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Five A-list actors who impressed us with their singing ability

28/8/2019

Movie musicals are everywhere. Disney has seemingly decided to live-action remake every one of its films, as well as bringing out new ones. And every popular stage musical looks destined for a big screen adaption.

Some casting choices have been... interesting. Think Pierce Brosnan in Mamma Mia! or Russell Crowe in Les Misérables. But some choices have been inspired. Here are five A-list actors who surprised us all with their singing ability.

Dwayne Johnson

Now one of the highest paid actors in Hollywood, Johnson made his name as professional wrestler The Rock with the WWF. He had his first acting role in 2001’s The Mummy Returns, but is probably best known for playing hard man Luke Hobbs in The Fast and the Furious franchise. So we were all surprised (and impressed) at Johnson’s voice when he sang “You’re Welcome”, as Maui, his character from the 2016 Disney film Moana.

Anne Hathaway

Starring in The Princess Diaries, Brokeback Mountain, The Devil Wears Prada and The Dark Knight Rises, Hathaway won the Best Supporting Actress Academy Award for her portrayal of Fantine in the 2012 film adaption of Les Misérables. Who can forget her heart-wrenching rendition of I Dreamed A Dream (Susan Boyle who?).

Gerard Butler

As the hulky action star of Olympus Has Fallen (and its sequels), you may be surprised to learn that before his breakthrough role as King Leonidas in Zack Snyder’s historic (?) fantasy 300, Butler actually starred in the 2004 adaption of Andrew Lloyd Webber’s The Phantom of the Opera. He played the phantom, one of the most demanding roles for any tenor. Andrew Lloyd Webber has said the song The Music of the Night is the hardest he’s ever written because of its large vocal range (2 octaves, from low to high Ab).

Emma Watson

Best known for her role as Hermione Granger in the Harry Potter films, it was a surprise to find Watson cast as Belle in the 2017 adaption of Disney’s Beauty and the Beast. We might have all been a little sceptical, but she does a thoroughly decent job. She was even nominated for an Empire Award, whatever that is.

Hugh Jackman

Jackman’s singing ability should not have come as a shock – he started off in stage musicals, such as Beauty and the Beast, Sunset Boulevard and The Boy from Oz, for which he won a Tony Award. But for those of us who only really knew him as Wolverine from the X-Men films, seeing him as Jean Valjean in Les Misérables (alongside Anne Hathaway) was a surprise. He did a decent job (but does he not have a falsetto register!?) but his turn as the title role in the 2017 blockbuster The Greatest Showman really impressed us all. Listen to his range!

And five honourable mentions...

MERYL STREEP - With 3 Academy Awards and 8 Golden Globes, Streep is considered one of the best actresses of her generation. She can also hold a tune, starring in such musical adaptions as Mamma Mia (of course), Into the Woods and Mary Poppins Returns.

JOHNNY DEPP - Known for Edward Scissorhands, Pirates of the Caribbean and Fantastic Beasts: The Crimes of Grindelwald, he actually won a Golden Globe for his portrayal of the title character in Stephen Sondheim's Sweeney Todd: The Demon Barber of Fleet Street.

AMANDA SEYFRIED - The star of Mean Girls and HBO's drama Big Love co-starred with Meryl Streep in Mamma Mia and also Hugh Jackman and Anne Hathaway, playing Cosette in Les Misérables.

EWAN MCGREGOR - McGregor's internation breakthrough came in Danny Boyle's 1996 film Trainspotting, and he is also known for playing the young Obi-Wan Kenobi in the Star Wars Trilogy, episodes I-III at the turn of the millennium. His voice really impressed us all when he starred alongside Nicole Kidman in 2001's Moulin Rouge!.

CATHERINE ZETA-JONES - Initially finding success with the British television series The Darling Buds of May and then Hollywood films such as The Mask of Zorro and Entrapment, Zeta-Jones won an Academy Award for her role in the 2002 musical Chicago.

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What you can expect from my proofreading services

25/8/2019

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You can see above a screenshot of a sample edit. The tracked changes show up in red, with any comments in the margin.

editing_sample.pdf
File Size:	115 kb
File Type:	pdf

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editing_sample.doc
File Size:	32 kb
File Type:	doc

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You can download the .doc file above and open it in Word or Pages on your Mac. Have a practise! By clicking the Review tab in Word (as in the picture above) you can accept or reject the changes one-by-one, or you can accept all changes to the document with one click. Click on the 'Accept' button, which is just right of centre in the Review tab. To accept all changes, click the arrow just below the word 'Accept' and then click 'Accept all changes in Document'.

Make sure the 'track changes' button (dead centre in the Review tab, see above) is NOT pressed/selected. If it is, everything you type will come up underlined red.

