Narration
My narration style is engaging and conversational. I’ll collaborate with you to portray your characters using the voices of those characters you envisioned when you wrote your book.
I’ll use moods and emotions that will keep the listener’s attention, converting them from being a listener of the story to become a character in the story.
Audiobook narration doesn’t have to be confusing or complicated. You need someone to help you tell your story in an entertaining manner, with emotion, passion and empathy. That’s where I come in!
That’s why I say: “Let me tell you a story!”
Proofing, Editing and Mastering
I am familiar with and adhere to the standards for audiobook production as outlined by The Audiobook Creation Exchange (ACX), a subsidiary of Audible.
I am a graduate of the “ACX Masterclass” and am specifically trained for ACX narration and production.
Any Questions?
A voiceover colleague suggested that I try audiobook narration. I’ve found that I enjoy the process and really enjoy being a storyteller; that’s why the slogan for my website is “Let Me Tell You A Story.” I also get to read lots of interesting books!
I work with both authors and publishing houses in narrating books. I obtain my audiobook projects by contacting authors and publishers directly, as well as booking projects through the Audiobook Creation Exchance (acx.com).
I have three authors for whom I’ve narrated multiple books, as well as a publisher for whom I’ve narrated four titles.
An intriguing concept and an intriguing story to be told!
When narrating non-fiction, the narrator acts as the author’s “storyteller,” or spokesman.
In narrating fiction, it is imperative for the narrator to determine where the “actionable clues” are in the story, so he/she can effectively convey the emotions intended by the author.
“Production time” is the total time required to narrate, “proof,” edit and “master” the book. A “Finished Hour” is an hour of narration that is “ready for air/broadcast.”
Yes, when narrating fiction, I have many character voices in my “toolbox” that I can call upon when I need them. I may not utilize a character voice for several months, but, I have that voice available when I need it.
I enjoy being a storyteller and providing the most compelling narration possible for the listener. That way, I can change their role from being a listener separate from the story to identifying with a character and becoming a part of the story.
Conveying the emotions of a character can lead to varying the character’s voice. In most cases, I’ll perform a line of dialogue several times to be sure I’ve captured the required emotion while not “losing” the voice. I’ll listen to all the takes and utilize the best one.
“Proofing” is verifying that the words I’ve narrated are the actual text of the book.
“Editing” is removing mouth noises, breath sounds, lip smacks, etc.
“Mastering” is fine-tuning the sound to ensure it meets industry standards.
I’ll use a voice based on the dialogue the author provides for the character, i.e. happy, depressed, angry, etc. It helps if the author provides some background for the character i.e. “his expression conveyed 40 years of selling newspapers and coffee.”
It’s primarily based on “word count” of the manuscript. My narration rate is about 9,800 words per hour. If a manuscript is 98,000 total words, the audio narration will be approximately ten hours long.
When I begin a project, I share an internet-based spreadsheet with the author/Rights Holder, who uses it to document any errors they discover when they review the narration. The errors are listed on the sheet and I correct the errors from those notes. This makes the process easier for both parties.
The author/Rights Holder has the option to review the entire narration upon completion, or, on a “phased” basis (chapter-by-chapter or groups of chapters). I prefer the “phased basis” by producing and sending three chapters for review at a time. Most of the authors/Rights Holders I’ve worked with prefer the “phased basis,” as well.
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