For Job Interviews, Earlier in the Day May Be Better

PAFF_063015_InterviewTiming_newsfeatureDuring a job interview, many applicants worry that their professional fate rests in the first few moments of the interview. After a few minutes—or even seconds—the interviewer has sized them up and arrived at a decision.

But new research suggests that there may be a different factor for job candidates to worry about: timing. Data gathered by psychological scientists Rachel Frieder (Old Dominion University), Chad Van Iddekinge (Florida State University), and Patrick Raymark (Clemson University) challenge the common belief that interviewers rely on near-instantaneous snap judgements. Instead, their research suggests that a successful interview may depend on your place in the interview schedule.

For the first one or two applicants, interviewers don’t have much information to process, allowing them to make a decision about a candidate’s suitability fairly easily. But, as more candidates are interviewed, interviewers have to remember, process, and compare increasing amounts of information. Therefore, interviewers may resort to using rule-of-thumb strategies, also known as heuristics, to help them make decisions.

“We expected that interviewers would take longer to make decisions about the first few applicants they interviewed and take less time to make decisions as they interviewed additional applicants,” Frieder and colleagues write.

To test this theory, the researchers analyzed data from hundreds of real job interviews conducted at a university career fair. A group of 166 experienced interviewers representing a variety of organizations interviewed a total of 691 students.

Each interviewer conducted an average of six interviews, each scheduled for a 30-minute time slot. Immediately after each interview session, interviewers rated the performance of the job candidate and noted at what point in the interview they had come to their decision.

According to the interviewers’ self-reports, snap judgements were actually very rare: Interviewers reported making a decision within the first minute of the interview only about 5% of the time. This generally happened when an applicant’s performance was either exceptionally good or bad.

Most of the time, interviewers reported making their decision between 5 and 15 minutes into the interview. However, over 20% still hadn’t made up their minds even after the interview was over.

The data showed that interviewers tended to take progressively longer to come to a decision after the first few applicants. However, after talking to about four applicants, the deliberation time began to decrease after each additional applicant.

In other words, as the number of applicants increased, interviewers took longer to deliberate because they had more information to process. The findings suggest that once the cognitive load of all the information got to be too much, around the fourth candidate, they began to rely more on heuristics to come to a quicker, more automatic decision.

“One implication is that interview order may place some applicants at a disadvantage,” the researchers conclude. “For example, applicants interviewing later in the schedule might not get as much opportunity to perform as those earlier in the schedule.”

Other factors also influenced how quickly an interviewer came to a decision. Interviewers who engaged in small talk with applicants tended to make quicker decisions, as did interviewers with more experience.

The researchers caution that they were not able to determine whether interviewers who took longer to make a decision were actually better at choosing high-performing applicants. It’s entirely possible that quick judgements were just as accurate at gauging talent as more deliberate interviews.

However, organizations may benefit from making sure that interviewers give each candidate an equal shot to show their stuff during the interview. The researchers suggest limiting the number of interviews that an interviewer conducts in immediate succession and ensuring there are breaks between interviews.

 

Reference

Frieder, R. E., Van Iddekinge, C. H., & Raymark, P. H. (2015). How quickly do interviewers reach decisions? An examination of interviewers’ decision‐making time across applicants. Journal of Occupational and Organizational Psychology. doi: 10.1111/joop.12118

from Association for Psychological Science » Minds for Business http://bit.ly/1U5sjcj

 


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New software gizmo will tell you what your skills are, match you with the perfect job

New software gizmo will tell you what your skills are, match you with the perfect job

Texas State Technical College, spurred by the fact that one third of its state funding is now tied to its graduates’ starting salaries, has eliminated all majors except petroleum engineering developed software that matches graduates’ skills with job requirements. But why should Texas State Technical College students have all the fun? Anyone can try out the Skills Engine here.

I fed three academic CVs into the Skills Engine. Do academics actually have any transferable skills? See the results over at College Misery.