Notice the vertical lines to the left of certain paragraphs. These inform you that changes have been made to those lines of text, just so you don't miss anything.

I charge £4 per 1,000 words for a proofread (minimum charge £4). Your edited document will appear with tracked changes like the picture above. Please contact me if interested!

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Why I Offer Proofreads, Not Line Edits

22/8/2019

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There are lots of freelance editors out there. Proofreaders, copy-editors, line-editors... so much choice! Who should you go with?

Well, what's the difference?

Proofreaders analyse your manuscript for spelling, punctuation, grammar and syntax mistakes.
Copy-editors address all those errors, but also check your facts (very important for non-fiction) and consistency.
Line-editors address all of the above, but also your writing style, voice, and your story as a whole.

The other obvious concern is cost. Proofreaders usually charge between £5-8 per 1,000 words (I charge £4), copy-editors between £8-11 and line-editors from £12+. There are a couple of reasons for this. Line-editing takes longer than copy-editing, which takes longer than proofreading, but they also requires a different set of skills.

So which type of editor is right for you?

If you are thinking of submitting to literary agents (and I would absolutely recommend you do this before considering self-publishing) I do NOT think you need to pay for a line edit.

Why?

Because if you do land an agent they will then line edit your manuscript. And if they manage to sell your book to a publisher, the publishing house will then line edit it again.

Every editor has their preferred style. One editor might like your voice, or a certain character, or a plot twist, whilst another might not. One editor might think your story needs more pace, another might not.

The same with readers. Some readers will like your book. Some will not, no matter what you do to it. If you change it to suit a certain editor, the outcome stays the same: some readers will like your book, and some will not.

Changing any aspect of your story or your style to suit a specific editor is only worth doing if you know it will improve your chances of success.

If the line-editor combing through your manuscript is your agent, and you've done your research and you know they are successful in selling books to publishers, you can be confident they will add value. Also, your agent will do this for free. Your agent will know which publishers they intend to pitch to and will know (should know) what kind of stories and styles they buy.

If you do have the money to pay for a line edit and think that's the way to go, you want to find a line-editor who has a good track record helping authors get picked up by agents. Don't just look for qualifications. Experience is what matters.

Your writing style and your voice need to come from you. They cannot be outsourced. But how do you find your voice?

Write a lot. Write a lot and read a lot. It will come. There is no substitute for practise.

So. You've decided against a line edit. Why would you want a proofread?

It doesn't seem to matter how often you read through your manuscript, writers always seem to miss something. Maybe it's the wood for the trees.

Putting your finished manuscript aside for a few weeks before coming back to it does seem to help. But sometimes you need someone else's fresh eyes. I can catch those grammar slips we all miss from time to time. Point out the odd awkward phrase or that paragraph that doesn't quite make sense.

I won't tell you if I think a character is weak, or the piece needs restructuring, or it needs more pace. Why? Because that's all subjective, and I don't want to force my preferences on your manuscript. Other readers have different preferences.

So I won't tell you to change your story. But I will help you improve your writing. Grammar is not subjective. Agents will reject anything with poor grammar - don't let it spoil your chances! If you think you have a great book but know grammar is not your strong point, drop me an email. I can help.

Cost of my proofreading service is £4 per 1,000 words. I also offer a fiction submission package for £40 (cover letter, synopsis and first 10,000 words). More information here.

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10 Publishers Accepting Unagented Submissions

18/8/2019

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Most publishers require you to submit through a literary agent. That means, of course, you need to land a literary agent. We all know how hard that is. There are, however, a small number of independent publishers who do accept unagented submissions. Consider these guys.

HEAD OF ZEUS
HoZ won independent publisher of the year 2017, and it’s easy to see why. They publish genre fiction, children’s books and narrative non-fiction, including authors such as C. J. Box and Graham Masterton. They do accept unsolicited submissions via a submissions portal, but when it gets very busy they temporarily close. Check by periodically. Keep in mind it can take many months to get a reply. I waited six. This is their current website: http://headofzeus.com/ but they will be updating it shortly to this: https://uat.headofzeus.com/home?_ga=2.135399476.466581387.1566109317-1495559976.1561452066

JOFFE BOOKS
One of the UK’s leading independent publishers of crime, thriller and mystery fiction, Joffe Books publishes Helen H. Durrant, Joy Ellis and Faith Martin amongst others. They accept submissions from unagented authors – even if you’ve self published your book (a lot of publishers don’t).

