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Performance

What is Co-Narration?

Performance

Most audiobooks are performed by a single narrator. Co-narration occurs when 2 or more actors divide the performance of the text. These types of projects can be done 3 ways:

  • Dual narration — 2 actors narrate everything in the chapters associated with their main characters’ points of view, including the lines from the other actor.
  • Duet narration — 2 actors narrate their characters’ lines (and potentially those for all characters of the same gender) throughout the book. Normally, one person is the main narrator who would also voice the narrative portions. This approach requires extensive editing and therefore has a higher cost.
  • Multicast / Full Cast — 3 or more actors perform the text. The producer would determine which approach above would be used and inform each actor of their roles. The producer may mark or color-code the parts or divide the text to aid the actors and editor. This style of narration requires significant coordination and editing and is the most costly type of audiobook to produce.

Dual and duet narrations are especially popular in romance books when the point of view (POV) switches between the main characters. Both narrators read and prep the entire book so that they can fulfill the author’s vision. It’s important for the actors’ studios to be of similar sound quality so that switching back and forth in the audio is not jarring to listeners.

In a co-narration project, actors can perform their roles:

  • In the same studio at the same time. This option offers the highest quality recording and best collaboration, but it could require travel expenses and studio rental in addition to the narrators’ and editors’ fees.
  • At the same time in separate studios but connected via Zoom or other real-time system so that they are responding to each other as they record their lines.
  • Independently in their own studio. This option is easiest to schedule and budget, but the performances may not sound connected to each other.

Any time you’re an actor working with 1 or more narrators to create an audiobook, you need to collaborate and coordinate with your fellow actors so that you understand and utilize each others’ choices, especially with voices, accents, and pronunciations. The goal is creating a smooth and consistent listening experience, as if the customer was listening to the audio from a TV show or movie without any effects. You will want to follow the Co-Narration Standards developed by the Professional Audiobook Narrators Association.

 

Other resources on this topic:

  • ACX does not have a way for a rights holder to hire 2 narrators. This article explains their payment options.
  • In my article Dual Gender Narrations in Audiobooks, I explain how my husband Drew and I recorded — and I edited — a series of duet narrations. Actors working in different studios often use a dog clicker to signify where the other actor’s lines would be inserted in duet or multicast productions. However, the producer may choose another means for notating the insertion points. If the actors are working in separate studios, the editor must take care to match the sound.
  • Narrator and Casting Director Tanya Eby wrote the article Best Practices for Co-Narration and offers suggestions for dealing with a non-responsive co-narrator in her article Three Questions and Answers on Audiobook Business. You may need a subscription to her Substack to read these pieces. She is offering a 50% discount to anyone coming from Narrators Roadmap. Follow this link to subscribe with the discount.

 

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  • Filed Under: Performance

    What To Do When You Feel Pigeonholed by Casting (May require a Substack subscription)

    Performance

    Award-winning narrator and casting director Tanya Eby wrote this excellent article What To Do When You Feel Pigeonholed by Casting.

    I thank Tanya for mentioning this site in her comments about performing Public Domain audiobooks.

    • Everyone can access my trove of free resources at my Public Domain Narration Headquarters.
    • NarratorsRoadmap site members also can view my Create Your Own Path video course and my Public Domain Audiobooks and Self-Publishing webinar. Both are available under the Video Courses option after you login, and both include an extensive list of resources not found in my free material.

    Note: You may need a subscription to read Tanya’s Substack. You’ll find a discount offer in the Welcome Center.

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  • Filed Under: Performance

    Where/how can I learn accents and dialects?

    Performance

    Fiction books often feature characters with a wide variety of accents. It’s important to do your due diligence to determine if your capabilities are in best service of the text. Remember, the back story you imagine and accent you choose for your characters must be grounded in the text. Listen to this 1:40 audio clip from the TV show Hot in Cleveland (s6, e15 “All Dolled Up”) for a humorous example of what NOT to do.

    The book’s location(s) will dictate the type of accents needed, if any. The characters who live in the same place wouldn’t hear their accent differently, As narrator and dialect coach Joel Froomkin explains:

    In general if the book takes place primarily where the language is native, you do not do a foreign accent because the characters are not speaking a foreign language to THEM. Hence, A Tale Of Two Cities isn’t narrated with a bunch of French accents. The foreign language itself is considered the non-accented neutral.

    If the author states a character is from a certain place with a distinctive accent like London and doesn’t indicate the character has no accent, you should give that character an appropriate accent based on the location and the character’s socio-economic background and status.

    However, if you can’t convincingly speak in the accent of the main character(s), you shouldn’t do the accent. The goal is to sound like a real person, not a caricature. Sustaining an accent throughout the book grows even more difficult if you have not lived there or at least had significant experience in speaking with the accent.

    On the other hand, if you say you can do an accent, you need to do it WELL. You don’t need to be at the level of fooling a native speaker, but you do need to be respectful, convincing, and consistent.

