Tease: Romance Audio Awards Announced

Two new categories for this year’s RT Awards.

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RT Book Reviews celebrates the awards season with the nominees for 2016 RT (Romantic Times) Awards that include the Reviewers’ Choice Best Book Awards and Career Achievement Best Author Awards. Two new awards are included for the first time: RT Review Source and AudioFile’s 2016 Best Romance Novel Narrator.

We are delighted to sponsor the Best Romance Narrator Award as part of our recent partnership with RT Book Reviews. AudioFile’s newest romance audiobook reviews now appear weekly on the RT Book Reviews website. 

The focus for BEST ROMANCE NARRATOR is, of course, the audio performance. And the nominees for  AudioFile’s first ever Romance NARRATOR Award 2016 are . . .

Nicholas Boulton for GLITTERLAND by Alexis Hall
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Nicholas Boulton brings a certain magic to his romance narrations. Sometimes intense, sometimes passionate, and sometimes inscrutable, Nicholas’s audiobook work in historical romance continues to garner raves from listeners and reviewers. His work with author Laura Kinsale has created remarkable audiobooks.

Jim Frangione for DARK CAROUSEL by Christine Feehandark-carousel.jpg  jim-frangione-400x480

Jim Frangione intrigued listeners with his multilingual performance of Christine Feehan’s paranormal romance. As AudioFile‘s review raves, “Narrator Jim Frangione and author Christine Feehan are like chocolate and peanut butter — dark and delicious.” Frangione is equally well known for his narration of J.R. Ward’s Black Dagger Brotherhood series, where “Frangione’s commanding narration shows listeners the ‘all-in’ nature of the characters.” Jim also narrates mystery, fiction, and children’s audiobook titles, including works by Dennis Lehane and Spencer Quinn. 

Rosalyn Landor for BECAUSE OF MISS BRIDGERTON by Julia Quinnmiss-bridgerton  rosalyn-landor-by-arielle-rudman-400x490

Romantic fiction is a genre Landor has spent a lot of time with, narrating works by Lisa Kleypas, Johanna Lindsey, Julie Garwood, Mary Balogh, and Eloisa James. She feels passionate about it and embraces romance’s particular challenges for the narrator. “It requires a very specific discipline in giving voice to the male and female characters,” Landor says, “especially to switch in and out of the male and female roles and play both sides of an intensely passionate scene. It’s made me appreciate how well these authors understand the male/female perspective.”

Saskia Maarleveld for BAY OF SIGHS by Nora Roberts
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Narrator of over 150 audiobooks, Saskia was raised in New Zealand and France and now lives in New York City. She’s able to switch seamlessly between accents and can often be heard speaking in British, Australian, New Zealand, and various European accents, in addition to her natural American accent. Her romance audiobooks include titles by Nora Roberts, Heather Graham, Maya Rodale, and Katharine Ashe. 

Steve West for A BUCCANEER AT HEART by Stephanie LaurensBuccaneer at Heart.jpg  steve-west-400x480jpg

London-born Steve West has an active film and stage career as well as more than 100 audiobook credits to his name. Steve can adopt a rich, rolling style for a nineteenth-century sea captain or embody a light, breathy, and genuine young heroine, then can switch easily to a menacing villain. His versatility is a great asset in his audiobook narrations. Steve’s audiography includes suspense, history, science fiction, and teen audiobooks. 

16rtawardswinner_0The BEST ROMANCE NOVEL NARRATOR winner will be announced on Friday, May 5, 2017, at RT’s annual convention, held this year in Atlanta, Georgia. For information about the convention and its many events for romance lovers, authors, and industry professionals, see RTConvention.com

Good luck to these incredibly talented narrators, and thanks to the skilled writers who made their work possible.

Check out all nominees in all the RT Awards categories HERE

A Fan’s Memo


LET'S PRETEND THIS NEVER HAPPENED audiobook coverCautions to audiobook narrators

Audiobook narrators are my heroes. They have to do with voice alone what stage or screen actors can do with eyebrows, posture, hands, and physical beauty. In fact, it’s surprisingly often the marquee-name actors who breeze into the recording booth prepared to blow us away as narrators, yet wind up in the dust because they underestimated how hard it is to do all of their acting with just one of their tools.

The narrator doesn’t get nearly enough adulation, in my book, but too often s/he also doesn’t get the same kind of triple-checking support from the publisher that the print version of a book does. Many times, the actor who translates the book into sound does a good job interpreting the text while failing through pronunciation or production mistakes that are the aural equivalent of copy-editing errors. The details that can trip up a narrator from returning a perfect performance can be avoided through research and a closer reading of a book before recording time.