Check out their submission guidelines here: http://www.joffebooks.com/submissions

BLACK AND WHITE
An independent publisher based in Scotland. They publish most genres of fiction and some non-fiction. Their children’s book imprint Itchy Coo sounds like thrush. Submissions are via a contact form, and they can take up to six months to make a decision.

http://blackandwhitepublishing.com/submissions

BLOODHOUND BOOKS
A leading independent publisher of crime, thriller and mystery fiction, authors include the bestselling Rob Sinclair and Betsy Reavley. Submissions close temporarily if they’re too busy. Your MS should be at least 60,000 words, and they aim to respond within four weeks.

https://www.bloodhoundbooks.com/submissions

POLIS BOOKS
Polis Books is currently accepting submissions of thrillers, women’s and genre fiction and non-fiction in the areas of humour, pop culture and true crime. They aim to make a decision in 12 weeks.

http://www.polisbooks.com/submissions/

CROOKED LANE
Founded in 2014, Crooked Lane Books publishes crime, thriller and mystery fiction. They will reply within two weeks if they’re interested in your submission.

http://www.crookedlanebooks.com/contact/

SEVENTH STREET BOOKS
A publisher of thrillers and mystery fiction, Seventh Street Books publishes the award-winning Lori Rader-Day and Allen Eskens. Submit the full MS and a three-paragraph synopsis.

https://www.seventhstreetbooks.com/submission-guidelines/

VERVE BOOKS
A small digital publisher of crime, thriller and commercial fiction. Submissions are via contact form, and they aim to reply within three months.

http://www.vervebooks.co.uk/submit.php

SAPERE BOOKS
A digital publisher looking for Crime Fiction, Mysteries, Thrillers, Women’s Fiction, Romantic Fiction, Historical Fiction, Action and Adventure (Military, Naval and Aviation Fiction) and History.

https://saperebooks.com/about/submissions/

KENSINGTON PUBLISHING
One of the top independent publishers in the United States, Kensington Publishing accepts submissions in all genres except children’s, YA and poetry. As per usual US guidelines, only submit a query in the first instance, no manuscript. They will reply within three months if interested.

https://www.kensingtonbooks.com/page.aspx/submissions

Best of luck with your submissions! As a thriller writer myself, I know what a daunting, frustrating, infuriating task submitting to publishers and agents is. Your initial submission, which usually consists of a cover letter, synopsis and sample chapters, needs to be perfect. Why not check out my proofreading services? £40 for a proofread of your cover letter, synopsis and first 10,000 words of your MS.

Also, be sure to check out my highly rated thrillers, MEMORIES UNSPEAKABLE and SHARK BAIT! SHARK BAIT was a finalist in A.M. Heath's Criminal Lines Competition 2015 and reached the acquisition boards of both Orion and Harlequin Harper Collins.

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Classical Masterpieces - Chopin; Nocturne (Op. 9 No. 2)

13/8/2019

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Frederic Chopin composed this, his most famous Nocturne, when he was about twenty years old. Along with his Funeral March, Raindrop Prelude and Minute Waltz, the Nocturne in Eb is among Chopin's most recognisable pieces. It is also one of the world's best loved works for solo piano.

The melody is a smooth, gentle lullaby. Simple at first, it recurs three times, becoming more decorated with each playing. The left hand is reminiscent of the chordal leaps of stride piano, albeit with a waltz feel and at a much slower tempo! It is this left hand that really challenges the player, with Nocturne in Eb coming in around Grade 8 standard.

All of Chopin's music is in the public domain, and you can download the full version here: https://www.mutopiaproject.org/ftp/ChopinFF/O9/chopin_nocturne_op9_n2/chopin_nocturne_op9_n2-a4.pdf

If you are looking for a simpler arrangement, my book FAVOURITE CHILDREN'S CLASSICS FOR PIANO includes a Grade 1 standard arrangement of this piece, as well as 24 other classical masterpieces. It is available on Amazon here for £5.99.

You can hear how the Grade 1 arrangement sounds by clicking on the adjacent YouTube video.

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Using Apostrophes - a basic guide

7/8/2019

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If you are an aspiring writer, a grasp of good grammar is essential. Today we will look at apostrophes, when and how to use them and how not to use them.

There are a few occasions when an apostrophe is needed.

1) Single quotes. Not strictly 'apostrophes', I've included them because you at least have to press the apostrophe key on your keyboard. There are two types of quote mark - the single quote (which uses the apostrophe key) and the double quote (which is SHIFT 2 on the keyboard).

In prose, one set of quote marks is used to denote speech. Usually it's the double, but single quotes can also be used. It depends upon the author and publisher. I prefer to use double quotes for speech, as I find single quotes can sometimes look messy when combined with other apostrophes in the sentence.

Double quotes - "I need to go to the doctor's," I said.
Single quotes - 'I need to go to the doctor's,' I said.

Both are acceptable.

The other set of quote marks are used for highlighting an important word, like 'apostrophes' in the sentence Not strictly 'apostrophes', I've included... or for quoting words from a passage of text or speech. If you use double quotes for speech, use single quotes for highlighting and quoting, and vice-versa.

e.g. 1 "Do you know what she said?" I asked. "She said, 'Why don't you just leave?', and so I did."

