20 Questions with Audiobook Narrator Stevie Zimmerman

Photo: courtesy of Stevie Zimmerman

If you’re a fan of Austenesque fiction and also enjoy listening to audiobooks, you are probably familiar with Stevie Zimmerman. With nearly 200 titles under her belt (many of them in the JAFF and historical romance categories), she has developed a loyal following—and having recently worked with Stevie on my own release, I can see why! Not only does she possess a phenomenal voice coupled with a swoon-worthy British accent, but she embodies each of the characters in such a distinct way, she truly brings the books she narrates to life.

To be honest, when I first decided to publish my debut novel, To Conquer Pride, I had no intention of releasing an audiobook. I had never been a big audiobook listener myself, so it wasn’t something that was really on my radar. But when several people asked whether the book would be available in audio, I decided it was something I should probably consider—and I’m so glad I did!

Going through the process of auditioning narrators was a genuine revelation for me, and I was quick to realize that giving voice to a novel takes a good deal more skill than one might initially think. Not only do narrators require a great speaking voice, but they need to have some serious acting chops as well. As a matter of fact, I would venture to say that voice acting (which is really what audiobook narration is) is even more challenging than traditional performing. While actors are able to use body language, costumes, makeup, etc. to create their characters, audiobook narrators have to establish everything with only their voice—no small feat!

After working with Stevie, I was even more intrigued by this unique art form, and thought it would be fun to get to know a little more about one of JAFF’s most popular narrators. I hope you enjoy her responses as much as I did!

1)    Tell us a little bit about yourself. Where are you from? What is your work background?

I’m from London, England but live in the US, near DC. I have two adult (ish) children, a dog and a cat. Oh, and a husband. He has NEVER read Jane Austen. My other job is as a theatre director and the two mesh quite nicely.

2)    How did you get into audiobook narration?

I took an evening class on a whim called “So you want to get into voiceovers?” which I didn’t but it was fun. At the end the guy running the class said I had a good voice—and an accent, weird!—and that I could pursue it if I made a demo. Which he would make for me. For lots of money. I decided just to try doing it myself and after some commercial work and long-form narration for videos, I stumbled across ACX where I auditioned for my first audiobook. I haven’t stopped since and now have about 200 books out there.

3)    Where do you record? What equipment is necessary to do the job?

I record in my basement. I have what I imagine is the bare minimum of equipment—a computer, a microphone, some sound proofing, two sets of software, and a quiet-ish home.

4)    Beyond just having a great voice, how did you learn the technical aspects of the job?

That has been a real learning process. Trial and error mostly, although because ACX/Audible keep changing their requirements I have recently asked someone for technical help for the first time. I’m somewhat computer savvy and I also have a brother in England who speaks computer.

Thank you for the great voice comment by the way.

5)    Describe your recording process. How do you prepare? What do you do once you receive a manuscript from an author? For example: Do you print it out? Highlight the different dialogue so you know whose “voice” to use when you’re reading? (Honestly, I don’t know how you keep it all straight!).

I think some voice actors who do audiobooks read the whole thing first but I don’t. I always ask authors for character lists and accent preferences, ages, etc. But I try not to find out who the bad guys are, etc. unless it is up front in the text of course. I want to go on the same journey of discovery as the reader/listener and not have the outcome signalled in any way. Of course, with P&P variations, everyone pretty much knows the characters (and the outcome for the most part, although not necessarily how we get there) so there’s an added element of not wanting to mess with Darcy or Elizabeth. I read off the computer, or my iPad, so I don’t have to deal with the sounds of paper. And I make notes of how I’m embodying – or voicing – each character as I edit each chapter. Even the smallest character in the beginning might come back at the end and I don’t want to be inconsistent. Readers notice when the butler in chapter one is Cockney and comes back at the end with a Yorkshire accent!

6)    Do you ever come across words you’re unfamiliar with or don’t know how to pronounce? How do you handle that?

Very occasionally. Google is my friend. But sometimes it’s another language—or even a made-up language. That gets a bit tough. The book I just completed had a few lines of Italian which was a challenge. Early on in my career there was a bit of controversy in comments on one of my books with readers arguing over my pronunciation of “phaeton” so that one always makes me stumble.

7)    How often do you have to re-record something?

Rarely. I edit as I go and then re-listen and re-edit. But sometimes an author will come back to me and say I have an emphasis wrong or a character’s accent that they haven’t told me about and isn’t in the text.

8)    What’s the funniest error you’ve ever made when recording? Do you ever keep outtakes or bloopers?