    Usually, hinting at the accent is enough to satisfy the listener. Barbara Rosenblat, who is known as the Meryl Streep of the audiobook world, wrote in her book Audiobook Narrator: The Art of Recording Audio Books:

    Clarity is key…Your first responsibility is to be understood….

    When I refer to “nuance”, I mean giving a good dollop of the flavor of the character so that you place your listeners firmly in the world you want to share with them without blowing them out of the room.

    The resources on this page can help you hear accent traits and the musicality of the language, which is essential for a more authentic performance. Of course, listening to an audiobook from a native speaker certainly gets the musicality of the language into your mind! For instance, listening to David Tennant perform How to Train Your Dragon helped me perform a few lines of Scottish in one book.

    Language repositories:

    • The British Library’s free database of British Accents and Dialects has recordings representing different accents and dialects in England, Wales, Scotland and Northern Ireland. Specialty recordings, like British prisoners held in Germany during WWI, are found on this page.
    • The International Dialects of English Archive (IDEA Dialects Archive) is a free site containing around 1500 sample recordings of native speakers from around the world speaking the same passages in English, often as a 2nd language.
    • A regional US map and links to vocal repositories are included in this Lifehacker article. Of the sites linked in the article, linguist Rick Aschmann’s site discusses US and Canadian accents and is particularly useful because he catalogs YouTube clips with good examples.

    Language apps/sofware with native speakers:

    • Babbel Fee-based subscription
    • Duolingo Free and paid services
    • Fluenz One-time payment
    • Mango Languages Paid subscription but may be available through a library
    • Rosetta Stone

    Your library also may have courses in popular languages produced by Berlitz, Living Language, and Pimsleur.

    This KB article on pronunciation includes links to several sites with native pronunciations.

    Radio Stations:

    You can also listen to radio stations in the country to aid your musicality. I’ve found that WordRadioMap.com is a good choice because you can quickly pick a country and city from drop-down menus and then click on a station to start listening.

    The Radio.Garden site lets you search for a station with text or by “spinning” the earth and clicking on a dot representing a station. Narrator Madeline Mrozek alerted me to this site, which also has an iPhone/Android app.

    With some Google searches, you might find radio stations in other countries with programming in English. You can also search the Apple and Google app stores for other radio apps.

    Movies:

    Some narrators like to watch dubbed movies with sub-titles. Narrator Jennifer Blom offered this handy tip for Netflix users: Login to Netflix and go to this page. Select the language you want to see programs available in that language.

     

    Other narrators have recommended the specific resources below for the accents listed.

    Australian

    • How to do an Australian accent with VCA Senior Lecturer Leith McPherson
    • Joel Froomkin’s Australian Word Stress/Pronunciation List

    British

    • The Ask List of words from chapter 2 of Edith Skinner’s classic book Speak With Distinction includes essential words pronounced differently in American and British RP English.

    Italian

    • ITALIAN REACTS to “How to Do an Italian Accent”

    Korean

    • Kim’s Convenience (Netflix episodic series)

    New Orleans

    • A variety of New Orleans accents from YEAH YOU RITE!

    Polish

    • Meryl Streep in Sophie’s Choice
    • The PronunciationStudio.com blog (shared by narrator Hope Newhouse) can help you work backwards with 10 English Pronunciation Errors by Polish Speakers.

    Queens/Bronx

    • Jimmy Napoli, NY tour guide

    Russian

    • Jodie Comer in Killing Eve (BBC America episodic series available on Hulu)

    Welsh

    • Gavin & Stacey TV show (streaming channels listed on the page)

     

    Other resources on this topic:

    • The PronunciationStudio.com blog has a number of articles with sound clips about types of regional British accents such as Received Placement and this article about differences between American and British English. You can search the blog for articles like the Polish one linked above that discuss mistakes native speakers of the language make in English. I saw French, Greek, Italian Japanese, Korean, Mandarin, Portuguese, Russian, Spanish, and Thai.
    • Narrator and coach PJ Ochlan offers techniques for perfecting your accents in this ACX University video.
    • Siiri Scott, head of Acting and Directory in the Department of Film, Television and Theatre at Notre Dame University, gave a presentation at APAC 2019 about creating dialects. Her slide deck is available on the APA site under Resources/APAC 2019 Presentations.
    • You’re not limited to your local library’s resources. This article discusses benefits of obtaining a non-resident card for 1 or more other libraries.
    • Dialect coaches and recording packages are listed in the Welcome Center.

     

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  • Filed Under: Performance

    Where to Put the Punch (Word Emphasis)

    Performance

    Hannibal Hills wrote a handy guide Where to Put the Punch: The Ultimate Guide to Emphasis for Narrators and Speakers to help you determine which words to emphasize in your sentences.

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  • Filed Under: Performance

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