Editing, Production/Typesetting, ePub Conversion and IngramSpark management; with 50% split revenue.
NOA, an aspiring young boy from a broken home in the ‘burbs, nervously awaits a singing audition for an Australian TV talent show. He never dreamt it would be this competitive, brutal almost… But his difficult and violent past has taught him a thing or two, and he won’t give up that easily.
Will his unique vocals, fashion style and determined attitude mean his audition will screen across Australia? Or will the top producers shoot him down before he has a chance? NOA takes you into a world of TV auditions, music videos, profit-seeking producers and a music industry that preys on the vulnerable.
Confessions of a Villain is keenly observant and insightful, a guide for others on the road to becoming creative, unique and well-known stars.
Author: NOA Category: Biography Publisher: NOASWORLD Published: 04 Apr, 2016 Pages: 206 (75,000 words)
The Styles of Narrative Nonfiction
Confessions of a Villain is a project that demanded a production approach as considered as its prose. The manuscript was copyedited in Microsoft Word — working through tone, style consistency, and grammar — before the text was laid out in Adobe InDesign, where the design is as creative as the author’s mind.
Finished files were coordinated and uploaded to both IngramSpark and KDP in 2016, ensuring wide distribution across trade and self-publishing channels and giving the author full control of their title in the market.
Narrative nonfiction, memoir, and quasi-fiction occupy neighbouring but distinct territories. Narrative nonfiction holds itself to verifiable fact, but borrows the momentum and texture of literary storytelling — scene-setting, rendered dialogue, a protagonist moving through time. Think about ‘Three Crooked Kings’ by Matthew Condon and how that kept the feeling of the time.
Memoir sits closer to the self: it is the writer’s own life refracted through memory and meaning, where emotional truth carries as much authority as chronological accuracy.
Quasi-fiction — the mode of Confessions of a Villain — pushes further still. It takes the bones of a real story, in this case a young non-binary guy from a fractured suburban childhood who walks into the brutal arena of a televised talent competition, and allows imagination to flesh it out. The facts provide the spine; the fiction gives it breath. The writing is emotive, sharp in detail and immerses the reader.
This is a story about hunger and survival told in the only register that can hold both: one that doesn’t have to choose between what happened and what it meant.