Friday, March 29, 2013


1 - Tell us a little bit about your background. How did you get started in
narrating/producing audio books? How many audio books have you narrated?

I like the sound of the human voice. Not the just the English language, beautiful
as it is, but the whole spectrum of human vocal expressiveness--from Vergil to
grunts and wheezes; from Hemingway to Goodnight, Moon. In fact, it probably
started when I was very young, I remember my mother reading children's poetry
to me from the Childcraft series, and my Dad reading Black Beauty...and there
was real pleasure in listening to a story come alive in the act of reading aloud. I
think most children, if they're lucky, hear a lot of books out loud before they
learn to read themselves. Much later, I had the privilege to study under and
then work with the writer Reynolds Price, and he was a master of reading could tell he really enjoyed it, and was good at it, too. He was
paraplegic and I lived with him for a year to help him get around, and one night
he was very sick and anxious--and he asked me to read to him, and I read the
entirety of To the Lighthouse, and by the end of it he had some peace and
calm, through the experience of listening to Virginia Woolf's luxurious text.
That was my most tangible experience of how reading aloud can be a real
palpable balm to people, it can really ease suffering, when you get right down to
it. I also read a little for my grandma in the nursing home...she loved romance
novels, so that's what it was.

When I was in acting school, one of my teachers told me I should capitalize on
my voice, he really didn't mince words. So that made me think, hey, I should do
audiobooks! I like reading aloud, so why not? And when I started auditioning, I
was blessed to start getting offers. Right now I have nine audiobooks set to be
released in 2013. Four are already complete.

2 - How much acting is involved in narrating a story?

As little as possible. Of course, craft does enter the picture when you have
dialects or a lot of characters to differentiate, for example. But I approach an
audiobook like I am reading a book to a friend, like my best experiences reading
aloud. And if you're reading to a sick person, they don't want to hear you
attempt the world's greatest performance. In fact, I would wager they don't
want to hear you perform at all. So it has to sound kind of effortless. Like
you're just reading! So that's what I try to do. Make it comfortable for the

Now, if I have to think about how I do this, I would say it comes from a few
things I've heard from other film actors--actors that don't speak the text until
the camera rolls, because that ensures that the words will actually be fresh, the
experience of those words will have a virginity to them, so to speak--very
different from theatrical performance. However, I also think of my
improvisation teacher, and the concept of "yes, and..." to whatever is thrown
out there, so when I'm reading, I just go with it, and enjoy the story as it goes
along, letting it surprise me, hopefully, letting myself be swept away by it, in the
telling of it.

3 - What was the most difficult or challenging aspect of narrating COME UNTO

Nothing pops out as being technically hairy territory. Maybe the erotic stuff!
But that's another question. Um, perhaps the dialects--the Irish priest, for
example, sometimes that takes a few goes. Sometimes you have to be extra
careful to differentiate between characters, but not so much that it becomes a
radio play. I mean, I'm not going to sound like a woman, no matter what I do
with my voice, so you just have to imply it, give it the flavor of femininity,
perhaps, it's whatever the part calls for.

With Yellow Sands (as I like to refer to it), the moments I enjoyed the most may
have been the most challenging, the most intimate, the most unknown.
Because what is intimate is essentially what has been unknown prior to that
moment, or unknown in the public sphere. And it's not necessarily the erotic
moments, though it does encompass's anything that is raw, tender,
nervy. And a lot of this book is those things for Swift. So, to my surprise, I
would say that a lot of this book was difficult...because it is a difficult
experience for Swift. He's going through difficult times. He's doubting himself,
he's doubting his partner, he's scared. And the most difficult moment for Swift,
I think, is when he contemplates walking back into the ocean...ending his life,
because he doesn't want to start using again, doesn't want to hurt other people
through his using. That's sad stuff, that's where it's most difficult, and that's
where it's the best, I think. No amount of research or "work" can bring you to
connect with the character in that moment, you just have to reach out your
hand and touch him. It's like being there for someone that needs you. It's
difficult, but it's what makes life worth living.

4 - What character was the most fun to narrate? Why?

Swift. I relate to his struggle with substance abuse, his love of language, his
occasionally hot temper--he is very guarded and explosive about his little box of
poems, for example--and I like that. I also, now that I think about it, like his
fascination with Choose Your Own Adventure stories! I loved those too...I had
the entire series of the Lone Wolf books, and they were great! It's those kind
of things that really stretch and stir a young person's imagination, and can lead
to a love of more nuanced writing and literature, as was the case with Swift.

5 - What character was the most difficult to narrate? Why?

Max. Max is a "tough guy", somewhat emotionally repressed in his masculinity.
I mean, he's a great guy, you can tell that about him, but sometimes he's hard
to read. I actually like that. He keeps his cards held close. It's a surprise when
he reveals himself to Swift, it surprised me, actually. I liked that moment, but
up to then, it was hard for me to know what he was thinking, or rather...feeling.
And that may be because a lot of the time, Max doesn't let himself feel deeply,
or doesn't let himself connect with his deep, underlying feelings. He has a job to
do, as police chief. At least, that's how I read it.

