“There was about a two-year period at the end of the '60s, when I realized I was in the wrong place and entertaining the wrong people with the wrong material and that I was not being true to myself. I went through a metamorphosis into something more authentic for me, a more authentic stage voice and writing voice.
We have talked here about the special feeling a writer gets when they first hold their book in their hands and see their name in bold print on the cover. There’s no feeling like it in all the world. As wonderful as that feeling may be, one’s name on the cover really is not the real prize.
A writer’s voice is the unique signature with which he/she signs their work. It is the true stamp of authorship. In the modern world, it is not enough to master a unique voice on the printed page. The writer must then literally find a spoken one to match the characters—a stage voice.
I have a feeling that the process by which a voice artist approaches a character is much the same as the writer’s approach in creating it. That is, they become familiar with the character and how they think. Occasionally it all comes together.
One of our House of Honor Books authors recently said:
I'm currently listening to the audiobook for Johnny Be Good, and Andrew did such a wonderful job on it. His performance is amazing and spot on for all the characters. He gives life to Johnny in such a chilling and surreal way, and even I have chills listening to it, though I know the story well. Andrew made the audiobook a deliciously frightening experience and I love it.
Granted the author doesn’t get the final say in the publishing world. But you have to love it when a plan comes together, as it did in this case. I don’t think the author or narrator will mind me using them as examples. Their work and harmony between the printed and spoken character is what we strive for as writers.
Today, writers need to consider listeners as the new readers.