It Was Her by Mark Hill

An interesting concept here from the radio producer turned crime novelist Mark Hill. It involves a young woman called Tatia. She was adopted as a child, but when a younger sibling died in an accident she was given the blame and rejected by her new family. Now, 20 years on, she’s a bit of a drifter in the London suburbs. Perhaps it’s a loving home she wants as she moves into people’s houses while they’re away on holiday. But is she the one DI Ray Drake and DS Flick Crowley (yeah, really, the names, huh?) are after when bodies start turning up in the ‘burbs? It’s dark and it’s out 17 May.

Pre-order now on Amazon

Mine by Susi Fox

This is one of those psychological thrillers that sets out to take you right to the edge – especially if you’re a parent. Imagine you’ve had a caesarian section and you wake up wanting to see your baby. The nurses present you with an infant but, lovely as it is, you just know it’s not yours. What’s more, the main character in this one is a doctor, so author Susi Fox pits the reasoned thinking of a medical professional against the instincts of a mother. If that’s enough to hook you, Mine is out now for Kindle, and on 14 June as a paperback.

Buy now on Amazon

Juliet and Romeo by David Hewson

Shakespeare redone as crime fiction. It’s a thing. We recently reviewed Jo Nesbo’s version of Macbeth and David Hewson is next up, having also reshaped Hamlet, Prince of Denmark. This time he turns to the classic tragedy. Unusually the audiobook, narrated by the talented Richard Armitage, was released last year, before the novel. It has received considerable acclaim. Hewson’s long running Nic Costa crime series draws heavily on its Roman setting. We can expect a powerful evocation of medieval Italy as the starcrossed couple and all their machinations come unstuck in a fateful week in Verona. Released 17 May.

Pre-order now on Amazon

White Night by JJ Holt

New York is the city that never sleeps, and the White Night could take down the career of Homicide Detective Jen Connors. She has just returned to the force after suffering life-threatening injuries and has been paired with Detective Alan Ross, who carries a bad reputation with him. Will it work out for the new partners, or will the White Night be their demise? Whoever’s behind it is playing the NYPD against them. This book, first in a series, is out now.

Buy now on Amazon


https://crimefictionlover.com/2018/05/the-cutting-edge-and-more/

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 Betreff des Beitrags: Re: Romeo and Juliet (2016)
BeitragVerfasst: 22.05.2018, 13:11 
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David Hewson über seine Zusammenarbeit mit und den Einfluss von Richard auf seine Arbeit:

Zitat:
Guest Post from David Hewson

What writers can learn from actors.


Confession time: I used to think actors had it easy. I mean… what do they do except learn lines and say them? I was an idiot. When you work alongside them you realise how a big part of their job is making the very hard look very easy. And for a writer it’s well worth watching how they go about their work too because dramatic skills are key to story-telling and story-telling, more than ‘writing’, is what mainstream fiction is all about.

Richard Armitage is probably best known for Thorin in The Hobbit, the scary Francis Dolarhyde in Hannibal and for British viewers Spooks. But he’s also a formidable stage actor and one of the best narrators of audiobooks on the planet.

I was lucky enough to have him perform the audio rewrite of Hamlet I produced with my co-author A.J. Hartley a few years back. Richard’s work on that was stunning and deservedly won us a nomination for an Audie, an audiobook Oscar.

So it was a great relief to hear he was coming on board to do the same for the version of Romeo and Juliet which I was writing, on my own this time. Fast forward several months later and I’m in a studio in London’s Soho watching him get down to work, speechless behind the glass sitting next to the director.

Richard doesn’t read material, he performs it. For hours on end he was bent over the mike, reading the script from the iPad, moving from voice to voice, quiet and determined for Juliet, raucous Brummie for her Nurse, old and broken for Capulet her father. It was astonishing to watch, and even more astonishing to see Richard break after a couple of hours, take a sandwich then get back to work. I felt exhausted just watching him.

There, and later in New York where recording ended, we chatted about the project and Shakespeare in general – remember he’s worked with the Royal Shakespeare Company along the way.