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GUEST POST: Cheesecake, love, and other mysteries by Laura Pauling

Laura Pauling writes about spies, murder and mystery. She’s the author of the young adult Circle of Spies Series, the Prom Impossible Series, the time travel mysteries, Heist and A Royal Heist, and the Holly Hart Cozy Mystery Series: Footprints in the Frosting and Deadly Independence with more coming.

She lives the cover of a suburban mom/author perfectly, from the minivan to the home-baked snickerdoodles, while hiding her secret missions and covert operations. But shh. Don’t tell anyone. And she may or may not actually bake cookies. You decide.

Laura Pauling

Laura stopped by to chat about cheesecake, love, and other mysteries.


cheesecake, love, & other mysteries

I wanted to write a cozy mystery. That much I knew. All I needed was inspiration in the form of an amateur sleuth. As I waited for the creative winds to blow my way, I happened to chat with a friend.

I found my inspiration.

My friend was branching out and starting her own business–selling cheesecakes! I loved it. I loved that with an already established career, kids, a husband, and two dogs, she was getting creative with her life. Pursuing a dream. Putting in the hard work and long hours it takes to launch a business. Making herself vulnerable.

Love, love, loved it. And I found my amateur sleuth. The facts that my sleuth, Holly Hart, bakes cheesecake and has red hair are the only similarities between her and the real-life inspiration.

How could I not be inspired? How could anyone not be inspired? If only in that it proves that we can do anything we put our mind to. It’s never to late to start a business or write that novel or attempt to combine what we love with what we do, whether it be for money or love.

After I found my sleuth, I dove into writing the mysteries. I have four written and two already published. Footprints in the Frosting came out in May, and Deadly Independence went live early June. If you sign up for my newsletter, you’ll receive a free mystery, Murder with a Slice of Cheesecake, which will release in July.

If you could branch out and try something new or follow a dream, what would it be?

Visit Laura at http://laurapauling.com to sign up for her newsletter and receive a free Holly Hart cozy mystery novella.

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Footprints in the Frosting: Holly Hart Cozy Mystery 1LP cover
COMING SOON: Deadly Independence: Holly Hart Cozy Mystery 2


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Can “Extreme Music” Calm You Down?

Tested: Whether Extreme Music Causes Anger or Calms You Down:

Here are a few examples of the song titles, if you need to ‘calm down’ a little:

  • Dawn of Battle by Manowar
  • The Epic Rage of Furious Thunder by Gloryhammer
  • Dark Days by Parkway Drive
  • 11 Ways To Hate by Five Finger Death Punch

By Jeremy Dean at PsyBlog

Unscientific note: Here’s my pick.


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New BMJ editorial: “How Medicine is Broken, and How We Can Fix It”

Well documented problems exist in the funding and prioritisation of research, the conduct of trials, the withholding of results, the dissemination of evidence, and its implementation with patients. Here we briefly examine six domains where the academy could call for simple practical improvements that would address legitimate concerns.

Publication bias—We conduct trials to detect modest differences, and spend vast amounts of money specifically to exclude bias, yet we allow that bias to flood back in through selective publication.3 4 Eminent bodies writing reports will not fix this, but practical action will. We need new funding for simple systematic work to audit which trials are unreported, to highlight the best and worst performers, and to shine a light on withheld studies.5

Independent trials—A recent cohort study found that 97% of head to head trials sponsored by industry give results that favour the sponsor’s drug.6 Doctors and patients are right to want independent trials. On statins and oseltamivir, there are two clear opportunities, and here we declare our own conflicts. With colleagues, one of us (CH) first proposed a trial of oseltamivir in a pandemic in 2009; the other (BG) first proposed a trial of statins examining side effects over a year ago. In both cases we could have the answer by now.

