When my kids were little, they each had their favorite Dr. Seuss book. My daughter’s was “The Grinch Who Stole Christmas,” and my son’s was “The Cat in the Hat Comes Back.” Every night at bath time, they would each select a handful of books that I would read to them while they were in the tub. The other titles changed, but those two were always a part of the pile that I would stack on the tile floor next to where I sat beside the tub, trying not to get water on the pages as they splashed. By the time each was old enough to bathe themselves, I was able to recite both books from memory, never needing to turn the pages from them, so they could always see the pictures while I read.
There’s something about having someone tell you a story. Though we often associate it with children, the consistent growth in the audiobook market proves that even adults enjoy absorbing a tale through their ears rather than their eyes. In fact, that market has become such a vital piece of the industry that it’s hard these days to find a book that doesn’t have an audio version.
There are many reasons I am happy to be a part of the Blackstone Publishing family, and their history in the audio market is high up on the list. For years, audiobooks was all they did, only recently diving into the print world with both feet. And I can confidently tell you that they remain a dominant force in that market. Thanks in large part to people like Bryan Barney, who produced the audio version of THE RECRUITER.
A native of Massachusetts, Bryan attended Emerson College in Boston where he graduated with honors with a BA in Sound Design and Audio Post-Production. He has more than 15 years of experience in the audio industry with a diverse background that includes live sound, music, audio for television and film, as well as audiobooks. Bryan is an active member of the Recording Academy and the Audio Engineering Society, and was kind enough to share some of his thoughts for Beyond Words.
How did you get into producing audiobooks?
Like a lot of folks, I got into audiobook producing accidentally. My background is originally in audio engineering. I studied sound design at Emerson and planned on going into post-production for TV & Film. When I graduated in 2010 at the height of the financial crisis, none of the studios were hiring college kids. I had to pivot and look for opportunities elsewhere. I saw a listing for Blackstone and applied. Despite having loved audiobooks as a kid, it never occurred to me that there was an entire industry and profession based around it. I was hooked in immediately.
Every year, it seems that audiobooks are the only form of publishing that continues to grow. Why do you think that is?
This is a great question. I think there are several factors at play. As the format continues to rise in popularity, the cost to produce an audiobook is holding steady or even going down in some cases. This means more and more print releases are getting an audio edition. It’s become nearly ubiquitous at this point. It is very rare now to see a new print release that doesn’t have a corresponding audiobook. Consumer habits are another driving factor. In a world where we’re constantly distracted and expected to mutli-task, audiobooks provide convenience. We can listen while we commute, while we work, while we make dinner, etc. We don’t have to stop what we’re doing to consume the media. Audiobooks compliment a busy lifestyle.
How much direction do you give a narrator during a recording session versus just letting them do what they do and making sure they sound good?
It really depends on the project and the experience level of the narrator. A biography, for instance, might not require a ton of directorial input from my team. Fiction is much trickier, particularly when you start getting into multiple points of views and different accents. Those types of projects require a lot more direct feedback on the producing side. Ultimately, it comes down to preparation. We trust that both the narrator and the director have thoroughly reviewed the material before we go into the studio.
I have recently learned that certain narrators have fan bases that will buy books simply because they’re reading them, even if they don’t know anything about the author that wrote the book. In you experience, what makes a narrator achieve that kind of rock star status?
It’s an interesting phenomenon. There are a handful of narrators that have garnered tremendous followings. Sometimes it’s because they’ve become attached to a famous author. It’s not uncommon for a single narrator to do the entire body of someone’s work. In some cases, a single book can launch someone into superstardom. The Martian was a great example of this. That gentleman became the most demanded performer almost overnight. A narrator may also become associated with a particular genre and find success that way. We see that a lot in romance and sci-fi. In the end, it comes down to great storytelling. There are some narrators who can elevate any material they set their voice to. These are the folks you likely heard about.
If you were given the opportunity to produce the audio version for any book in history, which one would you choose and why?
“The Catcher in the Rye.” Salinger’s estate has never licensed the audio rights. It deserves a top-tier recording. I hope it happens in our lifetime. Timothée Chalamet, maybe?
Time’s yours! As a thank you for participating in this interview, please take this opportunity to say whatever you want! Plug an upcoming project, anger almost everyone you’ve ever worked with by naming your favorite narrator of all time, or just tell us how you’ll be spending your summer. Totally up to you!
Thanks for inviting me to do this! I’d like to give a quick shoutout to Jamie Renell, narrator of THE RECRUITER by Gregg Podolski. It’s available from Blackstone Publishing on July 23rd and it rocks!!
I can second that sentiment: The audio version of THE RECRUITER really does rock, thanks in no small part to people like him. Thanks, Bryan!
