I am e-publishing my science fiction novel and planning to do the “voice” for the audio book myself.
In the mean time I am looking for a first time novelist who would consider a relative unknown and inexpensive voice actor to narrate his or her book. I’m more interested in credit than cash, but cash helps. It could be used to make an even better product since labor is not the factor driving up the cost.
I may be a novice novelist myself, but I’m certainly not a first time narrator or actor. A connection worth exploring?
Send me some copy. It’s my voice and approach to your work you are interested in. I’ll send you a demo based on your work. I think the narrative voice is important. Characterization should be there, but not distract; some audio artists become such masters of characters as to showcase them at every opportunity. Not every character should jump off the page–just the significant ones. As a performance critic and a writer myself I believe in the author’s intent, but I also believe it is possible to bring out the best of intentions in another medium.
I know how to “read” books. My specialty is interpreting intent and drama. I call it performance criticism. So, I’m not just a voice. Mediocre books can make stellar movies and some movies make horrible books. Sometimes a book needs some editing for length and for voice delivery. Reading is not the same as storytelling, but you want it to be close enough there’s hardly a difference. Really long books simply cost too much as audio books and attention wanes as the ears get tired. The trick is to bring out the best for the medium and not lose sight of the author’s intention, nor the need to keep and hold an audience’s attention.
Some audio books don’t need “bells and whistles” while others are aided tremendously; some need a particular voice. Marketers are interested in selling the books in hand, although most will tell you they aren’t. The reality is that if you change marketers after that first book, they lose your business. You want your audience coming back for more and consistent satisfaction will keep an audience. As my psychology professor used to say in dealing with the mentally ill, we do what works to help them. The result is important. My professor was talking about different schools of psychology to achieve results. I’m talking about a different school of thought as well–a different philosophy for doing audio books. I had to put down an audio book written by a favorite author because the audio artist drew all the attention to him and totally turned me off
There is the side benefit of having an audio link to help market both products. There are also two products that help sell each other. And there are two distinct markets in some cases. Do you know people who love audio books but hate to read? How about people who hate to read on a computer or video screen, preferring print on paper? I don’t have statistics on this but I know it’s what some of my friends and I do: we are more likely to click on an audio link to hear a sample performance than click to read a sample chapter.
An aside though. I have said I will be doing the audio on my own book. My problem has never been interpreting my own work but eliminating what may not be totally necessary–the editing. Do I think authors can benefit from professional editing? Yes, especially with someone who knows you pretty well and understands your intent. What about a coach for writers who are not narrators to do their own book? There are coaches who specialize in coaching writers, and I am willing to coach someone if I feel with coaching the author can pull off a quality act.
Here’s why some voice over actors don’t do audio books: it takes a long time to produce and the financial return is less than commercials. Hidden in the reason may also be the “I don’t have the patience, or the subtlety necessary to pull it off effectively.” Better to find and stick to a niche. I love books and acting. Let’s meld them together effectively. Personally, I’d rather do the whole story.
Shaw's Reality 