![]() ![]() But it's only about 10 percent of the time. If I work in those genres, I'll do those voices. Those voices have a place in audiobooks, but it's typically for other genres, young adult, the Harry Potter books, fantasy, that kind of thing. Most of the time, I can't do voices that you would expect to hear in a Saturday morning cartoon, something a bit over the top. Then you've got character voices, which I don't do very often because I typically work in 21st-century American realism. I always do a little bit of the accent so it doesn't interfere with the words but gets the idea across. With certain accents - Slavish, Russian, and French - the thicker and more precise you get, the harder it is for an American audience to understand. To me, an accent is just a natural part of the audiobook process. You can't do that with every book, but I don't work in horror very often and I thought, why not go to the extra effort?ĭoing a character voice vs. The next night I followed it up by doing the exact same thing and watching The Ring. I thought, if I feel scared, then I'm probably going to sound scared. All alone in my house, I started recording that book. And then I went downstairs in my big, empty, hardwood floor-lined house that echoes a great deal and went into my studio and turned off all the lights. when it got dark, and I shut off all my phones, put The Shining in my DVD player, and watched it until about midnight. So, instead of recording it during the day, I waited until about 9 p.m. He's forced to contemplate, might the supernatural actually exist? He's terrified throughout the book. It's a horror story told in the first person, about a guy who doesn't believe in ghosts until his 4-year-old son suddenly starts speaking in the voice of an 80-year-old dead woman. Those are the primary things but every once in a while I'll do something to get myself in the mood of a genre.įor instance, I was working on a book called A S tir of Echoes. You look for vocal references, like "his high-pitched whine of a voice." Any of those references that talk about how the voice sounds or the accent that comes out, I need to file away and refer back to. We're up to 1,800 words that are unique to that world. I record our phone conversations so I can hear him say the words, and then I can write them out phonetically, and then I refer back to the recording and to the phonetic pronunciation as I record. I was speaking to his son yesterday, going over all of these words that were made up for the series. Right now I'm working on the latest installment in the Dune series that Frank Herbert started years ago. If I had done that, people who are smarter than me would have been completely taken out of the listening experience. I used to look at the word macadam - you know blacktop, concrete, whatever you call it - and I would think macaDAM. But I look at words all the time and realize I have never said this aloud and I may be wrong. There are so many words that when you look at them, you think you understand how they're said. Looking up the pronunciations is the vast majority of it. (One could liken his smooth baritone to any number of sweet, slow-moving liquids - caramel, honey, syrup - but better to just listen for yourself.) Earlier this month, he took time out from recording his latest to talk about the ins and outs of audiobook work here's a lightly edited version of the conversation. ![]() He's also been named a "Golden Voice" by AudioFile magazine. Brick has won five Audie Awards (the Oscars of the audio industry), including two this year: in science fiction, for the 25th anniversary edition of Michael Crichton's Jurassic Park, and in thrillers, for Steve Berry's The Patriot Threat. He has recorded almost 800 in his 17-year career, and while his specialty is mystery, thriller, and science fiction - Robert Ludlum's Bourne series, Justin Cronin's The Passage trilogy, and Frank Herbert's Dune saga, to name a few - he also works in nonfiction, classics, and other genres. By submitting your information you agree to the Terms & Conditions and Privacy Policy and are aged 16 or over.Īudiobook narrator Scott Brick can't stop telling stories.
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