One of the first things he asked me was, ‘When’s the book coming out?’ And to be honest I didn’t have an answer. I wrote the audio original as a kind of one-man play, specifically with Richard in mind for his range of voices. It was a script, not a book. It wouldn’t work without considerable changes, not least the reversion to my original title for the work, Juliet and Romeo.

Like me, Richard saw Juliet as the principal figure in this story. After all she’s the one in most jeopardy, facing a forced marriage she regards as a death sentence. While Romeo’s a nice enough lad, but not that bright and merely facing the prospect of being jilted.

Something else I was able to learn from Richard too was the importance of theatrical against literary dialogue. No dialogue is ‘real’, in the sense that it matches everyday speech with its interruptions, umms and ahhs, and non sequiturs. But in books dialogue tends to be more formalised. Questions that are asked are usually answered. As an author you tend not to leave things hanging in the air.

At that time in New York Richard was in a fantastic play, Love, Love, Love, by the British writer Mike Bartlett (of Doctor Foster fame on TV). The dialogue here is very precise in its imprecision, full of unanswered questions, overlapping sentences, silences and broken phrases. It’s not ‘real’ but it feels that way. So I learned a fair bit from that, and some of the other comments Richard kindly made, then set about turning the script I wrote for him into a novel.

How different is it from the audio original? In general form not much at all. Some scenes have been added, others changed, and parts adapted into novel format to make them easier to understand. Good audio depends upon simplicity, linear structure and clarity of point of view and dialogue. But you could say the same about mainstream fiction too so it wasn’t hard to go in that direction. A warning though: you can’t follow the stories word for word as you normally can with audio versions of a book. It is too different for that.

Richard’s an incredibly generous chap and was good enough to provide a foreword for the book too. His many fans around the world are always asking me: will you work with him again? I hope so, but then everyone who’s ever worked with him seems to feel the same way. He is the busiest actor I know. If he’s not on a film or TV set somewhere you’ll usually find him in front of the mike in a studio recording an audiobook or drama.

But I hope we cross professional paths again. I learned from a master listening to him turn my words into something else altogether. And a writer’s always learning.


https://ronnieturner.wordpress.com/2018/05/22/blog-tour-review-guest-post-juliet-romeo-by-david-hewson-bookreview-guestpost-julietandromeo/

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 Betreff des Beitrags: Re: Romeo and Juliet (2016)
BeitragVerfasst: 22.05.2018, 13:44 
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Danke Laudine... für das Einstellen.

How wonderful is that...

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 Betreff des Beitrags: Re: Romeo and Juliet (2016)
BeitragVerfasst: 22.05.2018, 21:16 
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Der Bericht eines Fanboys. :giggle: Es ist wirklich eine Freude, diese Zeilen zu lesen. :heartthrow: :knutsch: Schmunzeln musste ich über Hewsons Bewunderung für Richards Dauereinlesen. Das ist aber letztlich genauso Trainingssache wie andere körperliche Anstrengungen. :shy:

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 Betreff des Beitrags: Re: Romeo and Juliet (2016)
BeitragVerfasst: 10.08.2018, 22:53 
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David Hewson mit Äußerungen über Richard im Kontext seiner Tipps für ein erfolgreiches Audiobook:

Zitat:
Thursday, August 9, 2018
David Hewson--Tips on Successful Audio Books


DEBORAH CROMBIE: I've commented a good bit recently on how much I'm enjoying audio books these days, so I was really tickled when I got a notice that my friend David Hewson had a new book in his Nic Costa series available on Audible. But it's not just the audio versions of David's novels that are big hits--he's been enormously successful in writing works directly for audio, as you will see. I asked him to chat with us about that, and about the latest in the world of audio books. This is so fascinating! I've become more and more aware of how my own books are going to translate to audio, so I'm going to be saving David's tips for constant reference.

DAVID HEWSON: So there I was in the grand surroundings of the New York Historical Society waiting to hear who’d won an Audie, the audiobook equivalent of an Oscar, for the best original work of 2017. Had to be The Handmaid’s Tale narrated by Claire Danes and Margaret Atwood, didn’t it? Or maybe Nevertheless, We Persisted, a timely tale for the Me-Too era with a huge cast of voices.

