Published 2017-07-27Camilla Ochlan
NIGHT'S GIFT has been turned into an audiobook!
It is done, delivered, and I will shout from the rooftops where you can get it. I am so thrilled.
Hearing our story performed has been nothing short of magical for me. As I wrote about in Finding a Voice, it's an incredible thrill to hear your words performed. As the narrator lends talent and voice to the characters who have only resided in your head, the story goes from ephemeral to real.
So, how did we get here?
This process was somewhat easier for us as authors because my husband P.J. is part of the audiobook industry. He is an Audie Award-winning, multiple Earphones Award-winning, and Voice Arts Award-nominated narrator of hundreds of audiobooks. And, as a narrator, he has a very particular set of skills. Skills he has acquired over a very long career ;)
OF CATS AND DRAGONS' audiobook narration requires voices and dialects for scores of monsters, intrepid heroes and talking cats from a range of families, countries, and realms. P.J. more than delivered.
But if you don't happen to have a narrator in the family, how do you turn your book into an audiobook?
If your publisher bought your audiobook rights, then you just sit back and wait until someone tells you that your audiobook is done. Under those circumstances, sometimes authors get input, sometimes they don't.
But if you are taking the process on yourself, here are a few things to think about:
How to prepare:
Finish your book. Really. Edit your book. Really. Once you give your manuscript to your narrator, you will not be able to do any more editing. It will be set in stone, so make sure you are happy and your manuscript is done, done, done.
Your narrator might find typos and minor grammatical mistakes, and he or she might tell you about them in time to make fixes. But that is not their job. You have to assume that the narrator will read what is on the page, even if it's utter nonsense. You wrote it, it's on you and not on them.
I highly recommend you have someone read your work out loud while you follow along in the manuscript. Carol and I have a process that is pretty OCD, so I won't go into it here. But let me assure you that we read aloud and listen to the manuscript many, many times during our joint editing process. Siri (or any text to speech program) can help you out. The robotic read is torturous to listen to, but you aren't listening for entertainment, you are listening to catch word repetition repetition and other anomalies.
This is the time to make firm decisions, especially if your book is part of a series. Look ahead. Make sure you describe what characters sound like the first time they appear. And then stick with it. Don't give recurring characters surprise accents or vocal characteristics in later books. I remember hearing about one extreme example where an established character all of a sudden had an accent in book three of the series. A professional narrator will typically prep the entire manuscript before recording and will know about late surprises, so you have a bit of a safety net with your audiobook. But, and this is just a side note, for your writing in general, it's a good idea to offer vocal descriptors up front. Whether you are writing a series or a standalone book, it can be jarring to your readers to have an imagined sense of a character radically upended for no reason. You risk taking them out of the story and losing them as a fan.
These are just a few things to consider as you prepare your book to be narrated.
Carol and I have tried to be very conscious about what is to come in OF CATS AND DRAGONS. Book one -- NIGHT'S GIFT -- is fairly contained. One city, only a handful of characters, but we know the requirements of books to come. We are ten books deep into the series as we are releasing book one, and we have hundreds of stories to draw from.
For example, Avarice, who only has a few lines in NIGHT'S GIFT, will be featured more prominently in other books, and other characters come from the same country she's from, so her accent has to be logical and sustainable for the overall story.
Further, when you write, keep in mind that your words will be spoken. Have that audiobook in mind. Even if you end up not doing an audiobook, you will improve your writing if you keep an ear to the soundscape you are creating. Write dialogue that can be spoken by humans -- this goes for interior thoughts too. Long convoluted sentences, crazy alliteration, and accidental rhyme are the bane of the audiobook narrator (and the reader).
Selecting a Narrator
Unless you are already an established and successful voice over/audiobook narrator or a bankable celebrity, resist the temptation to narrate the book yourself. The technical challenges of audiobook narration are numerous, and as a newbie you're just setting yourself and your book up for failure. Who needs that pressure?
Think about what voice you want for your narrator: Male? Female? Do you need different voices? Accents? Dialects? Before listening to narrator samples, be really clear what you are searching for. If you just go in and listen to a bunch of samples, you may be swayed away from what's right for your book. Hear the book first, then listen to narrators. Also, and this is no small consideration, understand what style of narration you want. Do you want a straight (Siri-like) read where the narrator adds no performance? Or do you want a voice performance? There are so many great narrators. And their styles and talents run the gamut. Find the one that is right for your vision.
Once you are certain you know what you want, start exploring professional narration.
You have a choice here to enlist the help of an audiobook producer or you can go it alone with ACX. Either way, you want to be involved, so take your time listening to samples or listening to narrators' reels. Some authors have gotten very excited about auditioning narrators. Please be respectful. Don't waste people's time. Chances are, everything you need to know is already available for your listening pleasure. Do your research, but don't take advantage of actors' willingness to do free work in order to win the job. You don't like writing extra samples to prove you can write when you already have work available for consumption.
But depending on your relationship with the process -- producer/publisher/directly with the narrator -- you may or may not be in a position to weigh in on the casting and performance. Some audiobook publishers and producers invite the author to complete a questionnaire to provide character input, pronunciations for invented names, places, languages, etc. If you're working independently and directly with your narrator/producer through a platform such as ACX then you certainly have the opportunity to share your guidance and requests. But just as with the communication through a publisher, timing is essential. Input is welcome prior to production.
If you aren't married to name pronunciations, it's actually fun to hear what the narrator comes up with. I had a different pronunciation in mind for the character Riaire, but Carol and I ended up preferring how P.J. said Riaire's name. So, stay flexible. It can be a fun collaboration if you are open to it.
The ACX platform is set up so the narrator/producer must provide the first 15 minutes for your approval before moving on with the recording. This is an additional opportunity to weigh in on technical quality/production value, tone, and also your last chance for input. You may not rewrite the book at this point. You may not spring brand new, not previously discussed requests on the narrator ("I really need the character to sound like a Scottish Greta Garbo -- and please scream all the lines"). However, if you hear something is going in a wrong direction -- maybe tonally ("She's actually happy as she's sawing through the intruder's leg"), or something that could generally improve the book -- this is your time to speak up.
However, even at this point, be aware that you've already cast this professional actor to perform your book. Not every one of his/her choices will match what you've imagined, but their creativity and freedom is integral to this stage of the process. Most professional narrators understand the responsibility they have to capture the tone you've intended and to not reimagine/reinterpret your book. Attempting to micromanage line readings or character voices is never productive.
When It's All Done
Carol and I were positively giddy when we first heard P.J.'s narration of NIGHT'S GIFT. Omen has been an important character in the landscape of my imagination, but he's only ever had my voice. Since this book is written with a tight POV, we get a lot of Omen -- both action and his internal thoughts. Hearing Omen's characteristic swagger mixed with his constant self-examination brought him to life in a whole new way to me. The same is true for Templar -- more layers. And forget about all the cool creature voices. It's one thing to read about the undead alchemist's hissed "s" and the ringmaster's flourishes, but hearing these characters spring to life is awesome.
The glory of hearing your book read is unequal to anything I've experienced. Screenwriting gives you the great pleasure of seeing your work performed, but remember scripts are rewritten and changed until they are sometimes unrecognizable even to the writer.
Your book is your book. Every word is yours. And once it's an audiobook, it's alive.
And now it's time to shout it from the rooftops (more stores to come):