WARM-UP VIDEO FOR LINKING BETWEEN WORDS

Instructions. What do expressions 'even now', 'in New York' and 'and not' have in common? The sound 'n'! In fast speech, these expressions might be difficult to catch because they last sound of the first word links with the first sound of the second word, and so they sound more like 'evenow', 'inew York' and 'a not'. Listen and fill the gaps with two words that link together.

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Exercise. Complete each gap with suitable words and expressions you hear from the video.

Yvonne Hunter: (1) ………….. , let me introduce our host for the evening, Globe and Mail crime and fiction reviewer, Margaret Cannon. Welcome, Margaret. [applause] of the appeal was... I mean first of all, he was this guy who was taking the conventions of the mystery novel and doing more with it. He was exploring all this family dysfunction and so forth, and I (2) ………….. if I fully realized at the time just how dysfunctional my own family was, but it was fun to read about other families that were even worse. [laughter] MC: Then you were at the Star for a long time. LB: I was there for 27 years. I didn't do the column for them. I was hired at the Star, I went in looking for a job as a reporter, and they said, "Well we (3) ………….. any reporters, what we need are copy editors, we're desperate for copy editors. Do you have a lot of editing experience?" And I said, "Sure." write a column and keep it fresh three times a week, but you gotta have a lot of talent to make... LB: Well, I (4) ………….. . MC: The simple things fun. [laughter] agent said, and this is kind of the way I've always gone ever since, is you really need a great hook. You need a great idea. And I'd finally woke up one morning at 5:00 and I had this idea about a girl who's 14 years old, who goes out with a bad boy (5)………….. and comes home totally drunk. And her parents are outraged and furious with her and she goes to bed, and she wakes up the next morning and everyone's gone. LB: Like her mother is gone, her father is gone, her brother is gone, and 25 years go by and she's never known what happened to them. And were they all killed? Or did they decide to leave (6) ………….. take her with them? And which would be worse? To find out that everyone in your family was dead or that they had left you behind and didn't want you? So, I'd sent an email to my agent about 8:30 in the morning and said, "How about this?" And she called immediately. "That's it, that'sa great book for a thriller." And she said... And she likes to know the whole story. She said, "What happened to the family?" I said, "I (7) ………….. ." [laughter] LB: I have no idea. But you know what she said, and it was true, "Go figure that out." [laughter] LB: So, that's happening. I had another one,"Never Look Away" was optioned by Sony for the idea of making it into a TV series. But I (8) ………….. if that's going anywhere. And it looks like one of the other books, "The Accident", may be headed for... It has been optioned for television in France. Books, my works, do really, really well, among other this business, and having all of this responsibility at the age of 16, that I had never expected to have, that that was, I think, more than anything else, shaped completely who I am. I swear to God, to this day, I still dream at least (9) ………….. a week that I'm still running that place, like it just imprinted on me on a way that you cannot imagine. MC: Like a chick. [laughter] MC: Well, Ross MacDonald always said, "All writers must mine their childhoods." He actually said that, many times, and he's certainly mined his, over and over. But his (10) ………….. as... Well, it was terrible. Yours was merely... LB: Well, and there were a lot of things that happened to him, as an adult and as a father, in himself like that's what he had been. MC: Yeah. 'Cause he decided to be a writer at 19 and then continued to strive for years. So well, we know what's coming up. We know where you'd been, (11) …………..) we're gonna open it up to the audience. And would you please come to the microphone and ask a question? Anything you wanna say? MC: I can't add and he can't subtract, so, between us we're... [laughter] LB: I (12) ………….. if the mic was on, but I heard that, but it was, "Who am I... S?: This is not on? LB: I (13) ………….. if it's not. But the question was, "Who am I writing for?" Like who do I picture the readers to be? Or when I am writing, who is the audience? Who am I writing for?" And I honestly, I don't really think about that in the writing. I think in many ways, characters isn't sometimes necessarily as hard as fixing a plot problem. It's funny, when I did "Trust Your Eyes", I had a character, there was a woman in the book and my editor said, "You know, she's really not working and maybe you don't (14) ………….. her in the last half of the book." So, I said, "Okay." So, I rewrote the book and I dropped her from the last half of the book but in the first half, I rewrote her, to make her better. Then put her into the back of the book." [laughter] MC: You (15) ………….. win. LB: No. You just can't, You just can't win. I have