6 - Was there a particular scene you think you read especially well? Or that you
particularly enjoyed reading?

Oh, probably the one I just mentioned--when Max reveals himself to Swift. It's a
touching moment, and so important to Swift. To Max too, but it really is about
Swift being impacted by this revelation, the thing he's been waiting for and
hoping for despite his serious doubts. Also, I like the last scene in the book, and
without giving anything away, it's the kind of redemption that Swift really needs
to heal himself. It's such an easy thing to do, but so hard at the same time.

7 - How awkward is it to read erotic scenes aloud?

Well, often I record with an audio engineer sitting in the other room, and you
have to know that he is hearing every single word that is said. So when you're
reading an erotic scene, he is in that moment too. It's the same with a film set-
-you're connecting with another actor, you're in your own little world, but then
there is the mechanism and apparatus of a film set, people looking at a monitor,
through a camera, listening through the sound equipment. Now an audiobook
situation is much less expansive, which makes it more intimate! So it's actually
just me, the text, and the engineer. These erotic scenes call for a heightened
vulnerability, and so you're exposing yourself--literally exposing yourself! as you
read them. I had a class with Austin Pendleton and he helped me to a revelation
that was important to me....vulnerability is just letting the other person have
power over you. Maybe that's obvious to some people, but it wasn't to me, and
in an acting situation, it can be felt tangibly...who has the power. Now, to give
that up is a considerable gift or concession, however you want to look at it.

And these erotic scenes demand, I think, a submission of power! As an actor,
as an individual, I give up my power by totally letting down my guard--or letting
it down as much as I can bear. So if I'm feeling awkward, it's not a bad thing,
it's part of the moment. It's the fig leaf coming down, the face getting red. If
you blush, you're feeling something, good! Feeling is totally unpredictable, but
if it does get awkward in these scenes, I do take that as a good sign...a sign of
entering territory that could be authentic, sincere.

8 - What’s the most satisfying or rewarding part of narrating/producing an
audio book?

Getting paid! Just kidding, but for the working actor, the actor that wants to
make a living at the craft, audiobooks can be more lucrative than a lot of other
forms of acting. Not that it's about the money, because there are million easier
ways to make money than exposing yourself as I just shared. But audiobooks
can be a calculated gamble. You know what you need to break even, to make
money, and so you can attempt to establish a livelihood that allows
you to keep acting. The name of the game is endurance, or so I've heard. And
as much as I like to read aloud, let's be honest, I'm doing this for an audience, in
the end. And that is to say, I'm doing this to share something, to communicate.
And in the case of audiobooks, I have the privilege of communicating the
author's story. And I take that privilege seriously. I am grateful for it and
humbled by it, the opportunity to share another person's truth, so to speak,
hopefully in a compelling way. I don't want to use the word "dramatic",
because to me it has the whiff of...histrionics, and that kind of acting turns me
off, it's just not my style or taste, though some people love it! What's
satisfying to me is being able to bring my style, my self, fully to the table to
contribute to the author's words. And the two become one. Really, it is that
literal of a merging. And that's an incredible feeling, that union. It's really a
generative union, and it can be life-giving.

9 - Do you ever find yourself wishing the author (naturally not me!!!) hadn’t
taken the story in a particular direction? Or is narrating a much more detached

I wouldn't say it's a totally detached process, though there is a level of
detachment, and a level of a healthy attachment, too. I mean, you've
committed to do the book, you want it to be good, you want it to be a real
compelling story, that will sure make it easier to spend the time in front of the
microphone! And of course if it's consistently compelling, it's more likely to
reach more people. At the same time, when I am committed to a book, I try to
not actively question anything the writer does. I have to believe it. Maybe that
essential belief can be equated with the "yes, and..." improvisation concept I
mentioned, that you just go with it no matter what the author does, there's
really no use dwelling over spilled milk or sour grapes or whatever the
expression is...what's the point? The text is the text, read it. It's like the
detachment of a good sommelier, I may be passionate about my product, but
with deference to the product itself and the customer. In other words, my
performance should never get in the way of telling the story, of pouring the
wine, so to speak. That's the service that is being offered, the telling of the

10 - Where can readers/listeners find out more about you and your work?

**Note** Paul also has a new Facebook page.

Go, go, go! and check back for more updates, there are more good books on
the way...


  1. Great interview! And such a lovely Friday morning surprise too!
    I really cannot wait for this audiobook, the book being one of my favourite rereads. It's very interesting to get these insights into the process, and the interview made me think more about what i like when i listen to an audiobook; although i did enjoy an abridged dramatized version of a Raymond Chandler book, i must say that i prefer the "just read" ones. It's very comforting to listen to the reading and not get startled so to speak. :-) looking forward to the audiobook!

    1. Well, happy to say the book came out the same day as the interview. That was entirely by coincidence too.

    2. Yes. While we were running around yesterday seeking new Wi-Fi locations, you slipped TWO new audiobooks out for us. Very nice reward.