Cost of trials—Replication will be possible only if the cost of conducting trials is radically reduced. Much of this cost is driven by disproportionate regulation around trials of routinely used treatments.7 The National Institute for Health and Care Excellence’s guidance on cholesterol argues for head to head trials in low risk populations; this would require over 100 000 participants, followed up for a decade. Such trials can practically be delivered only by reducing the expensive and disproportionate regulatory burden,7 embedding them in everyday clinical care and gathering follow-up data from existing electronic health records.8

Better evidence—Treatments are routinely approved after trials with only surrogate outcomes.9 Drugs are then extensively promoted, at the moment of approval, when evidence on real world outcomes is paradoxically at its weakest. We could encourage better evidence by, for example, compelling companies to follow-up all phase III trial participants until real world benefits emerge, considering routine randomisation for newly approved drugs when benefits are unclear, and bartering with either patent extension or choice of the start date for market exclusivity. These suggestions would come at minimal cost and deliver more comprehensive data on treatment effects.

Shared decision making—Concern over statins has recently been reawakened by the introduction of a financial incentive for general practitioners to prescribe the drugs to low risk patients. This is ill judged because patients’ informed choices vary widely.10 11 An incentive to prescribe a treatment that many adequately informed patients do not want undermines informed decision making and inflicts avoidable reputational harm on the profession. If instead we incentivise shared decision making then—for the same financial outlay—best practice will be recognised, rewarded, and laid down in the everyday templates of what doctors do.12

Declare conflicts of interest—Declaration of conflicts of interest is currently chaotic, inconsistent, and incomplete. We clearly need a central system of declarations, ideally maintained by the General Medical Council.13 Conflicts, however, become particularly salient when evidence is unclear: when decisions about which treatment works best are made on the basis of a speculative, superficially plausible narrative about a drug’s mechanism of action, or on the interpretation of weak, confounded, observational data when randomised trials are feasible. If we are able to generate better evidence and ensure that we see the complete evidence, then competing interests—although they must always be declared—will become less salient.

New BMJ editorial: “How Medicine is Broken, and How We Can Fix It”:

By Ben Goldacre

 

GUEST POST and GIVEAWAY: The Right Kind of Skin (Rhino) by Joanne Guidoccio

In high school, Joanne Guidoccio dabbled in poetry, but it would be over three decades before she entertained the idea of writing as a career. In 2008, she took an early retirement from teaching and decided to launch a second career that would tap into her creative side and utilize her well-honed organizational skills. Before long, Joanne was a working writer; her articles and book reviews were published in newspapers, magazines, and online. Eventually she progressed to fiction, where she finds that reinvention is a recurring theme in her novels and short stories.

Author Joanne Guidoccio

Today, Joanne came by to chat about having the right kind of skin. Rhino skin.

Writers especially will appreciate this:


It behooves you to develop a thicker skin.

Toastmaster Rosalind Scantlebury did not mince words at a recent Table Topics Contest. Responding to the prompt—Sticks and stones may break my bones, but words will never hurt me—she focused on an individual’s responsibility not to take things so personally. She peppered her impromptu talk with provocative comments, among them, “What other people think of you is none of your business.”

Definitely inspiring, especially for writers.

Thirty-one years of teaching adolescents thickened my skin considerably, but I faced different challenges when I embarked on a writing career. I had to learn how to deal effectively with critiques and rejection letters from agents and publishers and, most important of all, acquire that coveted rhino skin.

These are some of the strategies in my toolbox:

Get the Back Story
Whenever I attend readings, I pay special attention to the author’s back story. I like hearing the details about his or her writing journey and the challenges encountered along the way. Occasionally, I pick up valuable nuggets of advice that help me along my own journey. For example, Guelph writer Nicholas Ruddock (The Parabolist) established his platform by entering and placing in short story contests. When New York Times bestselling author Louise Penny couldn’t find a Canadian or American agent, she crossed the pond and approached a British agent.

Read Bad Reviews
If I have enjoyed reading a book, I look up the one-star reviews on Amazon. That’s right, I gravitate toward the negative. While shaking my head at the nitpicking and negative comments, I realize that no author is immune from criticism. Not even authors of best-selling novels can please everyone.

