"The Raven and the Crown" on Audible

Available here. There seems to be some kind of deal right now for Audible members to get it for 99 cents.

I have long wanted to produce an audio version of The Raven and the Crown, to my mind by far the best thing I have written. Over the years various people have suggested to me that I record it myself. But in my mind I always it heard it read by a woman with a British accent; a man from Virginia would sound all wrong. Last year I explored some of the AI voices available, but they just weren't good enough. 

But then, thanks to the generosity of my family and friends, I was able to hire a professional to make the recording. 

I went into Audible and discovered an amazing system for putting writers and voice actors in touch with each other. You initiate this process by posting a description of your project and a few pages of text for auditioners to read. I did this, went to bed, and woke up to find that 16 people had already posted 4-minute auditions. By the end of the day I had 30 auditions to listen to. I began working my way through them. Most were mediocre, like most of everything. After listening to the same passage 30 times and assigning most of them 2 or 3 stars I was starting to get numb. 

Then I listenened to two wonderful readings by professional English actresses. I assumed that I would not be able to afford them, but I figured I might as well start at the top. So I reached out to the reader I rated the highest, Sarah Kempton, and was astonished that we were able to reach an agreement. As my children told me, voice acting is a brutal business.

The process works like this: you agree on a price, then create a contract within the Audible system. The system specifies all the terms and so on; the enforcement mechanism is that nobody in the audio book business can afford to be blacklisted by Audible. The reader produces a 15-minute segment. If you accept it, you pay half the agreed price in advance. Then the reader begins uploading chapters, which you listen to. 

I loved this. Sarah Kempton's voice is exactly what I imagined when I told people I wanted to hear the story read by a British woman. I was immediately carried away into the world I had made. It took me eight years to write this book, but somehow listening to it in Kempton's voice made it more powerful for me than it ever had been before. I have rarely in my life felt so swept up into a story, and the time I spent listening to each chapter as it came in was by far the best part of many recent days. There were glitches – lines skipped, words misread or mispronounced, etc. But this turned out to be no problem; I just sent Kempton the exact time of the error and she edited the file to fix them. Usually I could  not detect any issue with the audio after amendment, and I am willing to be that no other listener will be able to tell where the changes were made.

My wife asked me if I were following along in the text, and I was at first puzzled by this question. I did not need to. I know what my writing sounds like, and every error jarred in my mind. That, incidentally, is why I am such a bad editor of my own work; I hear too clearly what I meant to write.

Then it was done. I felt sad, because I had loved this process so much. But the end of this process means I can share it with the world.