Well no, actually. It turned out to be me, with no small amount of help from my wonderful narrator/performer Richard Armitage who breathed life into a revisionist adaptation of Shakespeare,

Rarely has my gob been so smacked as we say on this side of the pond. It sits on my mantelpiece now, an imposing and very heavy reminder of how Richard and I took one of the best-known tales in the world apart and retold it in a new and very different fashion. But here’s the odd thing. People, fellow writers even, still look at me askance when I say I love writing audio as much as novels. More so in some ways.

Why, they wonder? Don’t I know that stories come from books not a download from Audible?

Be still my beating heart… how wrong can you get? Audio isn’t just an important financial part of the publishing business these days – and unlike books growing very healthily in audience and money terms each year. Of more immediate interest to me as a writer, it’s at the heart of what we do. If you think that stories come from books you damn yourself as someone of a certain age. For a modern audience they’re as likely to come from a video game, a Netflix series or a movie.

Or, indeed, a tale skillfully told in your ear by a consummate actor like Richard. Because the aural storytelling tradition is where it all began. Remember that chap called Homer? He couldn’t write. He was probably blind for one thing. He recited or perhaps sang his stories to a rapt audience while others wrote them down to save them for prosperity. In fact there are people who believe that this is one reason writing first came into being.

I knew none of this when, largely by accident, I fell into working on audio original projects for audible, first Hamlet and Macbeth, co-written with my fellow author and Shakespeare expert A.J. Hartley, then on my own with Romeo and Juliet. There are more in the works too, not that I can tell you about them at the moment.

I still write books, of course. And I’m delighted to say my popular Nic Costa series has made a return with a new book, The Savage Shore, which has just appeared in the UK. The audio is released simultaneously, thank goodness, and if you’re in the US you’ll find the audio edition is the only immediately available version since the print and ebook versions won’t be out over there until November. See – it is important, isn’t it?

Another crucial thing that needs to be said about audio, too, is that writing to be read aloud tests and improves your technique for book work too. For example… here are some of my simple rules for tackling audio. You may think they work pretty well for books too.

Keep it simple

A physical book has a physical form of navigation built in. We know through the feel of the pages how far we’ve traveled and the distance left to go.

Once stories turn digital, navigation isn’t so simple. Yes there are ever more sophisticated tools that let you skip and navigate around the story. But listeners still crave signposts along the way, an indication, hopefully suggested by the story, where they should stop, rather than abandon something unsatisfactorily mid-scene.

Here are some of the ways I try to achieve this.

- I write in short scenes. The average scene length in Romeo and Juliet: A Novel is probably around 1,000 words or five minutes or so in listening time. Some may run to twice that but they’re rare and usually important. Short scenes make it easier for the listener to choose when to break. They also tempt them to take on just one more scene when otherwise they might give up.

- I structure the narrative in parts (or acts). Maybe, as in Romeo and Juliet: A Novel, a story that happens over a few days so it’s broken up by time, with an audio marker to denote the start of each act. Or it’s something thematic that marks a break. Whatever your divider you need to say to the listener… we’re starting a new section of the story now. It’s going to be big so if you want to put it off until you have the time now’s the point to do it.

- Always, always make it clear at the beginning of the scene where we are and whose point of view is in operation if any. Listeners need to know that. They shouldn’t feel they have to catch up on what’s happening.

- Make the narrative linear. Time jumps, flashbacks, flash forwards are going to produce speed bumps that will confuse the audience. I’m producing mainstream narrative fiction. Listeners should be engrossed in the story, not thinking about how it’s written or the cleverness of the author. The best writing is the writing that’s invisible just as the best acting doesn’t look like acting at all.

Dialogue

I’m working with world class performers and part of my job is to help them shine. A novel is a work inside itself, the author the cast, narrator, cinematographer and director. An audio project is closer to a film, TV or stage script. The way dialogue is handled is essential in all this.
- It must match the character. People speak differently according to class, sex and their role in the story. If they all sound the same it won’t work – and your narrator won’t have good raw material to work with..