Eliminate the Negative
Some writers file and keep all their rejection letters. I suspect they refer to these letters often and get discouraged all over again. It is important to keep accurate records, but it is not necessary to keep these negative reminders around for future reference. After reading a rejection letter, I update the information on a spreadsheet and delete the file.

Throw More Irons Into the Fire
We’ve all heard the advice. Send out the manuscript and then immediately start on another one. Easier said than done. After writing 70K words and looking at multiple drafts of that manuscript, the thought of starting all over again can be daunting. Instead, I like to work on shorter pieces: book reviews, short stories, articles, more blog posts. Entering contests and taking online writing courses also keep my skills sharp. It is important not to sit around waiting for a response. Some action—any action—is needed.

Get Support
I belong to Crime Writers of Canada, Sisters in Crime, Guppies, and Romance Writers of America. I also participate in discussion boards for The Wild Rose Press and Soul Mate Publishing Authors. I try to attend writing workshops, panels and readings offered within a fifty-mile radius. While interacting with these authors, I get valuable advice and feedback about my work. I appreciate all the help I have received, especially from good friend and fellow writer Patricia Anderson. I had only request: “Let it rip!” And she did, but in a constructive way.

From Toronto based freelancer Ian Harvey…
“Rejections are part of the game, but this is the only game in which rejection doesn’t mean no. It means not now, or not for me, or not for me right now. It doesn’t mean no forever.”

Get Joanne’s latest, A Season for Killing Blondes.

Buy A Season for Killing Blondes
Buy on Amazon

And the giveaway:

Rafflecopter

Enter to win a $25 Amazon gift card!

Follow Joanne:
Website/Twitter/Facebook/LinkedIn/Pinterest/Goodreads/Book Trailer


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Audiobook Talent Interview Part II: Nicole Gose, narrator of THE MUSUBI MURDER

Nicole Gose has done everything from voicing national and international commercial and radio spots, to voicing political campaigns, to mixing and producing jingles and scoring music for commercials, movies and theatrical plays.  She is the voice talent for The Musubi Murder audiobook, where she inhabits characters ranging from diplomatic inkeeper Mercedes Yamashiro to anarchist newsblogger Patrick Flanagan to outspoken biology professor Emma Leilani Kano’opomaika’i Nakamura.

And of course Nicole voices the first-person protagonist, Professor Molly Barda, the unwilling amateur sleuth who just wants to stay out of trouble until she gets tenure.

In Part II of this interview, we discuss the production of The Musubi Murder, popular misconceptions about Hawaii, and more!

The Musubi Murder 

Q: Did you find the character table with photos helpful? (If not that’s OK!)

A: Yes! I always find it easier to get into character when I know what the character I’ll be portraying looks like. You can really imagine how someone sounds when you see what they look like because you start making comparisons to that character with someone else that you may know of who sounds a certain way. You can also make assumptions as to what kind of a voice someone might have. For instance, if they’re smaller they may have a higher voice.

Character descriptions are also helpful because once you’ve established their physical form and develop the overall “genetics” of a character’s voice, you can then learn from the character description what kind of tone they may have, or how they may speak. If someone is more timid, they may speak softly or they may stutter and you can hear the lack of confidence in that person’s voice. If someone comes from a ‘school of hard knocks’ kind of background, you can imagine that they might sound tough, confident in their speech, and maybe aggressive.

Q: Which character was your favorite to narrate?

Ahh, I got rather attached to Pat and Emma. They make great sidekicks to Molly, and while Molly’s voice was right in my natural mid-range, Pat was in my lower register and Emma was in my higher. It was nice to be able to play around in the different ranges and have fun with that.

Q: Which character was the most challenging?

A: Not any one character in particular per se, but it was a little difficult at times juggling all of the different pidgin speaking characters because they can kind of blend in together.

Q: The Musubi Murder was your first audiobook. Would you do it again?

A: Definitely, although ideally, I would like to just narrate the story and not have to worry about listening back to it, editing and engineering the audio.

