My director had sent a list of 59 words she’d checked for pronunciation ahead of time-such as names of people (e.g., Dorothy Kunhardt), artworks (Sarcophagus of Harkhebit), places (Eleusis), materials (maiolica), foods (ke-tsiap sauce).ĭespite the long list, we had to stop several times during the recording to check challenging words such as “centaur,” “aesthete,” “cumin,” “satiety,” “lazuli,” “Weimaraner,” “madeleine,” and “Worcestershire.” That makes the process unnecessarily draining, so over and over, I reminded myself, “Drop your shoulders!” Over and over, I’d find myself tensing up. It takes tremendous concentration to read with expression and emotion, while articulating clearly, at the right pace (I tend to go too fast). I had to keep reminding myself to relax in my seat. I paused often to drink water to keep my mouth from going dry and to move my body to keep my energy high. Inside the booth, I read the book from a script on an iPad. My terrific director May Wuthrich-with whom I’ve worked many times-and engineer Zach Giberson sat in the next room, where I could see them through a soundproof glass window and talk to them through my mic and headphones. I’ve recorded most of my previous books, and it’s always a fascinating process.įor three days, I sat in a small dark recording booth, carefully placed in front of a microphone with a pop filter (which I definitely need I have an issue with plosives, I’ve been told). I narrated the audiobook for Life in Five Senses myself.
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