Hampton court posed its own challenges. Female voices, specifically. How do I take my voice and make it sound more feminine? More than this, there were not one, not two, not three but four women to deal with. Annie and Miss Fitzgerald were ok – although I think Miss Fitzgerald ended up sounding similar to the Professor – probably because they were older.
Lisa and Sally, though, they… they were tough. Lisa had to have a condescending tone in her voice, be a bit haughty and snooty, overly affectionate and bossy. Sally was quite the opposite, being bubbly, chipper, and homely. And, of course, they were both young.
I couldn’t ask for help with this. It was a mission I had to face on my own. And so I did. For Lisa, I took on a breathy, higher pitched voice. It took a good ten minutes to get it ballpark. At first she was squeaky and not at all lady-like. It oscillated between a mouse and a baritone until I landed somewhere in the middle.
The best I could do was imagine someone like this in my head and try to match her voice.
Sally took longer. For her, I needed something a little younger. Cue the baby voice. Nope, no good, too young. So I experimented a little, holding my noise, squishing my face. Then I relaxed my cheeks, letting them flop about a bit. It’s hard to explain.
Think of Richard Nixon:
He’s got those jowls that flop about a bit, giving a kind of hollow sound to the mouth. Not that Sally has jowls in my mind’s eye. She’s more of a happy-go-lucky button that sees the good in the world before the bad, a tad naive, but not stupid. Only, I couldn’t get that playfulness in her voice to come through and, after experimenting a lot, I came to the conclusion that I could only do so much with the equipment God gave me, and that the whole ‘hollow-cheek’ thing would have to do.
Now I’m really sorry for Sally.
I’m really happy for Hampton Court Ghost, though, because that is up and out on Audible and Google and Chirp and all the good places!
I’ve used the same general layout for the Paranormology series – Two thirds picture at the top, one third writing at the bottom. The top is of the haunted building. The bottom contains the title and author upon a close up of some of the material making up the structure.
The Smashwords guidelines specify a minimum width of 1400 pixels, with a height greater than the width. I use 1400 x 2278. For the lower section, I’ve chosen a piece of wall with some cracks and flaking paint:
After that, I’ll add in the title and the author, along with a flourish to separate the two. I used the font Augustus because it was narrow and crisp. I’ve made a duplicate of the writing layer to have a slight coloured rim around the lettering.
Now that’s alright by itself, but the brickwork needed to be contrasted a tad more with the writing, so I added a glow to it, reduced the contrast and added in a purple and yellow wash. I then put a shroud on the outside and bordering the two images, to give it a slightly darker look.
I threw in some faint plasma for a swirling, mystic look and finally added some snow at the bottom panel to tie it all in. The result:
I really needed a picture of this house for the front cover. But taking the photo is only the first part of the job. Next was turning this rather old looking piece into something one might consider haunted.
The house, captured in broad daylight, was not exactly ‘creepy’ looking. Not only that, as you can see there are artefacts within that would not belong in a Victorian era story. Anachronisms, perhaps? Either way, they had to go:
We can see the walker, the plastic bins, the electrical junctions and the wires. The letterbox looks fine and the number on the door is too small to make out, so that’s good, too. Oh, right, and the compact fluorescent lamp as well. Another little ditty is the reflection in the glass – there’s a ute in there. Aaaand that building over to the right.
To get rid of these things, I used the good old ‘clone’ tool in Gimp. The technique is to carefully clone parts of the surrounding background and surface over the top of the unwanted anomalies.
This works best with consistent (like the grey bricks) or noisy (like the mulch on the ground) backgrounds. It’s a pain in the bum with distinct, contrasting objects like the fence rods and the window. For these, I had to match up the cloning very carefully indeed to avoid a glaring inconsistency with the straight lines.
Not that anyone is looking that closely, but still. It’s also a heck of a lot easier when you don’t have a Joey jostling your arm every few seconds.
I then removed the sky, twiddled with it, darkened it and kept it for later. The colour of the house and the leaves needed to be duller and more dreary. For this I adjusted the grey bricks to be more purple, and the green leaves to be more yellow. The top windows needed dulling (because we can’t reflect a blue sky at night, right?) which was a matter of using the magic selector and reducing the lightness.
With all that done, it was time to add some layering in there.
The story is set in winter, and while it is not full-blown midwinter, it’s still cold and there is a smattering of snow about. Well, that means I needed to add snow. Where and how the heck could I do that? It took some doing, but I think I got there. More on that in a tick.
In the story, it is winter. It is cold. It is snowing. The problem I faced is that this photograph is in Melbourne, in Summer, when it’s hot and definitely does not snow. I could think about, say, grabbing a can of shaving cream and spraying it about, but I doubt the owner would be impressed and the result wouldn’t cut it. The only thing for it is to add fake snow over the top of the image:
The snow was done in three passes. I use Gimp to do the dirty work, mostly because I’m comfortable with it, and also because there are a lot of little tools and filters that can help out.