Hawaii

Q: Hawaii has had a high profile in the media lately–Hawaii 5-0 continues to be popular and the movie Aloha has stirred up some discussion. Before that, we had The Descendents, Dog the Bounty Hunter, and American Jungle. What do you think about the way Hawaii is portrayed versus what it’s really like to live here?

A: I think Hollywood likes portraying many of the “tropey” aspects of Hawaii and play up the fact that it’s an island setting, and very foreign and different from the rest of the country. But in reality, living there, or at least in Honolulu, was like living in almost any other mid-sized city. I’ve lived in Portland, Oregon for six years and have been living in Los Angeles for the past six months, and I’ve got to say that I’ve seen so many similarities between Los Angeles and Honolulu. The attitude in the people I’ve met is very similar, the traffic is about the same (but LA has more lanes so I actually prefer driving here!) and both cities are filled with skyscrapers. In movies about Hawaii, you rarely get to see that Honolulu has a thriving business community and city life. It isn’t all about Waikiki and tourism.

Q: What do you think are some of the biggest misconceptions about living in Hawaii?

A: Going back to the last question, I think most people, when I tell them that I’m from Hawaii, they think of it as basically being America’s island playground, with nothing but endless days of relaxing on the beach.

The Nuts and Bolts

Q: Do you have a studio in your home?

A: Yes, it includes a nice Mac set up with huge monitor speakers and a recording booth I built in my closet.

Q: How did you learn the technical aspects of audio production?

A: I taught myself how to record and mix audio using Garageband a little over ten years ago when I was first recording myself singing and playing guitar and piano. I became much more skilled when I started charging people money to write songs for them.

Q: How many hours a day can you narrate? How do you keep your vocal cords in good condition?

A: I was narrating on average 3-5 chapters a day. I’m not sure how that translated into hours, because I would take breaks all of the time. I would record one chapter all at once, take a break, record another, and take another, longer break..So on and so forth. Taking many breaks is crucial to keeping your vocal cords in good condition. Thankfully, there weren’t really any screaming scenes, but when it comes to those, drinking tea and some herbal supplements like “nin jiom pei pa koa” is good.

Advice

Q: Do you have any advice for people who want to become audiobook narrators?

A: Read! Every day! Read out loud! Also, check out acx.com. It’s a free service for narrators. A lot of voiceover websites are “pay to play” which can work out for some people, but for most, it doesn’t. ACX does not charge a monthly fee to allow you to audition for books, so it’s a great place for someone to get their feet wet in the audiobook world.

I would also recommend for those interested to have taken a few voice over classes or acting classes in general. A huge part of voice acting is the acting part. That’s, really, well 99% of it. Audiobooks are no different. They’re often more acting, since you’d need to be able to portray all characters in a story.

Q: What skills are required to be a good audiobook narrator?

A: Have the patience and stamina to work on a long project. Be able to voice a number of different people. This doesn’t necessarily mean you need to have a wide vocal range. With your natural vocal tone, you could still create hundreds of characters by adding some grit to your voice or adding some attitude or swagger, changing up the pacing of your words, and take on different personality traits. How would you say something if you were a perfectionist and “neat freak”? How would you say the same line if you were an out-of-work couch potato? If you are able to create many believable characters, I’d say that’s a great start.

Q: Do you have any advice for authors in hiring and working with audiobook narrators?

A: I had the pleasure of working with Frankie Bow for my first audiobook and it was awesome! I really appreciate her friendliness and positive attitude and feedback and certainly her patience and understanding! 😉 I would say that all authors looking to hire a narrator for their book should possess these qualities. It definitely made the job more enjoyable. [*blush* –ed.]

Q: What other projects are you working on now?

A: I just wrapped up a project where I lent my vocals to an amazing album called “All In” with DJ $crilla, and I’ve provided vocals for a few other albums that cannot be mentioned at this time. I’m also working on some other music projects and a bunch of commercial voiceovers and have been working on more videogames lately.


Q: Where can readers follow you? 

