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Choosing your Audiobook Narrator

Choosing your Audiobook Narrator

Audiobooks are expected to jump 40% in sales this year according to the New York Times, following double-digit year-to-year growth for several years. So, if you’re thinking about how to get a piece of the action, then you’re in the right mindset. Let’s take a peek at some of the challenges and options ahead.

Be your own narrator

I regularly work with authors who choose to record their own books while I serve as the director/coach/technician. Here are some potential potholes to avoid in the road ahead if you plan to narrate your own book:
– Flat narration
– Shallow breathing
– Mouth sounds
– Noisy clothes or furniture
– Inconsistency of vocal quality

Recording often flattens the voice, a bit like a tire losing air, so it helps if you make some effort to offset that effect. Flat narration causes the listener to get bored and tune out. Keep the narrative alive, smile when you read, and try to stay inside the story emotionally. Pump some air into it! Read it like it is your favourite story and you love telling it. Imagine telling the story to an audience of one person who personifies your target audience… but remember the idea is to sound natural – we don’t want the tire to pop either. Shallow breathing or Darth Vader breathing not only makes it harder to keep the flow of your sentences natural, it will drive your listeners nuts unless you edit out those breath gulps. To breathe deeply and quietly, think of opening your throat to let the air in silently.

Mouths can be full of sounds, especially if you are not well hydrated. Drink lots of water during the recording session, and also in the days leading up to it. Wear knits when recording, so you can move without your clothes saying “shhhh.” When recording, try to be still – not like a statue, but like a tree on a calm day. Beware: chairs and stools can be noisy. If you can manage it, I recommend standing while recording.

Inconsistency may be your biggest challenge. After recording awhile, the voice gets tired and raspy. Or, one day you feel great and another day you’re tired and your voice reflects that. Manage your sessions so you can be consistent. Recording at a consistent time of day can help. This is also important when you have to make corrections. Matching your own voice one day to the next takes some practice and finesse. One of the biggest challenges in narrating an audiobook, especially a long novel with many characters, is maintaining consistency of character voices. Characters should sound distinct enough so that the listener knows who is speaking at any given time. Create those distinctions, and then remember each character’s voice.

If narrating becomes about reading words from a page, then the vitality will be lost and so will your audience.

Stay connected with the story and its emotional journeys for each character. If narrating becomes about reading words from a page, then the vitality will be lost and so will your audience. Articulation is important, as is phrasing that clearly expresses each idea and emotion, but it should never override the emotional lifeblood of the story itself. I have found that even when authors narrate their own work, they can get so focused on reading without stumbling that they forget to really enjoy being the storyteller. Keep in mind that non-fiction is a story as well, even if it doesn’t have an emotional landscape. With non-fiction, the key is communicating the ideas clearly and with interest. The narrator has to be invested in the material. Smiling while reading non-fiction is especially important and makes a huge difference in how it sounds.

Hire a Narrator

When seeking a professional to narrate your book, search for a great actor. They don’t have to be famous, they just need to know how to act well, and to be more than just a pretty voice. Audiobook producers will find actors for you or have online demos of their narrators. Otherwise, you can set up a free account at ACX.com and search their massive database. Go back to the questions earlier in this article, to narrow your search. You can also use services like upwork.com and post the job there.

When you are soliciting auditions, pick out a section that you think might be the hardest part in the book. If you have dialogue, pick a scene with the most voices. You should only need about three minutes of narration for an audition selection. If there is anything that you don’t like – stop. Ask the narrator to make a change, which will also help you find out if they can take direction. Don’t settle for something less than great – your listeners won’t, so neither can you.

The decision to record one’s own audiobook is sometimes driven by the notion of saving money. This can be true, but is not always. Whether we’re talking out of pocket costs or time spent, either way it may be more cost effective to hire a professional. On the other hand, if you feel drawn to record your own material, go for it! If you’ve never done this sort of thing before, however, I do recommend you get some help in figuring out the best way to approach it.

When it comes to selecting an audiobook distribution company, it’s simple. You only have 2 choices: ACX.com (an Amazon company), which distributes ONLY to Audible and iTunes; or AuthorsRepublic.com, which distributes to all available audiobook distribution channels including Audible and iTunes. I use Authors Republic for my clients.

Finally, if you are not yet an audiobook listener, you are missing out. Subscribe to an audiobook distributor like Audiobooks.com or Audible.com or any of many out there, and join us in the world of audiobooks.

SHOULD YOU BE THE NARRATOR OR HIRE SOMEONE ELSE?

  • Is it important or valuable for it to be in your own voice? (e.g. if it’s a memoir or you have a speaking career)
  • Does your book need gender-specific narration? (e.g. it’s written in the first person or with a strong narrative gender-specific perspective)
  • Are there accents and/or dialects that are critical to the narrative success of the story?
  • Is the narrative voice in a specific age range?

For more information about Becky’s company, Pro Audio Voices, head to www.proaudiovoices.com

About The Author

Becky is the owner of Pro Audio Voices, a San Francisco Bay Area based company serving clients internationally as a go-to place for exceptional voiceover services for audiobooks, animation and advertising. She is also President of Bay Area Independent Publishers Assn, a member of IBPA, Audio Publishers Assn, and Theatre Bay Area.

From the editor…

As we enter the autumn, the publishing industry is gearing up for the great Christmas rush. For self-publishers, this is often a frustrating time of year, with many not realising the long timescales that retailers work to. If you haven't already got your book in production, it's looking likely that it won't be ready in time for Christmas!

Even if you do get your book ready well in advance of the holiday season, getting retailers to take notice can be difficult. There are so many big books from the established publishing houses that it can be impossible to get noticed. That can mean that you forsake what appears to be the best selling season in favour of a time when there are fewer big books around, so in the early spring, for instance.

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Yet that can work in your favour in fact... sell privately before Christmas, sell to the retailers afterwards when they are looking for new titles. A win-win for all!

In the next few months we will be altering the way that this magazine reaches readers, so watch this space!

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Joshua Norbery vowed never to marry for money, but is forced to accept the unthinkable; when he learns that a mortgage taken out on his family estate has been acquired by the bride’s father. The only way to regain it is to provide a son as heir to his father-in-law’s business empire.

Arthur Bradstone uses the threat of losing Linmore to ensure Joshua’s compliance, but no one seems to have told Joshua’s wife of the part that she is required to play.

Hardly has Joshua overcome the initial difficulties in his marriage, than shadows from his past threaten to tear it apart...

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