- The horror of ‘he said’ and ‘she said’. God how we all wrestle with that. Look, attribution is necessary from time to time. But mostly I will let the narrator deal with the change in speaker through accent and approach. Too many ‘he said’ and ‘she saids’ in a book can be annoying. In audio they can drive you up the wall. I recently had to give up on a very good book in audio because the writer hadn’t given this a second thought. Tip: always read your work out aloud and listen to it very carefully. That goes for any kind of writing.

- Speech must be easy to understand and straightforward. One of the key ideas behind these Shakespeare adaptations was that they ran with the heretical idea that his language would go out of the window and they would focus on the story. Shakespeare is difficult, archaic and often open to interpretation even by experts. What I wanted were people from the late fifteenth century speaking in modern, comprehensible English, occasionally with a twist. Anything else and we’d be back producing speed bumps for the reader.

Location

Characters, Narrative and World. It’s essential the first two come out of the last. If anything I write, whether it’s in Scotland, Italy, Amsterdam or Copenhagen, can be easily transferred to a new location I’ve failed to do my job. Making the world of Romeo and Juliet vivid and real, in Verona and during his brief sojourn in Mantua, was essential. I spent a week visiting both in a chilly February before writing a word of the story. If I can’t see the world in my head I can’t reproduce it for readers and listeners. It was particularly gratifying to hear from Richard when we met during the narration that he loved the Verona I’d painted, a new take on a city he’d visited, with aspects he’d never seen while he was there.

That’s what writing location is about: making people see the world with fresh eyes, even if they feel they know the place you’re writing about well already.

When I look back on the new Nic Costa I can see that The Savage Shore has benefited from my audio work. It has a more novel-like structure but I hope there’s a clarity to it that I wouldn’t have found otherwise. And I’m also lucky in having a fantastic narrator here too, Saul Reichlin who’s become the voice of the Nic Costa series.


If you want to be a storyteller you need to think about audio. Professionally and artistically too. It’s a fast-growing, exciting and dynamic medium reaching a bigger and bigger audience each year. And we’re still playing with what it can do, of which more later when I can tell you about it.

DEBS: That's a hook! And can I just say how fabulous Richard Armitage is reading Romeo and Juliet: A Novel??????? I mean, it's Richard Armitage!! Be still, my heart! The story is so gripping that you won't be able to stop listening.


Romeo and Juliet: A Novel, narrated by Richard Armitage, is available exclusively through Audible worldwide. Juliet and Romeo, the print version, is published in the UK by Dome Press. The Savage Shore is published by Severn House in print and Whole Story Audio in audio, narrated by Saul Reichlin.

Here's David on David:


One way or another I’ve spent my entire life earning a crust through the written word. I left school at the age of seventeen to become a cub reporter on the Scarborough Evening News, one of the smallest newspapers in the country. Over the next two decades I worked for The Times, Independent and Sunday Times as a journalist.
But the hankering to write fiction never went away. My first book Semana Santa, now reissued as Death in Seville, appeared in 1995 and was later turned into a movie with Mira Sorvino. Since then I’ve written more than twenty different books in various locations around the world.
In 2011, with my good friend A.J. Hartley, I branched into audiobook adaptations with Macbeth: A Novel, narrated by Alan Cumming. Now we’ve added Hamlet, Prince of Denmark: A Novel to the audio portfolio, this time narrated by Richard Armitage.
After writing eleven books set in Italy, nine featuring the young Roman cop Nic Costa, I went to Copenhagen for the three novel adaptations of The Killing series. After that I turned to Amsterdam with a series set around Pieter Vos, a detective who lives on the Prinsengracht canal. In 2016 I returned to the audio world with Romeo and Juliet: A Novel, once again narrated by the superlative Richard Armitage.
I live near Canterbury in Kent. The photo above is available for general use, but please give a credit to Dingena Mol and Crimezone who took it in the bar of De Eland in Amsterdam, the fictional Drie Vaten in the Vos books.


David is in Italy, (I hope researching another book) but he'll be checking in today to chat with us and answer our questions.

And do check out David's website at www.davidhewson.com. He's a very good photographer and if you're not careful, his photos will have you buying your plane ticket to explore the settings of his books in person.



http://www.jungleredwriters.com/2018/08/david-hewson-tips-on-successful-audio.html

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Danke, liebe Boardengel, für Eure privaten Schnappschüsse. :kuss:


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