How Long Should an Audition Be

Details to help authors and narrators with casting an audiobook

“When submitting an audition for an audiobook, what should you read? How long should it be and what else should you say to secure the job?”

- Rodeo John www.bizsoup.com

This is a great question and something that I wish everyone knew the answer to, so there was a little more adherence in Audiobookland to standard operating procedures. There’s a lot of confusion over this:

• If authors are casting their own book, it’s hard to know how long the audition should be and what to include. How do you know what to post if you’ve never done this?

• If narrators are choosing their own section to read, it’s hard to know what section will show off the best of their ability.

• And if casting is looking to create an audition notice, which portion of the text do they choose?

Here are basic guidelines that authors, narrators, and casting can follow:

AUDIOBOOK CASTING NOTICE BASICS

1. Choose a scene that has two characters of different ages and/or genders in conversation. Usually this isn’t the first scene in the book. It’s usually a scene where established characters are actively talking. (For romance, try that first meeting. For a thriller, try a later scene where the action is high. For YA, try a scene where the main character interacts with others.)

2. Keep auditions to no more than 5 minutes long. This is usually about 2 to 3 pages of text.

3. To control the types of auditions you receive, be specific with the kind of narrator you want: male or female, natural dialect (ex: US or British), age range if important. If you’re a narrator, only audition for books where you fit the specifications.

4. If the piece is nonfiction, choose a section that has some of the technical terms that appear in the piece to see how the narrator handles it.

AUDIOBOOK CASTING NOTICE BASICS

EXPLAINED

1. Different ages and genders: this will let the author know what the narrator’s ability is with differentiating characters and telling a fully fleshed out story. Are the characters distinct? Easy to understand? Do the characters have personality?

AUTHORS: You can post short character descriptions to your audition so that narrators know which direction to go. This will help narrators deliver what you’re looking for instead of just guessing. For example: COLETTE is 24 years old, soft spoken, and with a light French accent. JAMES is 55, a cop, tough and suspicious. Also, note the genre of the piece you’ve written.

2. No more than five minutes for an audition is the industry standard. You can tell a lot from those five minutes. If the writer has additional questions about the narrator, they can look up their audiobooks or listen to additional samples on the website.

Authors: A 15-minute audition is too long. This requires a lot of work from the narrator, ostensibly for free. Each audition requires prep, research, and 15 minutes is a hefty ask.

Narrators: 5 minutes is all you need to do. Don’t offer more than that unless there is a special request or reason. Some ‘big’ books require additional auditions, but in general, you only need to record 5 minutes or less of text. Your auditions are for free, so you want to make sure you’re using your time wisely. Also, longer auditions can sometimes be used as scams.

3. Specific audition parameters. The more specific your audition requirements, the higher chance the author will cast the right fit. Things to consider:

a. POV: Who is telling the story? If it’s 3^rd person, you can usually cast any kind of narrator, but try to match the narrator’s natural accent with the location your book is set, i.e. does it make sense for a British narrator to voice a book set in Florida? If it’s first person, you might want a narrator who fits that character.

b. Number of narrators: Does your book require more than one narrator? You will need to create audition sides (scripts) for every narrator you want to cast. Multiple narrators in a piece is possible and it is also more expensive. (I can talk about this more in depth in a later post.)

c. Ideal age range of the narrator. Authors, please know that narrators can play many different age ranges, so don’t cast books base on the narrator’s appearance; cast the book according to their sound/performance. Posting an age range helps narrators know the sound/approach you’re looking for.

d. If you need a narrator who has a shared identity/experience, please list it, or list that it’s preferable. For example: I’d love to work with an LGBTQ narrator, but am open to other narrators as well.

NARRATORS: Please audition only for roles you are appropriate for. Even if you can play *anything* please honor what casting has requested. If you have a strong connection to the piece or something that makes you particularly good for it, let the author or casting director know, but you don’t have to say anything additional to get the job. Your audition speaks for you.

4. Nonfiction auditions should show what narrators can do. A good test to see if the narrator has done their research is to include a section with a technical term, language, or approach that is important to the book. See how they handle it.

NARRATORS: Do your research. Make sure you look up the pronunciation for things. It can be the difference between getting the gig or getting passed over.

Make sure you follow the audition’s instructions.

Don’t slate (say your name, the title of the piece and the author) unless it’s requested. Slating takes up valuable time that could be used for casting to actually hear your audition. Your name should already be on the labeling of your audition.

EXAMPLE of a Casting Notice/Script:

Here is my audition notice for THE KNOWING. Click HERE to review.

SUMMARY

Whether you’re the author or the narrator (or casting) please try to follow the rules of a 5- minute audition, include a couple of characters, some details to help the narrator perform the piece, and choose a scene that is emblematic of the book (not just your favorite part).

Authors, research narrators if you need more info about them after hearing their audition.

Narrators, follow the directions of the audition. Apply for things you’re appropriate for.

Casting, ask your author for the kind of voice they’re looking for and try to honor their request. Or, simply, honor the book and what it’s telling you the right kind of voice should be.

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Have a question for Tanya about audiobooks, production, casting, or writing? Please let her know by filling out thisform.

Next up: Tanya will talk about ageism in audiobook narration and then an article on awards—do awards and nominations matter?

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ABOUT THE AUTHOR

Tanya Eby just reached 1276 books recorded over her career. She is celebrating by taking a very long nap.