      I've been listening to "Yellow Sands" while filing my income this afternoon.

      Thank you and Mr. Fleschner for easing the pain.

    3. I do love a good coincidence ;-) Got the books!

    4. Penelope, I was doing the same thing. Working out my taxes listening to the files for Strange Fortune. :-) It did make it a lot more palatable!

    5. I find it amazing that my taxes, during my "golden, retirement years" are far more complicated than when I worked full time.

      Basically, I work full time now, writing and editing, only now I work for myself. I now calculate all those figures my employer's computers once calculated.

      Yours, I'm certain are far, far more complicated than mine.

      Well, it's done and filed and I'm clear for another year.

      Now, I think a glass of wine and some downtime. I will restart the audio so I can concentrate more on the story.

  2. Lovely interview and I can't wait to listen to this. CUTYS is one of my favorite books by Josh and I have been waiting for it to come out on audio - forever :o)

    1. I know! It did seem like this one took a very long time for ACX to put into the system.

  3. Hi Josh,

    What an amazing interview! If Paul narrates half as well as he answers your questions then CUTYS will be a winner right out of the gate. This is one of my favorites. So looking forward to the audiobook. Best of luck to the both of you.

    1. Thank you, Susan! Each narrator has really brought something very different and pleasurable to each project. It's been really a surprise to see this as the author.

    2. Relax. He narrates twice as well, and that's saying a lot.

  4. Great interview. I have always wondered what narrators thought of reading erotic scenes.

    1. I still think it can't be as excruciating as it is for the author to sit there and listen! :-D

    2. I was wondering about that too :)

  5. I find these interviews with the narrators fascinating, Josh. Thanks for allowing us a glimpse into the creative process. Listening to the audiobooks (after reading them all) has provided me with a different and interesting interpretation of your books.
    I just downloaded both CUTYS and H&M Book 2 from Audible. *squee* (I can't tell you how disturbing it is, at MY age, that your books cause me to make the fangirl noise.) :-)

    1. :-D

      It does make me very happy though!

    2. Ain't it the truth, Cynthia, bless your heart.

  6. I bought it and can't wait to listen to it! Yellow Sands is my favorite book from Josh.

  7. Thank you for sharing this interview with us, Josh! And Paul, it was such a joy to read your sincere answers -- it really sounds like you are "worthy" to narrate this wonderful book! :)

    Come Unto These Yellow Sands is the most important, the most emotional of Josh's standalone novels for me, so (as strange as this might sound) it's lovely to know that the story has also touched the narrator.

    Can't wait to revisit Swift and Max and listen to the audio book!

    1. This is another story I went through a lot of narrators before I found Paul. The choice is always tough, but this is such an emotional story, I knew a lot would hang on the narrator. Paul does a great job.

  8. What a great interview, thank you. I love to read about the writers and narrators processes. 2 Audibles, YAY! This is what I was saving those credits for :D

    1. I had already spent mine, but they offered a 3-credit deal yesterday and I jumped on it.

      I'm terrible addicted, I know, but this is my entertainment. Rarely watch TV.

  9. Wow, what a great interview. Such thoughtful answers. The whole series of interviews is engrossing.

    1. I agree! The interviews have turned out to be really insightful and interesting.

  10. Wonderful book Josh. Excellent reader.

    Today's agenda:

    Write speech.
    Listen to All She Wrote.

    1. A good plan!
      Mine is something like - start reading article to review, read Psycop 5, listen to ... hm... either All she wrote or Fair game. I want to read CUTYS again before listening to it.

    2. I think it's better to listen without pre-reading, but that's just me! :-)

    3. So glad you enjoyed it, Penelope!

    4. I did read it quite a while ago, so maybe it will be better to listen to it now and have it as new again. That would neat, yes.

    5. Because I don't reread if at all possible, that's been my own experience. It's surprisingly enjoyable to listen to them.

    6. Cool! that you enjoy them :)

    7. Josh, when you say you don't reread if at all possible, are you speaking of your own work, or all books.

      I have several favorite writers whose works call to me over and over - Jim Burke, Sharyn McCrumb, and Jacqueline Winspear come to mind. And I read at least one Hemingway and Faulkner every year.

      As for listening, I compare a good audiobook to a good TV show. There are several writers whose works bear repetition - some for fun, some for "comfort" when I'm feeling down or just having a bad day.

    8. Penelope, I mean I don't reread my own work. I frequently reread! I have a well-used and slightly tattered library, that's for sure. :-)

    9. Sort of like actors who don't watch their own movies I suppose.

      It's probably best that you don't reread. If you are like most writers I know, you'd be ever editing.

    10. Exactly. Even listening, I'm thinking...why did I repeat that? How come no one caught that? Why didn't I say...?

      Holy moly.

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  12. Great interview! It was fun to read how a narrator approaches his craft, CUTYS is still one of my favotite re-reads, the story is intense and the characters so involving (I STILL cry at the end when he calls his Mom!)...
    now I'm curious as to how the audio will compare :)

    1. Well, you'll have to let us know. I've only heard from a couple of readers so far. :-)