OR

'Do you know what she said?' I asked. 'She said, "Why don't you just leave?", and so I did.'

e.g. 2 Mark Twain once said that golf was 'a good walk spoilt'.

OR

Mark Twain once said that golf was "a good walk spoilt".

So, make a choice! Direct speech using one type of quote mark, highlighting and quoting using the other. But as I said, I prefer double quotes for speech.

2) Contractions and missed-out letters. What is a contraction? It is making something smaller. In writing, a contraction is when two words are squashed together to make one word.

Did not becomes didn't.
Have not becomes haven't.
Would not becomes wouldn't.
Could have becomes could've

The rule is simple. The two words are squashed together. A letter is omitted (usually the 'o' from not). An apostrophe is used in place of the missed-out letter.

In the contractions could have / would have / should have (remember, it is NOT would of or should of!) the words get squashed together and we omit the first two letters of 'have' and put in an apostrophe.

And then there is one of my pet peeves: the misuse of your and you're! Your means something belonging to you. You're is the contraction of you are. See the apostrophe? It means there's a letter missing, and that two words have been contracted - make sure you learn the difference!

You may wonder if you can contract the three-word 'would not have' into the mega contraction wouldn't've. The answer is... no! Wouldn't've is not a word. Use wouldn't have.

Also, use an apostrophe if you have missed off a letter in slang. People commonly miss off the g sound in ing -

"That is frickin' brilliant!"

3) Possession. This is the trickiest rule to grasp. You use an apostrophe to show that something belongs to something else. Whenever you are wondering whether to use an apostrophe or not, phrase the sentence thus:

The such-and-such belonging to such-and-such.

The pen belonging to the girl.
The car belonging to Harry.

Now, the pen belonging to the girl means that it's the girl's pen. And it's also Harry's car. You add an apostrophe s (which looks like this: 's) to the end of the owner. BUT! Only if the owner is singular. That is, if there is only one girl, and only one Harry.

These are singular possessives.

One girl, one pen? The girl's pen.
One girl, many pens? The girl's pens.

But what if the singular word ends in s? Like something belonging to Chris, or belonging to the bus?

There is some conflict between styles, unfortunately. Most style guides say you should still add apostrophe s ('s), just like any other singular possession. Chris's hat. The bus's wheels. This is what I much prefer and would recommend.

Some of the more modern style guides say you need only use an apostrophe. Chris' hat. The bus' wheels. I sigh at that.

The most important thing is to pick a style and stick to it.

You also have plural possessives.

It sounds complicated, but isn't really. Plural just means more than one. Again, we are talking about the owner. Is there more than one girl, and they've thrown all their pens into a pile?

Again, phrase the sentence thus:

The pens belonging to the girls.

Notice that girls is now plural, because there is more than one girl. You do NOT add apostrophe s. You just add the apostrophe: The girls' pens.

The toys belonging to the boys? The boys' toys. (plural)

But if one boy has lots of toys? The boy's toys. (singular)

Look at what comes before the apostrophe. boys' = boys (lots of boys). Boy's = boy (one boy).

Most plural words end in s, and you follow this rule. But what happens if a plural does not end in s? Like children, or men. Then you add apostrophe s ('s) again!

The classroom belonging to the children - the children's classroom.
The beer belonging to the men - the men's beer.

It is NOT childrens' classroom, or mens' beer. Again, look at what comes before the apostrophe. Childrens is not a word, and neither is mens. The pural is children, and so you use apostrophe s.

To be a little technical, possessive apostrophes are only used for nouns, not pronouns. Here are some possessive pronouns: my, mine, your, yours, his, her, hers, its.

You do NOT use apostrophes for these possessive pronouns. The most confusing ones are the ones ending in s. Yours, hers and its. You do not write that pen is your's or that is her's. You write that pen is yours and that is hers.

Its is the most confusing, because there is a word it's, but this is a contraction of it is!

So only write it's if you mean it is.

It's raining outside.

OR

Its wheels fell off. (You do not need an apostrophe for a possessive pronoun!)

When not to use apostrophes. Commonly, people will mistakenly use apostrophes to make plurals out of numbers and letters. You do not need an apostrophe in this sentence:

Can all the number 7's stand up? Now all the B's.

It should be

Can all the number 7s stand up? Now all the Bs.

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Five A-list actors who impressed us with their singing ability

Dwayne Johnson

Anne Hathaway

Gerard Butler

Emma Watson

Hugh Jackman

And five honourable mentions...

What you can expect from my proofreading services

Why I Offer Proofreads, Not Line Edits

10 Publishers Accepting Unagented Submissions

Classical Masterpieces - Chopin; Nocturne (Op. 9 No. 2)

Using Apostrophes - a basic guide

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