to say that every book that I've... About editors, I'll just say something about editors. Every book I have done has gotten may be two-thirds the way or I may be a third of the way through writing something that I'm really having a lot of fun with. And I'm working with a coach who has been enormously helpful. But she keeps saying, "Okay, well, what's gonna (16) ………….. ?" And I keep saying, "My hand hasn't told me yet." Because I sort of sit down and then it just starts happening and then all of a sudden, I'll go, "Oh, where did that come from?" And it's taking turns all over the place. And she's talked about doing upgrades and chapter things and... I don't seem to be able to do that. I (17) ………….. how weird that is. LB: One of the great things about doing this for a living is I've gotten to know an awful lot of really well known crime writers and I haven't met any two that do this the same they all are going to be before they start, they map it all out, they do pages and pages of outline, and so everyone has a different process. I'm sort of in the middle. I mean, I (18) ………….. what every chapter that's coming up is gonna be, but I know where I want to end up. I kind of know who done what, and what forces are happening in the background to make these events happen. And so I'd like to know that before I begin, but a lot of times, I (19) ………….. what the next chapter may be until I get to it. But when I was doing my very first novel, which was one of the funny Zack thrillers and it was called "Bad Move", and when I was writing that, that very first book, and I got in touch with my agent, it out and then finish it." And that's what I did. And then once I had it sort of figured out, then I was able... I mean, there were still things that when I got to them, they were surprises to me like I (20) ………….. I was going to write that chapter, I didn't know that little thing would happen. But I knew the mechanics of it. I knew who had done what because I think, at least for me, I need to know what everybody did that the reader (21) ………….. that they did. I need to really need to know that as the writer because it shapes every single thing that they say. So, if I know in chapter two that this person who's talking is the killer, I have to be in their head (22) ………….. that every word they say is said, if they're couching their language this way because they're hiding something, I have to know that before... I need to know that. But I don't necessarily know every little LB: Yeah, I know. He's been married for two years. I mean, it's... When he was about 16 or 17, he borrowed the car one day, his mom's car, and he'd used it to go... He used it to school. I get a phone call. He says, I (23) ………….. how he did this but, "I've locked the keys in the car and the engine's running." [laughter] would be if they didn't give you contract to do a book a year. [laughter] LB: That would be really stressful. If they said, "No, we don't really need (24) ………….. year." That would keep me awake at night. But when you spend 30 years in newspapers and you're used to deadlines, and yes, books are slightly longer than the columns, but when you're used S?: It's not tied up in a bow and that's the part that I like, yeah. LB: No. I mean, you get your answers. You know what happened. I don't want you to leave it so you (25) ………….. what happened but once you know what happened, it's like, "Well, what on earth will they do with this information that they have now?" I like doing that. S?: Thank you. And so they've sent me James Elroy's book to read, which is 700 and some pages. [laughter] LB: It might be the only thing I get to read (26) ………….. and the end of October. So, I'm not able to look at stuff, but I do still get requests to look at things. S?: Thank you. to ask you, what was that like writing with another author? And, sorry, I forget... LB: It was Raymond Khoury. Yeah, so I belong to an organization called the International Thriller Writers, and they have a big convention every year (27) ………….. York. And the writer, Steve Berry, had this brainchild to put out a book that Simon and Schuster published, and it would have 11 short stories and each story would be written by two well known thriller the story went, and that was the way we did it. And it was an interesting process, and it was actually really nice to be asked to be part of that book with all those writers. But I (28) ………….. if I would do it again. [chuckle] But I was glad to be part of it. It was a neat experience. And the book's done really, really well. It's done quite well, and so it was kind of a neat thing to do. LB: We're talking about this. And the thing is, it's a legitimate question, but it's the one that authors get the most and it's the one that they don't have an answer for. The old, "Where do you get your ideas?" And most of us (29) …………... They just happen. I get ideas sometimes... You just wake up at 2:00in the morning and it's just there. The whole thing, it's just there. It comes whole. And I find when you look for an idea deliberately

Key: Look at the key and say aloud the script from the video to improve your English.

