Below is a great article by my favorite author, Harlan Coben, that appeared in Parade in 2010. Happy Father’s Day!
Harlan Coben at 7, with his father, Carl Gerald Coben, 40, in 1969.
This may seem like a sad story, but it’s not.
“I found this upstairs.” My 16-year-old daughter Charlotte, the oldest of my four kids, enters the kitchen and hands me the 40-year-old photograph. “Is that you?”
“Yep,” I say. “I had hair once.”
It is a picture of my father and me standing on the front lawn at our house in Livingston, N.J. I look at my father in this photograph. My mom used to say that he was a dead ringer for Victor Mature, Dean Martin (“If only your father would get his teeth fixed”), and, mostly, Jerry Orbach. He was a big man, and in this photograph, with his smile wide, he looks strong and confident. I don’t remember the picture being taken. I wish I did, because I look pretty darned happy snuggled against him.
Then, without warning—still holding the old photograph, Charlotte by my shoulder—I burst into tears. I don’t mean well up or sniffle or feel tears running down my face or even cry. I mean head-down, body-wracking sobs. My daughter backs away for a moment, probably scared. I don’t think she has seen me cry before. Come to think of it, I don’t think I ever saw my father cry either.
I flash to the little things about him. The polyester double-knit shorts that were always too snug, like he was competing at Wimbledon in 1978. The too-big sunglasses that looked like he might have stolen them from Sophia Loren. I remember when he tried a fanny pack (that was a big no), the smell of his Old Spice, the way he steered the car with his wrists and whistled off-key, the AM news station playing in the steamed bathroom when he shaved, the white tube socks pulled up too high, the CB radio he loved for maybe four months. I remember how bad he was with tools and how that still didn’t stop him from taking on home projects best left to professionals or how every Sunday he would walk to Livingston Bagel or take me to Seymour’s Luncheonette for a milkshake and a pack of baseball cards. And I remember the way his cheek felt when I kissed him hello or goodbye, as I always did, no matter who was around, because that’s what we did.
I look at the 40-year-old photograph and see him so young, but of course he would never have a chance to grow old. I remember buying him an oversize Father’s Day card in 1988. For some odd reason, I bought it early. It was sitting near me when my mother called to tell me that my father had just called from his hotel room in Florida. He was there on business, and he felt chest pains. When I get him on the line, he puts on a brave front and tells me not to worry, he is fine.
That would be the last time I ever talked to him.
So what lessons did I learn when he died of a heart attack at 59? Unfortunately, the great insights are often the great clichés: Life goes by fast, don’t waste a moment, tell the ones you love how you feel, show affection every chance you get—because I would give anything to kiss that cheek just one more time.
I am still gripping the photograph and sobbing. I should make myself stop, but this feels, if not good, right. It’s been too long. My daughter, not sure what to do, tentatively approaches. She puts her arms around my shoulders and tries to quiet me.
“I know you miss him,” she says to me.
And I do. Still. Every day.
Wait. Didn’t I say this wasn’t a sad story?
So here’s the uplifting part: It’s okay to feel this pain. In fact, when you’ve been as lucky as I was in the father department, it would be an outrage not to cry. You can’t have an up without a down, a right without a left, a back without a front—or a happy without a sad. This is the price you pay for having a great father. You get the wonder, the joy, the tender moments—and you get the tears at the end, too.
My father, Carl Gerald Coben, is worth the tears. I hope that one day, to my children, I’ll be worth them, too. And if your father is worth them, let him know.
As the old proverb says, “When a father gives to his son, they both laugh. When a son gives to his father, they both cry.”
Happy Father’s Day, everyone.
The original version of this story can be found here.
Thanks to my friend, Mary, I was recently able to get my hands on a copy of Barry Manilow’s out-of-print album, Here Comes The Night. Originally released in 1982, this was Manilow’s 12th record and the studio album that preceded it was If I Should Love Again, which was filled with beautiful ballads including “Somewhere Down The Road” and my favorite, “The Old Songs.”
After having listened to Here Comes The Night several times, I have to say I think it’s a shame that it’s not available to the public. It’s a wonderful collection of music. And while the album went platinum, it didn’t spawn as many hits as it should have. I blame this on Arista because the music quality was top notch. Below are my six favorite songs out of the album’s 11 tracks.