A: You can find me at my website, hear me on SoundCloud and follow me on Twitter.


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Audiobook Talent Interview Part I: Nicole Gose, narrator of THE MUSUBI MURDER

Nicole Gose has done everything from voicing national and international commercial and radio spots, to voicing political campaigns, to mixing and producing jingles and scoring music for commercials, movies and theatrical plays.  She is the voice talent for The Musubi Murder audiobook, where she inhabits characters ranging from diplomatic inkeeper Mercedes Yamashiro to anarchist newsblogger Patrick Flanagan to outspoken biology professor Emma Leilani Kano’opomaika’i Nakamura.

And of course Nicole voices the first-person protagonist, Professor Molly Barda, the unwilling amateur sleuth who just wants to stay out of trouble until she gets tenure.

Nicole’s narration has received praise from audiobook listeners:

Her Hawaiian and islander accents were soo good and fun, I hope to find some more books narrated by her.

She has the excellent ability to change her voice for each character…She even does male voices that you would swear were being voiced by a man.

The narrative was well done, in fact I often forgot that one woman was also providing the male voices for the audio. That’s a great narrator!

The narrator Nicole did a wonderful job with all of the characters and their different personalities and the different accents. She was very easy to listen to and I am looking forward to listening to more books by this narrator.

[Nicole] certainly is a talent. Her voice is very clear, she has good timing and tells a story well, this is so important. I loved the regional accents.

Fantastic narration.

I’ve had so many questions from audiobook listeners about my talented narrator, that I’m delighted to be able to share our interview! Here is part I of my interview with voice artist Nicole Gose.

Background:

Q: What got you into a career as a voice actor?

A: I had been working on some commercial music and jingles for clients a few years ago and sometimes I would get a request to add in a tag line like, “Call us at 1-800…” or, “For the best in the business, go to…” and I started seeking out commercial voice over opportunities after that. However, my desire to be a voice actor really came from many years before then, back when I was a kid watching cartoons. I always preferred animation to live action tv shows, and I had wanted to voice act for cartoons, but had always assumed that only a handful of people got the opportunity to do that and it was impossible to do what they did. And while that is somewhat correct to a certain extent, doing commercial voiceover and starting to do a little audiobook, animation and video game work has made it seem more attainable, so I’m going to keep at it!

Q: Did you always know that this was the career you wanted?

A: I’ve always been involved in some kind of creative pursuit for as long as I can remember. When I was a little kid, I used to write a lot of stories and illustrate them. I taught myself how to play piano when I was six and have been composing songs since then as well as singing and acting since around the same time. For the longest time my plan was to become an actress. It was a lot of fun to play and become other characters. However, when I was a little older (around 16) I had decided that I would get more into music and I started a band around then, and began my quest to pursue music. It wasn’t until a few years ago that I decided that I also wanted to get into voice acting, and I rediscovered my love of acting and the theatre. Now I’m kind of pursuing two careers at the same time, but it’s funny how much crossover the two fields have. I’m finding that many people in Los Angeles work in both areas, especially the people behind the scenes, and having multiple skill-sets is very important down in this ultra-competitive city in this incredibly competitive field.

Working as a voice artist

Q: Aside from the Musubi Murder, what was your favorite voiceover job?

A: I usually do a bunch of commercials, training videos and IVR (the automated voice that you hear when you call your cable company and yell at because it’s not directing you properly..Yeah, that’s me) but I’ve been starting to do games and animation lately, and the most fun I’ve had was doing a live session as a playable character for a MMORPG. I had to say my character’s lines, and then I had to make a bunch of fighting noises, then followed by dying noises and screams. That was a lot of fun. I’ve since done more video games after that with more fighting and dying noises. I had a session where I needed to voice six different playable characters, and all of them needed to have their own unique set of attack and dying noises. It was a bit of a challenge, but I was able to come up with their own fighting sounds based on their voice pitch and personality.

Q: What’s a typical day like for you? 

