Breaking into audio books...

I'm often asked about breaking into audio book narration on Facebook and Twitter - so, in case it's useful, I'm reposting something I wrote for Creative Content awhile back...

One of my tweeps (if you're not following me on Twitter, please do! @loreleiking) recently asked me if I thought voiceover classes and seminars were a good idea - which got me thinking about what it takes to be a voiceover artist and the best way to get started, particularly in audiobook narration.

I should say that I have nothing against voiceover training - I'm sure some of the classes, particularly the ones that provide you with a showreel, can be useful - but these courses are very expensive. I would suggest that, before investing so much money, you do some legwork yourself.

First of all, you have to be brutally honest with yourself: Do you have the raw material?

Is your voice easy to listen to?

I don't think you necessarily need a 'beautiful' voice to be a voiceover, but you do need to have a tone that doesn't make people want to put a pillow over your face and hold it down 'til you stop kicking.

Are you willing to look after your voice?

This means, first and foremost in my opinion, not smoking. I know some voiceovers do smoke - and whereas the 'smoker's voice' may work for some ads and movie trailers, smoking makes it MUCH more difficult for audiobook narrators to have the stamina and versatility required (see below). You may get away with it for awhile, but if you want a long and varied career - ditch the coffin nails. Looking after your voice also means not straining and screaming too much, even if you're rooting for the Steelers. It means taking care to warm up the voice, as you would any muscle (by the way, we have a free, downloadable vocal warm up on our Creative Content website).

Can you read more fluently than anyone you know?

This is particularly important for narrating audiobooks. You have to be able to 'read ahead' and to understand immediately the sense of what you're reading and be able to bring it out with your stresses and inflections. You have to be able to read without stopping and starting or hesitation. If you can't, you're unlikely to get very far. It's all about the bottom line, and audiobook producers want fluent readers who need (a) less time in the studio (expensive!) and (b) fewer hours of editing (also expensive!).

Do you have stamina?

Audiobook narration requires a surprising amount of mental strength and physical stamina. You have to read with the same conviction and energy at 5.00 pm as you did at 10.00 am. The voice shows everything: fatigue, boredom, tension, frustration. You have to find ways to keep yourself going when you don't feel like it.

Is your voice versatile?

Different audio publishers may have different 'house styles' - for example, in my experience, UK publishers prefer more heavily-characterised reads, whereas US publishers like narration to be 'straighter' - but, particularly if you're narrating fiction, you need to be able to differentiate between characters, and therefore should be able to at least approximate different genders, ages and accents.

If, hand on heart, you think you can meet all these requirements - great! In future blogs, I'll point you toward some free or low cost ways to get yourself prepared before deciding to invest your hard-earned cash in an expensive course. (Again, I'm not saying you shouldn't do these courses - but do what you can on your own first! You either won't need the course, or you'll get even more out of it, having done some of the legwork yourself!).

If you don't meet all of the requirements (and good for you for being honest with yourself!), I'll be blogging about ways you can improve your performance in these areas.

I'm excited! And I'd love to know how your journey is going...

Photo by elhombredenegro

'Tis the season!

A few last-minute Christmas present ideas for the voiceover in your life!

Tearing your hair out for some last minute gift ideas for your voiceover friend/spouse/partner? Here's a few suggestions...

Headphone-themed things are fun!

This pillowcase is adorable...

As is this blingy necklace...

And this ring.

Microphones are also good.

What bout this ruler...

Or this cute T-shirt.

 

As I’ve said before, an amber necklace is always a good present for a voiceover – the legend is that it protects the voice. There are so many beautiful ones around. This one is over the top, of course, but I love it!

If you’re prepared to break the bank, an iPad is a fantastic working tool for an audiobook narrator. 

If they already have one – lucky you! You can get away a lot more cheaply by buying them iAnnotate, my favourite app EVER!

I wish you luck with your holiday preparations and I hope Santa is very good to all of you. I wish you everything wonderful for Christmas! - x Lorelei

Studio Dos and Don'ts!

Continuing my occasional series of voiceover hints and tips from the late, great Brad Lavelle. Here he talks about studio etiquette...

“Do indulge in verbal play and banter with the director/producer and the engineer and other studio staff to a degree but don’t overdo it and eat up too much recording time. Don't just sit there being the great actor waiting for the minions to begin and don’t get in the way when they’re trying to work out a problem. Making a recording is a team effort, become part of the team and don’t worry when the rest of the team ignores you, if the talkback is switched off they’re probably just discussing a point that doesn’t concern you. 

Don't tell everyone that you'd rather be doing a season at Stratford or appearing in Shakespeare in the park. It’s boring, tedious, great actor behaviour and doesn’t make you sound like you want the job you’re being paid for. 

Don’t eat up expensive recording time telling everyone that you’re giving your Hamlet or Ophelia in whatever theatre be it off off off off off Broadway or on. If after you’ve finished your session you’d like to invite the studio along, do it then. 

Don't make a meal of it if the engineer says they forgot record your last take – you can do a good read more than once right? 

Do practice your reflexes so that when a piercing feedback ploughs through your headphones (cans) you can get them off before any damage is done to your ears. Don’t over egg this when it happens; save your hearing, make your point and move on. 

Don’t overlord it. As a voice artist you're probably getting paid more per hour than the studio runner gets a week. You may be worth it, but who's to say you are. Leave your big fat ego outside the studio. 

Don’t not ask questions (I know it’s a double negative). Always ask something; asking questions make you look like you’re on the ball. Every pro does it and if you want to be pro, shouldn’t you? Don’t wait until you’re in the middle of a take to say, "Oh uhmmm how do you want this word pronounced?" Don't begin your read without asking (if you can’t tell) 1) to whom you are reading 2) what the intent of the script is. 

Do befriend the receptionists and runners at the studio. Clients will ask reception to recommend a good voice. The more the receptionist likes you, the more your chances of a recommendation. Runners will one day be engineers and could go on to being directors…their memories are better than an elephant’s. 

Don't overstay your session unless you’re invited to hang out, just tell an amusing anecdote, say goodbye and leave. There’s mixing and other stuff to be done and you’re not needed for that. 

Do have fun in your sessions, enjoy them, this job can be a lot of fun and you’ll meet some really terrific and talented people. Don't get aggressive or abusive if you don’t like the way a session’s going, life’s too short and you don't need the ulcers.” – Brad Lavelle

Trippingly on the tongue...

Walking in the park this week (spring is here!), I had a bit of a stumble - and fell, landing like a mighty redwood (my poor knees!). Embarrassing, yes.

But at least it gave me an idea for the blog, as it got me thinking about another place I sometimes stumble – audiobook narrating!

I’m a pretty fluent reader, but sometimes I hit a particular kind of brain-freeze glitch and I just can’t get over it. I’ll make the same mistake several times in a row and it gets worse with each retake, as I come toward the Problem Syllables like a skittish horse heading to a tricky jump...

I’m sure I’m not the only one who suffers this problem - and over the years, I’ve come up with a solution!

This is what works for me: As I approach the trouble spot, I start to do a math problem in my head. It can’t be anything like simple addition – double-digit multiplication usually does the trick – something like 27 x 19. Struggling to work it out usually tricks my brain into letting my mouth get the tongue-twister out.

Give it a try and let me know how you get on!

Photo by Joe Schlabotnik