April 12 marks iconic American children’s author Beverly Cleary’s 100th birthday. It’s been nearly 70 years since her writing career began, and her books, made instantly popular for the very ordinariness of her fictional people, have become touchstones for readers and writers interested in the compelling nature of ordinary concerns of many children.
Mrs. Cleary’s storytelling found a voice precisely because she saw a disconnection between the kids who were coming to her library and the then-stocked books available to them. Her dedication to connecting the dots between potential reader and stories in which familiar childhood experiences and feelings evoke a sense of identification and comfort. This approach delighted young readers for a few generations and continues to serve as instructive to more contemporary authors who write today. This sense of making satisfaction discoverable through story in a book also has inspired a birthday celebration of decades’ standing in Mrs. Cleary’s honor. Drop Everything And Read—or DEAR Day—becomes an occasion for community members to visit school classes simply to read aloud to students for 20 minutes or so, with no pressure beyond listening to a good book.
Mrs. Cleary’s books seem to have arrived primed for listening enjoyment. Even when read with the eyes, cadences and character tones are clear. A variety of excellent narrators have performed many of them. In particular, B.D. Wong’s aural celebration of Ralph S. Mouse, who appears in THE MOUSE AND THE MOTORCYCLE, as well as a couple of sequels, and Stockard Channing’s Ramona performances, including her Earphones Award-winning RAMONA FOREVER, can leave listeners peering into their audiobook players to see how Mrs. Cleary’s characters could have set up housekeeping there.
Mrs. Cleary’s influence on other writers, both for children and as children, has furthered the riches available to us as reading and listening choices. Judy Blume, Kate DiCamillo, Sara Pennypacker, Amy Poehler, and Eric A. Kimmel are among many authors she inspired when they read her earlier in their lives, and they, too, are well represented in audiobook choices. It seems a Drop Everything And Listen occasion might be an event with which we listeners would happily DEAL. So grab an audiobook by Beverly Cleary, or by someone who names her as inspiration, and expand your own experience with how extraordinarily engaging and satisfying the ordinary world can sound.
Happy birthday, Beverly Cleary, 100 times!
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.
- 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.
- 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.
- 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.
- 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.
- 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 publisher 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
Janis 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.
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
Over the past year, every publisher, editor, and author I’ve spoken with has told me that contemporary romance is red hot! Romance genres tend to rise and fall in cycles of popularity, and right now contemporaries are all the rage. If this month’s selections are any indication, I can confirm that the rumors are true. The abundance and quality of contemporary romance audiobooks mean listeners may wish there were more hours in the day. I know I do.
What makes this batch of contemporaries appealing is the combinations of flawed characters who experience the transformational power of love, so aptly revealed by their narrators. It’s hard to empathize with a bride who jumps out a window to desert her groom, but Madeleine Maby pulls it off in SEARCHING FOR BEAUTIFUL. Therese Plummer dares listeners to go out on a limb for love in A NEW HOPE with her vulnerable, intense narration. In an iced-tea drawl, Chelsea Hatfield convinces listeners that love means forgiveness and hard work in A TASTE OF SUGAR.
HOT POINT’s odd couple may worry that they don’t deserve their perfect match, but narrator Carrington MacDuffie extracts the real emotion that lies beneath the small talk. And narrators Saskia Maarleveld and Brian Hutchison play with that fine line between fooling around and crazy-in-love in A MIDSUMMER NIGHT’S ROMP.
As philosopher Lao Tzu wrote, “Being deeply loved by someone gives you strength, while loving someone deeply gives you courage.” In these titles, the audiobook experience amplifies that truth and conveys it powerfully to listeners.
Find more great audiobook romances to love here!
AudioFile’s new “Tease” is all about audiobook romance. Each post will share reviews of romance audiobooks—along with a list of additional recommendations. As a librarian, an audiophile, and a firm believer in HEA—romance lingo for “happily ever after”—I’ll recommend a wide variety of romances. I ♥ hearing from romance listeners. Email me at [email protected] com.