A: On the days that I’m feeling productive, I like to record around seven to ten auditions for voiceover work. If I have any outstanding projects, I like to spend time working on that. If I’m not working in the studio, I’m interning at a voiceover recording and production studio and learning the ropes there while networking. And if I’m not doing that, I’m spending time with my colleagues in the field or meeting new ones and networking. A huge part of this business is networking, and I’ve found that people here do like to help, and I’ve been doing the same for others.

Audiobooks

Q: What led you to consider narrating audiobooks?

A: I started listening to audiobooks around four or five years ago when I wanted to prepare for a 20 hour road trip from Portland to Los Angeles and didn’t want to get bored. I thought that it would be cool to narrate audiobooks as well, but again, didn’t know how to get into it. A few years later I went to a voiceover seminar and spoke to another voice actor who said that she narrated audiobooks through acx.com and suggested that I do the same.

Q: What aspects of audiobook narration do you find the most challenging?

A: The most difficult part is probably keeping up the energy throughout the long recording sessions. Generally for shorter voiceover projects like commercials, the final recording part is only on average about 15-30 seconds long, and while I find myself recording about 5-10 takes for these projects, I can generally do them all in a row while keeping that same high energy. For audiobook recordings, I will often read several pages at a time, and will take mini pauses throughout to take a breather and re-build that energy so that certain paragraphs don’t sound like they’ve fallen flat, compared to others.

Q: Do you read the entire book first, before you begin recording, or do you prefer to be surprised along with the reader/listener?

A: I feel that it’s ideal to read the entire book first so that you can get a good understanding of the characters you’re portraying, but when you do not have much time to do so, you’ve just got to make do. So in this case, I would often just read a page or two before going in to record, mostly so that I would feel prepared for recording that little bit, just as I do before I record any other script.

Q: How do you decide how to voice a character? What is your process for determining the voice for any given character?

A: When figuring out a character’s personality and how they might sound, I go straight to the dialogue. There’s a lot to be gleaned from the words that they use and the phrasing they choose. Sometimes the author will add details like “speaks with a southern drawl” which will inform me to give them that type of accent, but the rest of it is personality. Just about anyone can do some sort of southern accent, but for there to be believability, we need to be able to feel that it comes from a real person, and…this is a little method actory, but if you go into the headspace of someone who would say something with a certain phrasing, you can imagine how they might say other things and the type of personality they would have that would lead them to say those things and do the actions they do. For minor characters, sometimes it’s just a matter of thinking, “Hmm, this scene has a lot of lower voices… I’m going to make this character who only appears in these few pages have a high voice”.


Q: Where can readers follow you? 

A: You can find me at my website, hear me on SoundCloud and follow me on Twitter.


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More proof that cats are out to destroy us.

Exposure to cats in childhood increases the chance of suffering from serious mental health problems like schizophrenia…The parasite Toxoplasma gondii, which is thought to be the cause, is carried in the intestines of cats.

This Childhood Pet Increases Risk of Serious Mental Illness

By Jeremy Dean at PsyBlog

Can't have a post like this without the Louis Wain cats.
Can’t have a post like this without the Louis Wain cats.

Read more:

Is childhood cat ownership a risk factor for schizophrenia later in life?
Estimating the population attributable fraction for schizophrenia when Toxoplasma gondii is assumed absent in human populations

 


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GUEST POST: The Worst Possible Cocktail Party by Mindy Quigley

Historian by training, globe-trotting university project manager by necessity, and fiction writer by the skin of her teeth, Mindy Quigley has had a colorful career.

She has won a number of awards for her short stories, including the 2013 Bloody Scotland prize. Her non-fiction writing includes an academic article co-authored with the researcher who created Dolly the Sheep. More recently, she was project manager of the Anne Rowling Regenerative Neurology Clinic, a research clinic founded in Scotland by the author J.K. Rowling. Her work as the coordinator of a pastoral services program at the Duke University Medical Center provided the inspiration for her bestselling Reverend Lindsay Harding mystery series.