After polling a wide range of audiobook reviewers and judges, passionate listeners, and
newcomers to audiobooks, I’ve compiled a list of mistakes that they report as pulling them out of the moment and cause annoyance rather than engagement and contentment.

  1. The narrator should know where a sentence is going before she gets into it and not come to rest halfway through, as if that comma or semicolon were a full stop. If the author has put all those words into one sentence, it distorts meaning and the writer’s rhythm if the narrator breaks them up her own way.
  2. The audio recording should avoid extreme changes of level. Most of us are not listening in  pristine sound booths, and if a character expresses malice by whispering so softly that we have to keep fiddling the dials at 60 mph, it’s a problem.
  3. Mouth sounds and an audible turning of pages are distractions. In the very early days of audiobooks, a beloved author recorded his own memoir and included the sounds of swallowing, the setting down of his drinking glass, and mildly suppressed belches. It was rather charming, but a very special case.
  4. The narrator shouldn’t assume he knows how to pronounce something if there is a chance that he doesn’t. Much can depend on regional and cultural differences in all aspects of pronunciation, from syllable emphasis to letters that seem to be elided when a word is said aloud in some areas. If you don’t know whether a BASTARD OUT OF CAROLINA would pronounce “aunt” to rhyme with “haunt” or with “ant,” call a library in Charleston and ask. Librarians love to help. The educational attainment and class of the character also informs pronunciation that sounds authentic. When a narrator speaks the words of someone who would know the difference between pronouncing forte, when it references strength, as “fort,” rather than “for-tay” (which means “loud”), the correct pronunciation should be employed.
  5. Mispronunciations of proper names and place names occur when non-locals assume the pronunciation they know matches local practice. The key to pronouncing Theodore Roosevelt‘s surname or  the Swiss French-speaking city of Montreux can be discovered through authoritative sound files freely available on the World Wide Web. Bangor, Maine, like Bangor, Wales, responds to frequent mispronunciation of their home through the edifyingly humorous video below.   Since proper names may well occur twenty or thirty times in a given audiobook, the impression locals develop of being disrespected when you get their local names wrong can become wildly annoying.

Mispronunciation yanks the listener out of the story, perhaps even more joltingly than typos or spelling mistakes on a page since a great narration puts you inside the story and the story literally inside your head. Narrators should always check how to say foreign words, and especially if they have not been trained in the language the words come from. Listeners will enjoy your work so much more if your “Dvorak” is pronounced Dvor-zhak, both for the authenticity and for the beauty and strangeness of it. You are building a universe from sounds for your listener; don’t leave out the good parts.

In addition to turning to librarians, if the writer of the text you are performing is alive, ask the GOOD-BYE AND AMEN audiobook coverpublisher if you may talk to him or her about pronunciations and even characterizations. Every writer I know would welcome this.

We audiobook addicts adore what great narrators do for us. They are the bedrock of one corner of the literary world that is thriving and growing and as such, they are profoundly important to readers and writers everywhere. All we ask is that they be perfect.

Beth Gutcheon is a novelist with ten novels in print, six of which have been recorded. She has reviewed hundreds of audiobooks, consumed many hundreds more as a civilian, and serves as a judge for the Audie awards. Her most recent novel and first murder mystery, Death at Breakfast, appeared in May.

This AudiOpinion has been edited from its original longer form in the print issue of AudioFile Magazine, December 2015/January 2016.

© AudioFile 2015, Portland, Maine

Outspoken Girl to Outspoken Woman

Janis IanJanis Ian came to public attention using both her voice and her lyricism while she was still a teenager. Today, she continues to work both with her voice and her poetry, and we’re all still listening and learning to think prejudices under her tutelage.

In SOCIETY’S CHILD: MY AUTOBIOGRAPHY, we have the wonderful experience of hearing her memories and developing ideals and ideas in her own narration. STARS takes us on journeys of the imagination in which Janis Ian’s songs inspire speculative short stories from a variety of science fiction authors and are performed here by ten narrators, including that songwriter who sparked these short stories.Janis Ian audiobook cover SOCIETY'S CHILD: MY AUTOBIOGRAPHY

She lends her mellifluous and quiet voice to others stories with equal justice and Earphones Award-winning grace. Miriam Therese Winter’s autobiography, THE SINGER AND THE SONG comes to us in Janis Ian’s voice. As happens with some author and narrator combinations, they became a team to create this, reaching out to befriend each other as the print book moved to voice.

These days, Janis is working on a couple of audiobook projects, including a collection of poetry from her youth. We’re looking forward to that and hope you move it onto your future listening list, too! While waiting, we can visit her at home performing the upcoming children’s audiobook, THE TINY MOUSE.

Portrait photo of Janis Ian by Floyd Bagge