First, I used the chalk shaped brush, with a white to grey gradient, and passed it over the ‘top’ surfaces of things, so the window sills, the fence posts, the railings. It’s not a heavy coating, more a smattering, because it’s early winter. I was going to do more on the footpath, but it turned out, when I did a quick check, that the image on the book wouldn’t be able to include the lower quarter. Ah, well.
The thing is, the image above is still too sunny and happy, so I wanted to add in some more, falling, snow. So be it:
So there’s snow on the ground, some falling snow, and I’ve gloomified the setting. It’s looking a bit more like what I had in mind, but there’s still more to go. I need the sky back, for starters, and I want some highlights on the house so that it’s not one grey, amorphous blob.
I duplicated the house layer and blended it together with the underlying house to bring up more of the detail. The clouds in the sky looked about right with a dark filter on there, so I left that alone.
Right, all that’s left is to add it into the general template for the Paranormology series.
It’s getting harder and harder to find houses that fit the front covers for my stories. The latest, Cooper Alley Ghost, needed to be old, craggy, two storey and squishy. Why? Because it’s in an alley, not a street or avenue. Trolling the haunts of Moonee Ponds and Essendon, hunting about for the right one, I came up with a whole lot of not much. This one is single storey. This one is too grand. This one is way too modern. The houses in that area, you see, tend to be sitting on large blocks. There’s a nice, comfortable feel about them and those that have be squishified into apartments and the like tend to have been built only within the past decade or two. Not at all suitable.
So I gave up on that and scratched my head some and thought and thought and thought. If only I had a jet-pack, I could fly about the suburbs and rapidly cull from my list the houses and buildings that weren’t suitable, and narrow in on those that were. I don’t have a jet-pack. And even if I did, I doubt that it would be the most practical way to… and I struck upon an idea. Google Street View, of course! Why bother driving around, slowly crawling the backstreets and looking creepy, when some gigantic tech company has done that already? No, really, have you seen the cars? It’s a little creepy the way they putter up and down, and even more creepy when they go into the back-alleys of Carlton and show you the insides of people’s backyards.
Anyway, after comparing the tomato gardens of the people of Fitzroy and Carlton, I got back to my task and hunted about for a house that would fit the bill. After twenty minutes, boom, there it was – the ideal house. Two storey, slightly creepy and crumbled, squished between two other houses. A tiny front yard and a smattering of plants. Perfect. Now I just had to get there and take a photograph.
Well, it’s school holidays, and that means I’m taking care of Joey, dragging him about, taking him to the pool, to work, to boxing, to the shops. None of those places are anywhere near Carlton. Bum. OK, so we had to make a special trip. On the hottest day of the year. And we were in Port Melbourne, had to fight through the city traffic to reach the other side. That, or go on a long, sweep around. Either way would be unpleasant. The city, at that time in the morning, I reasoned, shouldn’t be so terrible. That’s a relative term. The traffic was lighter than peak-hour, granted, but that doesn’t mean it wouldn’t have been faster walking. And don’t get me started on the terrible driving. The day was getting hotter, Joey was getting crankier and my patience was getting drier. We finally popped out the other side and reached Nicholson Street.
Parking. Yay, hadn’t thought about that. I normally ride a scooter, so there’s no need to worry about parking. On Nicholson Street was not an option – all the parks were gone. So I hit up Leicester Street and poked about there. Permit parks over here, no standing over there and lots and lots of ticketed parking. Heck, all I wanted to do was jump out, take a happy snap and go home. Not happening. So then it’s around to the next street and the next and, a stroke of luck! There was a two hour spot just waiting for us next to a (much needed) water bubbler.
We got out, headed to the house (just up the road) and, wouldn’t you know it? There was roadworks signs and parked cars all over the place, with no clear shot. I tried from a few angles. No good. I stood closer and further, tried the zoom on the camera. Still no good. Joey was at boiling point. So was I. “Blow it,” I said, “Wasn’t there a 7-Eleven on the way over?” A slurpee took joey off the boil and shut him up for at least thirty seconds while I thought. I didn’t fight all that way to give up, and considering the general feel and age of the suburb, there had to be other samples about. We wandered up and down for a little while. At last! A house! Two floors, old, etc. Sure, there’s a car parked in front but it’s back far enough that with the wide angle on I should be able to…
And just at that moment, the occupant of the house comes home on his bike. No, seriously. I wasn’t doing anything illegal, of course. I was on the sidewalk, taking photographs, but you can appreciate how uncomfortable it got. So there were a few shots with said occupant in the picture, putting his bike inside. Can’t use those:
Nope. I went to the house next door, but its front was way too close to the street, so that was no good. Nope, it was this one or nothing. I stole back, distracted Joey with something shiny in an alley, flipped the phone to wide-angle and took the shot. Boomshakalaka and thar she blows, a fine specimen of an aged house… complete with treadmill out the front, plastic garbage bins and electricity.