I haven’t ever kept anything—yet! The funniest was when my now deceased cat Rosie meowed in the background and I missed it. The author was very sweet about it. One error I made in the very early days when I was still learning how best to work with authors was to pronounce Maria with an ee instead of an aye, and I had done the whole book before the author started listening. She was really upset and has never asked me to work with her again. I had a friend who was a Mar-ee-a so it just came out naturally but of course I should have known in Austenland it is always Mar-aye-a. I still hate that that is out there in the ether.

9)    How long do you generally record in one sitting before your voice gives out?

Recently I’ve been able to read longer without mistakes so I get on a roll and can go a couple of hours before I need to take a break. But I do get parched and start to crack if I go longer. Some days I manage three two-hour sessions, but I also have to do editing as part of my working day so that gives me a break. I know from the rare times when I record in someone else’s studio and the engineer gives me feedback that I can go longer than most people. No idea why!

10) I know you’ve narrated quite a few Pride and Prejudice variations. Do you find that you tend to do the same voices for the same characters in each book, even if they’re books written by different authors? For example: Do you have a specific “Darcy voice” or do you change it from book to book?

For the most part yes, I do have the same voices for our P&P friends. It makes it easier for me to remember and keep the narrative flowing, and I think since I now have a lot of loyal listeners it is better for them, too. I think it would be jarring if Elizabeth was suddenly higher voiced than Jane. And I love doing some of the smaller roles—Mrs Bennett or Lady Catherine for example. Always fun.

11) Do you find it easier to record Austenesque fiction since you’re already familiar with the characters, or is it more fun to work on other types of books where you are creating the voices and characterizations from scratch?

Exactly—as above. It is easier. It’s a smoother process so the fun is in getting it done cleanly and I feel confident. Starting a completely new book in a different genre, as I just started today, I have to set up all new accents and levels and notate them and remember them. But that is fun too.

12) Are men’s voices harder to do than women’s? Does your voice ever get strained and does doing a male voice take more of a toll on your vocal cords?

I find it harder to make differences between male characters than female. Darcy/Richard/Bingley/Mr B/Wickham for example. But no, I don’t think it is more of a strain.

13) Do you listen to audiobooks? And if so, do you critique the narration in your head (think about how you might have read things differently)?

I do, and sometimes the narrator is enough to put me off the book, but I think I would feel that anyway, even if I weren’t doing this professionally. I can think of one book I tried several times as I really wanted to read it and had a long trip ahead, but I just couldn’t bear it. On the other hand, there are some narrators I would seek out and maybe listen to even if I wasn’t drawn to the book.

14) Most people do not like to listen to their own voice on tape. How do you feel about listening to your own narration?

I don’t mind. I always think I sound way younger than I expect but otherwise I quite enjoy it. I don’t think I have a very interesting voice, more neutral, but it’s working for me so I can’t grumble.

15) What is the most difficult thing about your job?

I have a standing desk and my feet and legs get really tired. Also, I don’t have a fully soundproofed room so I am at the mercy of the environment when it comes to noise. I know the season: snow ploughing, lawn mowing, leaf blowing. And there is also a cuckoo that likes to hammer away at our chimney, even though it has a metal cap. It reverberates through the whole house. I keep telling it to go find a tree….

16) What is the most rewarding aspect of your job?

Author feedback and listener reviews. And I enjoy the books themselves, usually. I sometimes think I don’t read as much as I used to and then I think, I’m reading every day—many, many books a year.

17) What do you think makes a good narrator?

Characterisations. Smooth delivery. Patience. Lots and lots of patience. You spend hours talking to yourself, usually in a space without natural light, and you can’t move around.

18) What’s something people would be surprised to learn about your process, or about audiobook narration in general?

That it takes a lot of work to make any money at all. I’ve done books that have taken me thirty hours of recording and editing, and that seemed certain to sell, and I’ve made a few dollars from them, max. It’s frustrating. The audiobook world is supposed to be booming, but just like publishing, it’s a few big sellers and a lot of small sellers.

19) Is there one particular book or genre that you would love to narrate?

I’d love to do some Austen other than P&P. Just for a change.

 20) What is the one piece of advice you’d give someone wanting to get into audiobook narration?

Try standing in a small space with no natural light and not moving. For two hours. Talking to yourself.

Well, there you have it! 🙂 Thank you so much, Stevie, for giving us a peek behind the curtain.

You can find the audio version of To Conquer Pride at both Audible and Amazon. Or click here to view a full list of Stevie’s narrations.

Until next time!