What's it like being an Audible narrator?

Back in November I popped into the Audible Studios in London's Barbican and met Nathalie Buscombe, the personable and talented narrator of my first two audio books - Summer at Tillingford Hall and Christmas at Tillingford Hall. Nathalie kindly answered a few questions about what it's like being an audio book narrator.

Nathalie Buscombe (L) with Flora (R) at Audible Studios

F: How long have you been doing audio book narration?

N: I can’t quite believe it, but I’ve been doing it for ten years now. The first book I recorded was in late 2015. I remember being incredibly nervous and intimidated, but luckily I had a wonderful producer who provided so much guidance and mentorship, making it an absolute joy to work on. I’ve been lucky enough to work steadily in the audiobook realm ever since.

F: How long does it take to record one of my books? 

N: It takes around three days to record a Flora Dunn book, give or take. On average, with any audiobook, the aim is to hit just over 100 pages a day, but it varies. Different typesets, different subject matter, fiction or non - it can fluctuate quite a bit.

F: What’s it like in the studio? 

N: Audible Studios are pretty amazing. It’s hard to beat their snack cupboard… But generally, the studio is extremely quiet, for obvious reasons. A decent chair – you have to sit very still for long periods of time – is a must. Then it’s basically a table, something to hold your tablet, a pop shield (to stop the audio spiking), and a mic. And lighting. The mood lighting at Audible Studios is great. I’m on my own in the booth – not so much a booth as a fairly large room at Audible – and the producer or engineer and director are on the other side of the glass.

F: What’s your favourite thing about recording audiobooks? 

N: I have the chance to play every character – young or old, male or female – and see their entire story arc through. I’m not boxed in any way. And, once you’ve been chosen to record an audiobook, there’s a lot of creative freedom (while obviously taking clues from the writing as your lead, in the same way you would with a script). It’s a real privilege for the author and publisher to put their faith and trust in you to bring their story, its world and the characters within it, to life. Acting is all about telling stories, and recording audiobooks is pure storytelling! 

F: What are the particular skills that an audiobook narrator needs? 

N: Acting, for one! People often ask whether I think I’ll lose my job to AI, but I honestly don’t believe it to be a serious threat. By definition, AI cannot ever truly tap into the humanity – the soul, heart, and nuance of being human – needed to really make a story come alive. And you need to love reading. If you’re not a big reader to begin with, it’s probably not for you. A good ear for accents is also helpful, and I think proper vocal training is important. Being constantly on mic all day for several days in a row can be very hard on your voice.

F: Do you always read the whole book first or do you just read it as you go along? 

N: I always read the whole book first. I’ve come across a couple of readers who wing it, but honestly I think they’re either extremely brave or a tad foolish. The number of times you get to page 200 or so and find out that a character has some off the wall accent or characteristic… It would be hell to have to go back to correct (not to mention a massive waste of time and money for the studio!). On a more serious note, it’s important to know the characters and their story entirely before recording begins to really do the writing justice. I need to know what they’re up against, what drives them, and often things don’t get revealed about past lives and motivations until later on in a book. 

F: Have you ever been so moved by a piece of writing that you’ve had to stop and settle down before you could carry on? 

N: All the time! When I’m recording, I’m fully invested and immersed in the characters and their stories – it takes over my mind and body in the same way it would if I was performing on stage or screen (though obviously I have to keep still at the same time!) so if it sounds like I’m crying, I probably am. And if the next chapter or character has a totally different tone, I do need a tiny breather (some deep breaths, a few sips of water, and a quick shake of the shoulders usually does the trick). It can happen with non-fiction too. There was one I recorded that was incredibly moving, Our Boys by Helen Parr, an unflinching account of paratroopers who fought in the Falklands War. I found it extremely affecting – probably more so because my brother was in the Navy at the time – and I needed to get out for a walk in the fresh air during the breaks to keep on an even keel.

F: What’s next for you? 

N: I’m working on a thriller at the moment. Full of twists. Loving it! And after that, there’s a historical mystery with a hint of magic… Lots to look forward to.

F: If you could record any book in the world, which one would it be? 

This is a difficult one… There are too many! I’d love to read one of the Classics – think Vanity Fair, Wuthering Heights, Pride and Prejudice, War and Peace – because I grew up with those books and have so much affection for them. I’ve also never done a children’s book and would love to – mainly to blow my kids’ minds! And if David Mitchell, author of The Thousand Autumns of Jacob de Zoet and Cloud Atlas, has another book in the works, that would be an absolute dream job.