Yvonne Hunter: (1) (And now) , let me introduce our host for the evening, Globe and Mail crime and fiction reviewer, Margaret Cannon. Welcome, Margaret. [applause] of the appeal was... I mean first of all, he was this guy who was taking the conventions of the mystery novel and doing more with it. He was exploring all this family dysfunction and so forth, and I (2) (don't know) if I fully realized at the time just how dysfunctional my own family was, but it was fun to read about other families that were even worse. [laughter] MC: Then you were at the Star for a long time. LB: I was there for 27 years. I didn't do the column for them. I was hired at the Star, I went in looking for a job as a reporter, and they said, "Well we (3) (don't need) any reporters, what we need are copy editors, we're desperate for copy editors. Do you have a lot of editing experience?" And I said, "Sure." write a column and keep it fresh three times a week, but you gotta have a lot of talent to make... LB: Well, I (4) (don't know) . MC: The simple things fun. [laughter] agent said, and this is kind of the way I've always gone ever since, is you really need a great hook. You need a great idea. And I'd finally woke up one morning at 5:00 and I had this idea about a girl who's 14 years old, who goes out with a bad boy (5) (one night) and comes home totally drunk. And her parents are outraged and furious with her and she goes to bed, and she wakes up the next morning and everyone's gone. LB: Like her mother is gone, her father is gone, her brother is gone, and 25 years go by and she's never known what happened to them. And were they all killed? Or did they decide to leave (6) (and not) take her with them? And which would be worse? To find out that everyone in your family was dead or that they had left you behind and didn't want you? So, I'd sent an email to my agent about 8:30 in the morning and said, "How about this?" And she called immediately. "That's it, that'sa great book for a thriller." And she said... And she likes to know the whole story. She said, "What happened to the family?" I said, "I (7) (don't know) ." [laughter] LB: I have no idea. But you know what she said, and it was true, "Go figure that out." [laughter] LB: So, that's happening. I had another one,"Never Look Away" was optioned by Sony for the idea of making it into a TV series. But I (8) (don't know) if that's going anywhere. And it looks like one of the other books, "The Accident", may be headed for... It has been optioned for television in France. Books, my works, do really, really well, among other this business, and having all of this responsibility at the age of 16, that I had never expected to have, that that was, I think, more than anything else, shaped completely who I am. I swear to God, to this day, I still dream at least (9) (one night) a week that I'm still running that place, like it just imprinted on me on a way that you cannot imagine. MC: Like a chick. [laughter] MC: Well, Ross MacDonald always said, "All writers must mine their childhoods." He actually said that, many times, and he's certainly mined his, over and over. But his (10) (wasn't nearly) as... Well, it was terrible. Yours was merely... LB: Well, and there were a lot of things that happened to him, as an adult and as a father, in himself like that's what he had been. MC: Yeah. 'Cause he decided to be a writer at 19 and then continued to strive for years. So well, we know what's coming up. We know where you'd been, (11) (and now) we're gonna open it up to the audience. And would you please come to the microphone and ask a question? Anything you wanna say? MC: I can't add and he can't subtract, so, between us we're... [laughter] LB: I (12) (don't know) if the mic was on, but I heard that, but it was, "Who am I... S?: This is not on? LB: I (13) (don't know) if it's not. But the question was, "Who am I writing for?" Like who do I picture the readers to be? Or when I am writing, who is the audience? Who am I writing for?" And I honestly, I don't really think about that in the writing. I think in many ways, characters isn't sometimes necessarily as hard as fixing a plot problem. It's funny, when I did "Trust Your Eyes", I had a character, there was a woman in the book and my editor said, "You know, she's really not working and maybe you don't (14) (even need) her in the last half of the book." So, I said, "Okay." So, I rewrote the book and I dropped her from the last half of the book but in the first half, I rewrote her, to make her better. Then put her into the back of the book." [laughter] MC: You (15) (can never) win. LB: No. You just can't, You just can't win. I have to say that every book that I've... About editors, I'll just say something about editors. Every book I have done has gotten may be two-thirds the way or I may be a third of the way through writing something that I'm really having a lot of fun with. And I'm working with a coach who has been enormously helpful. But she keeps