On Being an Audiobook Narrator

Hello, friends! We have guest posts this week and next, both from the ever fantastic Melanie Francisco- part author, part narrator, all awesome!

MicrophoneI wanted to be an actor growing up. I got my first taste of the acting life behind a curtain being a puppeteer in my church’s youth puppets programmers. This is also the same program that turned me into a writer, but I digress. I took acting classes in junior high school the first chance I got, which was in ninth grade, when I had an elective opening. And I loved every moment of being an actor, but I walked away in college for a multitude of reasons. But the straw that broke the camel’s back was the semester I went and auditioned for every single production at my college and got, nothing.

I had known for a long time, that acting was a competitive field, and that “No” was heard far more frequently than “Yes.” I didn’t want to be part of the #MeToo movement. I was warned over and over again, to get any kind of regular work, you did what had to be done, you took your turn on the casting couch, and you kept your mouth shut. It was a path I did not want to walk down. So yeah, I was kind of glad to be out. There were things I didn’t want to do. And I figured, if I had any kind of talent, I would have at least gotten one of the background parts. I wasn’t upset about not getting any parts. I just took it as the universe’s way of telling me that I was meant to be on the path I was already on.

Twenty years later, in my capacity as a part time freelance editor, I was researching ACX as a possibility for one of my clients who can voice her own work pretty well. When I looked into what they had to offer, I cruised through the books available and I found one I wanted to narrate. And all of a sudden I realized, I already had everything I needed to try out. So, I did. I didn’t get that book, but I got a near miss in the form of a nice note from the author saying someone else had a bit more skill in pronouncing some of the French words. Since I don’t speak French, I understood and moved on. I found more books that I wanted to read. I auditioned, and auditioned. Like that semester in college, I set myself a time limit for how long I was willing to take the no, and then, I was done. After three more near miss rejections, I landed a contract on my 10th audition, not even a month after I started auditioning. By the time my kids got out of school and I had to shut down production for the summer, I had booked worked all the way through this February.

Working as a freelancer in this field, is much the same as working as a freelancer in any other field. The same set of challenges of trying to negotiate a reasonable deadline based on your ability. Having to learn on the fly a skill you didn’t know you needed until you already took on the contract. And not knowing if your work on this book, or that book, will pay off.

And it has many of the same rewards. I work from the comfort of my husband’s closet, I set my own schedule, and I take off the days my kids need me. I work on both fiction and non-fiction books.  I choose what I want to work on, although, honestly, I’m not all that picky about some things. (Which is my way of saying, there is definitely rated MA work on my profile for language, sex and violence.)  I’m extremely picky about other things, like what kind of theory is being proposed in the non-fiction world. If I can’t get behind the idea of the work, I just let someone else take that one. It isn’t fair to the author to get a halfhearted narrator, and it’s just a slog for me to read hours of stuff I don’t like.  I try to get a good idea of what kind of content I’m being asked to read before I audition, and I have never turned down a offer, yet.

I’ve read works published by independent authors and books that have been traditionally published. After a few such books, I feel like I have a pretty good handle on the type of writing a traditional publishing house editor lets out of the door, and how any writer can get better at their craft. They are really great at putting the tension in a scene or a sentence. The job of an editor is to polish the writer’s work, to make the writer sound like the writer, but better. The work of a great editor is to convince a writer that they would sound better if they did a few simple things to strengthen their writing. It’s easy to lose tension in your work, but it isn’t hard to put it back in. You don’t need gimmicks, or to follow the latest slip-shod advice (ever tried to get rid of all of your adverbs.)

So stay tuned for next weeks’ Cheat Sheet…

Can’t get enough of Melanie and her wisdom? You don’t have to wait until next week! Follow her on Twitter  and check out her blog at . Happy writing!

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