I have to admit, I’m one of those people who used to roll my eyes at the idea of an audiobook. An audiobook? Why go that route when I can hold the crisp pages of a paperback in my hands or swipe a smooth touchscreen while enjoying an ebook?
But someone close to me (who adores books and who is just as geeky as I am, if not moreso) pointed out that there are a lot of busy people who like books but who don’t always have the time to sit and read. And if you live in an area where your commute to work is an hour or more, audiobooks can be a wonderful means of entertainment and distraction from what would otherwise be a boring ride. Some people (depending on their profession) even enjoy listening to audiobooks while they work. That’s pretty cool!
So why am I suddenly talking about this?
Because I recently released the first book of my Gray Tower Trilogy, THE TOWER’S ALCHEMIST, in audiobook format.
And you know what? It’s pretty kick-ass!
My narrator is the supremely talented voice actress, Anne Johnstonbrown, and I knew I had to get her story and her insight into what it takes to make a good audiobook.
Interview: Anne Johnstonbrown
Thanks so much for the work you’ve done on The Tower’s Alchemist, as well as for agreeing to share with us! We’ve heard of the rise of the popularity of ebooks, but there is also a strong market for audiobooks. Why do you think people enjoy listening to audiobooks?
Unfortunately for some people, there is a certain amount of shame associated with listening to audiobooks. They do so secretively and behind closed doors to hide from those who may feel that audiobooks compromise the literary integrity of the written word. Others feel that in listening to someone else’s interpretation of the literary work, they are sacrificing their own imaginative creativity and personal investment. Regardless, nearly everyone–were they completely honest–has listened to one or more audiobooks. It is a thriving and highly desirable market right now, and for good reason.
Some people are “forced” to resort to audiobooks. We all live such hectic lives and many of us commute to our workplaces. The only time we have to invest in literature is during the “downtimes” of our commutes, making audiobooks a logical choice. Others choose audiobooks because they want to be entertained by hearing the characters come to life.
It is a matter of preference, I suppose: the visual versus audible is a very subjective consideration. When I was in school, many of my classmates would tape the lectures to listen back to at a later time. This is because they retained more of the information when it was received audibly. I was very different: I was extremely visual and rarely gained any benefit from hearing a lecture. Reading the text was the only way I would be able to absorb the information enough to pass the test. However, I think I am in the minority; most people prefer to hear than see.
With audiobooks being so popular right now, the market is attracting some fabulous talent. One narrator can bring an entire novel to life, even when there are multiple characters of varying backgrounds and personalities. This makes it extremely entertaining. Even the most imaginative of readers are not always capable of achieving the type of mental depiction a good narrator can bring to the table, which is why I believe the stigma associated with audiobooks is soon to fall… at least I hope so!
My husband told me I can’t act. And…okay, I’m not gonna be vain–I agree (which is why I knew I couldn’t pull off The Tower’s Alchemist audiobook). Why is it important to hire a professional such as yourself for an audiobook production?
Again, anyone who chooses to listen to an audiobook is either doing so to be entertained or because they don’t have the time to read the text on their own. Either way, the consumer is expecting a professional performance, one that makes them “believe” that each of the characters has his or her own life, even though it is usually being read by just one person. For this reason, it behooves the author to be very selective when hiring a narrator, preferably one with great versatility and training.
What has been some of your favorite projects to work on? Some of your most difficult?
Although working with multiple dialects always makes the project much harder, as a narrator, these types of projects are the ones I prefer in the end. This is probably because there are more levels and diversity, not only of character, but usually of subject matter. My last project (The Tower’s Alchemist by Alesha Escobar!) was extremely challenging in dialect work, but was absolutely riveting! I couldn’t wait to get back into the studio every day. These are the projects I remember and refer to people when they ask what they should look for when purchasing an audiobook. Another audiobook series I like to recommend is the Legacy of the Watchers by Nancy Madore, which I also produced.
How do you prepare for an audiobook production? Do you conduct research? Practice different voices beforehand?
As for research, I usually don’t need to conduct anything formal prior to recording. However, for dialects, I keep crib notes that I have accumulated over the past 20 years. As a Professor of voice and speech at several Southern California universities, I keep up on the fundamentals simply by reiterating the precepts regularly to my students. I also have MP3s I have created over the years that remind me of what each regional dialect “should” sound like.
For American dialects, I like to say that I have 6 base voices:
1. Older people (gravely tone)
2. Children (higher pitch/squeaky, nasally tone)
3. Hero/heroine (medium pitch/pleasant tone)
4. Dingy sidekick (higher pitch/often nasally)
5. Cynic/dry sidekick (lower pitch/often throaty)
6. Antagonist/evil person (varies in pitch/ironic tone)
I know you’re in high demand and have a busy schedule, do you have any voice actor recommendations for authors who may be reading this interview? Or, can you list three things the author should be looking for?
An author seeking the most effective narrator for their project should:
1. make sure they upload an audition side from the manuscript that includes any and all voices the author may find most critical to the project. Also, make notes on the project page as to what you expect from the narrator and what you hope to hear in the audition. Be specific: high pitch? low pitch? Use descriptive terms, such as arrogant, shy, bully, brazen, sexy, inhibited, mean, maternal, etc.
2. make sure they list the project for the rate they are willing to pay, and take into consideration that you might just “get what you pay for.” In other words, the more you are willing to pay, the better quality you will probably get from your narrator. That is not always the case, but it is a safe rule to go by. Remember, this is an audiobook that will be sealed for all time. There’s no room for shortcuts. If you can’t afford to pay your narrator and choose to offer Royalty only, take extra care in choosing the one who will forever voice your hard-earned text. It may be worth it to wait until you can afford the right producer. And remember, most of us take PayPal now, so you can use a credit card.
3. make sure you are ready to review the finished product at time of completion. I can’t tell you how many times I have completed a project, only to have to wait a month or more before the author gets a chance to review it and ultimately pay me. Remember that many of us are full-time narrators, working from project to project. I average one project per month and usually count on each project to pay my rent. I know it sound crass, but if you have written more than one book and hope to use the same narrator again, you may have trouble convincing that person to repeat the past. I have been very fortunate in my experience, but my fellow narrators have not always been so fortunate. It is a relationship that, in some cases, can go on for years if it is preserved.
Well said! I know who I’ll be calling when I’m ready for Dark Rift to be produced in audiobook format. Thanks, Anne!
Listen to a Free Sample of Anne’s Narration of The Tower’s Alchemist
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Anne’s Website