saying, "Okay, well, what's gonna (16) (happen next) ?" And I keep saying, "My hand hasn't told me yet." Because I sort of sit down and then it just starts happening and then all of a sudden, I'll go, "Oh, where did that come from?" And it's taking turns all over the place. And she's talked about doing upgrades and chapter things and... I don't seem to be able to do that. I (17) (don't know) how weird that is. LB: One of the great things about doing this for a living is I've gotten to know an awful lot of really well known crime writers and I haven't met any two that do this the same they all are going to be before they start, they map it all out, they do pages and pages of outline, and so everyone has a different process. I'm sort of in the middle. I mean, I (18) (don't know) what every chapter that's coming up is gonna be, but I know where I want to end up. I kind of know who done what, and what forces are happening in the background to make these events happen. And so I'd like to know that before I begin, but a lot of times, I (19) (don't know) what the next chapter may be until I get to it. But when I was doing my very first novel, which was one of the funny Zack thrillers and it was called "Bad Move", and when I was writing that, that very first book, and I got in touch with my agent, it out and then finish it." And that's what I did. And then once I had it sort of figured out, then I was able... I mean, there were still things that when I got to them, they were surprises to me like I (20) (didn't know) I was going to write that chapter, I didn't know that little thing would happen. But I knew the mechanics of it. I knew who had done what because I think, at least for me, I need to know what everybody did that the reader (21) (doesn't know) that they did. I need to really need to know that as the writer because it shapes every single thing that they say. So, if I know in chapter two that this person who's talking is the killer, I have to be in their head (22) (and know) that every word they say is said, if they're couching their language this way because they're hiding something, I have to know that before... I need to know that. But I don't necessarily know every little LB: Yeah, I know. He's been married for two years. I mean, it's... When he was about 16 or 17, he borrowed the car one day, his mom's car, and he'd used it to go... He used it to school. I get a phone call. He says, I (23) (don't know) how he did this but, "I've locked the keys in the car and the engine's running." [laughter] would be if they didn't give you contract to do a book a year. [laughter] LB: That would be really stressful. If they said, "No, we don't really need (24) (one next) year." That would keep me awake at night. But when you spend 30 years in newspapers and you're used to deadlines, and yes, books are slightly longer than the columns, but when you're used S?: It's not tied up in a bow and that's the part that I like, yeah. LB: No. I mean, you get your answers. You know what happened. I don't want you to leave it so you (25) (don't know) what happened but once you know what happened, it's like, "Well, what on earth will they do with this information that they have now?" I like doing that. S?: Thank you. And so they've sent me James Elroy's book to read, which is 700 and some pages. [laughter] LB: It might be the only thing I get to read (26) (between now) and the end of October. So, I'm not able to look at stuff, but I do still get requests to look at things. S?: Thank you. to ask you, what was that like writing with another author? And, sorry, I forget... LB: It was Raymond Khoury. Yeah, so I belong to an organization called the International Thriller Writers, and they have a big convention every year (27) (in New) York. And the writer, Steve Berry, had this brainchild to put out a book that Simon and Schuster published, and it would have 11 short stories and each story would be written by two well known thriller the story went, and that was the way we did it. And it was an interesting process, and it was actually really nice to be asked to be part of that book with all those writers. But I (28) (don't know) if I would do it again. [chuckle]But I was glad to be part of it. It was a neat experience. And the book's done really, really well. It's done quite well, and so it was kind of a neat thing to do. LB: We're talking about this. And the thing is, it's a legitimate question, but it's the one that authors get the most and it's the one that they don't have an answer for. The old, "Where do you get your ideas?" And most of us (29) (don't know) . They just happen. I get ideas sometimes... You just wake up at 2:00in the morning and it's just there. The whole thing, it's just there. It comes whole. And I find when you look for an idea deliberately

Sources: 

Channel: torontopubliclibrary. Linwood Barclay | Sept 9, 2014 | Appel Salon: https://www.youtube.com/watch?v=5iE0L5QMPys

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