One of my self-educational hobby projects last year involved recording an audio book. I’ve done a lot of on-microphone reading of silly things I’ve written, but taking on the task of narrating someone else’s book was a job I found both intriguing and intimidating. Could I pull it off? I wasn’t sure, so I had to give it a try.
The opportunity arrived through a website called the Audiobook Creation Exchange, or ACX.com. This is a clearinghouse that connects narrators, producers and publishers.
A friend in the business told me ACX was the place projects go when the original publisher realizes the volume won’t be a big seller as an audio book. Rather than go to the expense of hiring a professional narrator and paying for studio time and editing, they farm it out to some guy between jobs who is arrogant enough to think he can do a passable job on a complicated project simply by setting up a microphone in his closet.
So I set up a microphone in my closet.
One key early decision – I knew I couldn’t do the different voices and the acting necessary to narrate a work of fiction. What I needed was a book that would do well to be read in a calm midwestern style by someone who is steady and not at all flamboyant. There aren’t a lot of books like that, but I auditioned for them and was offered one that lined up perfectly with my interests – “Morning Miracle: Inside the Washington Post – A Great Newspaper Fights For Its Life.”
I figured if I could just manage to get paid by the word, it was a good start to be assigned a book that has three titles.
It turns out the pay was gauged by the finished hour, and all told the reading is a little over nine hours long. That’s not a Harry Potter sized project, but nine hours is still quite a stretch. Imagine if you started talking and went non-stop until nine hours from now. It’s the closest I’ll ever come to knowing what it feels like to be a U.S. Senator during a filibuster. But of course I didn’t read the book that way. It was start and stop and start and stop and check a name pronunciation and start and stop and take a drink of water and so on and so on and so on. That can be tedious.
But it wasn’t the reading that did me in, it was the editing. My finished nine hours probably took over eighty to record and edit. I’ve never been accused of working quickly.
One thing recording an audio book teaches you – your mouth is disgusting. Really, really repulsive. The variety of grotesque noises that can emerge over the course of a lengthy passage are mortifying. As an act of mercy towards anyone who might listen, I had to edit out all the pops, smacks, gurgles and slurps and then I had to cut out most of the breaths. ACX says removing breaths is not required unless your gasps call undue attention to themselves, and this judgement is somewhat in the ear of the beholder. I considered my breaths to be so wheezy and ugly, they simply had to come out. So I hope nobody downloads this audio book with the thought that they will immerse themselves in it to the point where they breathe in synch with the narrator. I could wind up having a terrible problem in court.
I’m not kidding about the closet, by the way. I padded it with blankets and chunks of foam, and for a screen to soften the way my plosives hit the microphone, I stretched one of my wife’s nylons over a wire clothes hanger. I know that’s not the way they do it in the professional studios in New York, but I’d like to think it gave the project an aura of Midwestern grounded-ness.
What sort of writing do you like to read out loud?