Author Mindy Quigley

Mindy’s stopped by to talk about how she uses the Cocktail Party Test to guide her writing.

Intrigued? I thought so! Read on:


The Worst Possible Cocktail Party

My husband, Paul, dreads cocktail parties. He’s a mild-mannered, polite British man—a combination of traits that seems to make him easy prey for cocktail-party nutcases. You know the type. The high-strung lady who asks rhetorical questions only to give herself the opportunity to launch into what seem to be well-rehearsed, and incredibly inane, monologues. “Do you like cats? Well, I love them. When I was growing up, we had a cat named Feather who would pee on anything plastic…”

Another type of nutcase who often ends up cornering Paul, usually next to the alcohol table, are those with nutcasia temporaria (a short-term case of the disease). People who’ve recently been divorced or endured a breakup fall into this category. British men like Paul aren’t known for their ability to share their inner lives, nor are they equipped with the skills to deal with people who spew out their tales of failed romance in large, undigested chunks. When confronted with this type of nutcase, Paul often ends up staring uncomfortably into the middle distance, as if trying to endure a particularly thorough dental cleaning.

The worst offenders are the nutcases who take advantage of Paul’s soft-spokenness and good manners to “enlighten” him with their views on politics or religion. “America isn’t what it used to be. I mean look at the state of the economy/the environment/local schools/boy bands.

Those Democrats/Republicans/Hippies/Rednecks/guys from One Direction have flushed this country down the toilet.”

When I’m writing my Lindsay Harding cozy mystery series, I think of these nutcases.

Burnt Island Cover

I cast my readers in the role of Paul at that cocktail party and myself as a stranger, approaching him near the snack table. With each chapter, I ask myself, am I being a cocktail party nutcase? Here’s what I mean. Say I’ve written a bit of dialogue that’s outrageously clever, full of nimble-minded wordplay and athletic leaps of language. I’ve peppered each sentence with ten-dollar words and Oscar Wilde-esque wit. But when I examine this brilliant bit of dialogue using the cocktail party nutcase test, I may realize that, it is a clear example of the high-strung woman cornering the unsuspecting partygoer. The dialogue probably doesn’t sound very natural, and all those big words probably impose too much unnecessary work on my readers. I’m just talking to hear the sound of my own voice.

Because my books all incorporate true historical elements, I must be careful to avoid nutcasia temporaria, too. In my case, this might manifest itself in my desire to tell my readers every detail of the blow-by-blow, honest-to-gosh true background historical events. After all, I put a lot of research into understanding those events and I want my book learnin’ to show! But the truth is, just like the gory details of some stranger’s marital breakup, the research a writer puts into her books should blend subtly into the background. If I am disgorging chunks of my research like a drunken frat boy in a Wendy’s parking lot, I’m probably suffering from nutcasia temporaria.

The last one, which is probably even more prevalent at family Thanksgiving dinners than at cocktail parties, is the know-it-all jerk, trying to ram his beliefs down your throat. Since my books have a liberal, female hospital chaplain as the main character, this can be an especially delicate dance. I’ve got to be careful to include enough informative little tidbits about her beliefs to reveal her character, but avoid any kind of posturing, proselytizing, or punditry. I want my characters’ views to feel like a finely woven part of who they are, sitting respectfully in the background of their personalities, never demanding center stage. Unless my character is a know-it-all jerk at a cocktail party. Then it’s kosher.

So that’s the cocktail party test. If I can read what I’ve written and think, yeah, Paul would like this cocktail party, I know I’ve succeeded!

Mindy lives in Blacksburg, Virginia, USA, with her Civil War history professor husband, their daughter, and their miniature Schnauzer. You can follow her at

MintyFreshMysteries (Mindy’s blog and website), FacebookTwitter, and Goodreads.

Murder in Mount Moriah (Book 1), A Death in Duck (Book 2), and The Burnt Island Burial Ground (Book 3) are available on Amazon.

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THE MUSUBI MURDER August 2015 Amazon / B&N /Powell’s /Audible / iTunes