Tips for Audiobook Narration

Audiobook Narration tips

Will you make a better storyteller than a voice actor? 

An actor brings chops to the table that you presumably do not have,  similar to the capability to use their voice to endue rulings with emotion. And voice players frequently have neutral accentuations and a lovely oral tone that may be heeded for hours on end.   But you have one advantage that the voice actor doesn't you wrote the book. You're apprehensive about how the persons you canvassed and quoted felt when speaking with you. You know which sections are meant to be unconcerned and which are meant to be serious, and which points you really want to emphasize. You can bring similar factors to the audio recording in a way that no one differently can. 

 Bandy this with your publisher if they enjoy the audio rights. ( While some will dismiss authors as narrators, the utmost will see the value you can contribute.) If you enjoy the audio rights, you or an audio patron can hire Audible to produce and circulate the audio.

     

1 Collaborate with a seasoned audiobook producer.

Some authors,  similar to seasoned podcasters, have sophisticated home recording outfits. Indeed if this is the case for you, I recommend working with an expert audiobook patron in a plant rather than trying to record the book yourself.   The patron has all of the necessary outfits to record her voice. In the control room, they will read along with you and catch you if you skip or mispronounce a word. And they'll edit the audio recordings,  relating and correcting crimes before assembling them into the topmost audio lines possible. They're also oriented to negotiating with publishers and audiobook distributors similar to Audible.

2 Experiment with reading aloud.

 Reading Audibly isn't a commodity we do on a  diurnal base. You should come habituated to it.   I had confidence in my capability to recite my first audiobook because I routinely read audibly to my children. Dr. Seuss was followed by Little House on the Prairie and Harry Potter. So I felt at ease reading runners and runners of prose.   Of course, that is not the same as reading your own nonfiction book. So go into a room and start reading and maybe record yourself to hear how you sound. You will be ready for the plant if you can do that for ten twinkles or so. If not — or if you find it frustrating and time-consuming.

3 Schedule the time.

A narration cannot be rushed. A typical book recording lasts between five and 10 hours. It will take you twice as long to record it since, as humans, you will make mistakes, need to restart, and take breaks. So, depending on how many mistakes you make and how many breaks you take, you could be in the studio for ten to twenty hours.

It's worthwhile if you have the time. However, if your mind is elsewhere due to all of those hours, your recording will reflect it. Author narrators should sound authoritative, not nervous.

4 Do not simply read. Narrate.

You are not a seasoned reader. You have arrived as the author. When you write, the words come to you in your mind's ear. You're now making a recording to convey those words into the ears of your reader. They should hear it the same way you do. That suggests you're narrating the story. You tell a story in some portions. Tell it like a story. You're making a point in other places. So emphasize that point. Some sections are lyrical; tell them poetically. You can read louder or quieter, faster or slower, and with pauses for dramatic effect.

If you are a public speaker, you are used to expressing your emotions through your voice and body. You don't have your body as a tool anymore, but you still have your voice. Your public speaking abilities will come in handy. In general, you should go a little further than you think. You are more likely to miss the mark if you are too sluggish, even, and dull than if you exaggerate your emotions. If you're worried, try it and then consult with the producer — and listen to your voice as they play it back. They'll let you know if you've gone too far. Nobody wants to hear you scream and shriek for seven hours. But they also don't want to sleep.

5 Make use of audible punctuation.

Readers are guided by punctuation. Audiobook listeners, on the other hand, do not. That implies you must communicate how to parse the words and sentences using your voice.

At the end of a statement, you'll create a standard-length pause, perhaps half a second. At the end of a paragraph, pause for a little longer. At the end of a section or chapter, pause for a longer period. Pause for each comma, but a little less.

6 Come up with workarounds for visual aspects.

You will not read your messages if they contain visuals or tables. You could place those visuals on your book website and read a note directing audiobook listeners to them if you like.

7 Be prepared for difficult sections.

There are land mines in your manuscript. You must be aware of their location and deal with them.

Look up the pronunciation of names or places you are unfamiliar with. There was a case study about an Italian CEO named Guido in one of the books I narrated. I called him and established that his name was Ghee-dough, not Gwee-dough. Before reading a portion about Zappos founder Tony Hsieh, I asked my social media pals how to pronounce his surname (it's "Shay"). These are issues that can be overlooked when writing but not when reading aloud. If a word in your text is long or foreign to you, repeat it several times until you're comfortable with it.

It's going to be a long day in the studio if you keep slipping up on omnichannel or transubstantiation. Words aren't the only thing that can trip you up. Certain parts of your text are amusing, tragic, or shocking. That's fantastic writing. But you can't be smiling or crying when telling the story. Read them out loud. Read them once more. Read them again and again until you can go through them without breaking a sweat. Emotion in your narration is OK as long as it does not interfere with your ability to record the words.

8 Take rest breaks when you're fatigued.

When you are weary, you are more likely to make mistakes. Words will be skipped or mispronounced. Your producer will very certainly notice these mistakes, but it will take you longer to record the audio.

You're better off taking 15 minutes off or going to lunch and returning to it with a clear mind. Also, don't plan an 8-hour reading session. Nobody is impressed by the fact that you completed the reading in one sitting. Spread it out across multiple days to improve the quality of the outcome.

9 Make a note of any mistakes.

The optimal time to record the audiobook is after the copy corrections have been completed and the text is rock solid, but before the page layout is finished.

You will come across errors while reading. Reading aloud allows you to spot minor errors. Make a note of it. And correct any problems before submitting the pages.

10 Great writing is more enjoyable to read.

A good piece of writing has a rhythm to it. It contains both long and short sentences. It moves. It's entertaining to watch.

Bad writing is repetitive or difficult to understand. It may have overly long and ponderous sentences or paragraphs. It may also contain odd or jargon words that are difficult to read.

If your writing is good, you will love reading it aloud. You'll fall madly in love with your own writing. This is a good way to feel about a book you've authored. If your writing is poor, reading it aloud will be a difficult task. If you find it difficult to read, imagine how difficult it is for the reader at home.

Your personal writing is probably somewhere in the middle. Some of it will sing. Some of it will drag. Take careful notes as you read aloud. And resolve to improve those draggy sections in your next book. You'll be doing a favor not only to your future self as a narrator but also to everyone who reads your book in print.