“Here Comes The Night”
This song is spectacular. It’s a traditional Barry Manilow power ballad that soars. Between the gorgeous arrangement and heartfelt vocal, I get lost every time I listen to it. This track should have been a monster hit, but it wasn’t. I’d love to hear Barry perform it live the next time I see him; it’s one of his most underrated numbers.
“Memory”
“Memory” is the most popular song from Cats, the 1981 musical by Andrew Lloyd Webber. It’s a beautiful song that many artists have covered, including Barbra Streisand, whose version of the song charted lower than Manilow’s. Anytime Barry Manilow sings a Broadway show tune, I listen with rapt attention. His voice is perfect for these kinds of songs and he knows how to make them sound magnificent. This is one of his best.
“Some Kind Of Friend”
I would classify this as a rock-infused pop song. It has a harder edge to it than the other music on the album, but it’s still as infectious as Manilow’s other hits. The funky synthesizer, descriptive lyrics and catchy chorus make this a song that gets stuck in my head frequently.
“I’m Gonna Sit Right Down And Write Myself A Letter”
Here’s a song that’s been covered by everyone from Nat “King” Cole to Paul McCartney. It’s simple, funny and catchy as hell. And when I hear Barry Manilow’s version, it makes me think of Elvis. It has that rockabilly sound “The King” was known for; and when listening to Manilow’s recording, it’s clear he had a lot of fun with this number.
“Getting Over Losing You”
What a terrific melody. The chord progression in this song is simply wonderful. It tells a great story, the vocal is spectacular and just like “Here Comes The Night,” it should have been a massive hit. I love it.
“Stay”
One of the things that makes Barry Manilow a great live act is he performs the songs he enjoys – not just the hits. About a year or two ago, he started adding “Stay” to his set and longtime fans loved it. This sexy mid-tempo number is another song that didn’t get the attention it deserved. The haunting chorus is one that I find myself singing long after the song has ended.
I’ve been playing video games my entire life. I have fond memories of blowing dust out of NES cartridges and spending countless hours trying to beat Resident Evil 3 on my Playstation. Lately, with work and school, it’s been hard to play games other than the casual ones on my phone and tablet. To get back into serious gaming, I just bought one of the newly announced Alienware laptops this week: Alienware 14.
The new Alienware laptops are beautiful and powerful, and I’m very excited to get mine in July. Keep an open eye out for my video review of Alienware 14 later this summer.
I recently finished Taylor Stevens’ 2011 debut novel, The Informationist. It’s the first in a series of books featuring Vanessa “Michael” Munroe, an expert in uncovering information for her clients. She’s best described as a detective without a badge that’s not afraid to rough somebody up. Similar to Lee Child’s Jack Reacher novels, this book was about the main character and what she did to overcome seemingly insurmountable odds. It started off slow, and trudging my way through words that most people outside of Africa wouldn’t know how to pronounce wasn’t fun. But once I cut past this and reached the half-way point, the story found its groove. As I neared the end I was eager to see how things would wrap up. It was filled with action, believable dialogue and a lead character I look forward to following on future adventures. If you’re seeking an enjoyable thriller, The Informationistis worth a read.
Below is the official synopsis and book trailer. And stay tuned for my interview with Taylor Stevens later this summer; it should be a good one.
Synopsis
Vanessa “Michael” Munroe deals in information—expensive information—working for corporations, heads of state, private clients, and anyone else who can pay for her unique brand of expertise. Born to missionary parents in lawless central Africa, Munroe took up with an infamous gunrunner and his mercenary crew when she was just fourteen. As his protégé, she earned the respect of the jungle’s most dangerous men, cultivating her own reputation for years until something sent her running. After almost a decade building a new life and lucrative career from her home base in Dallas, she’s never looked back.
Until now.
A Texas oil billionaire has hired her to find his daughter who vanished in Africa four years ago. It’s not her usual line of work, but she can’t resist the challenge. Pulled deep into the mystery of the missing girl, Munroe finds herself back in the lands of her childhood, betrayed, cut off from civilization, and left for dead. If she has any hope of escaping the jungle and the demons that drive her, she must come face-to-face with the past that she’s tried for so long to forget.
Great news! My blog has surpassed 10,000 views! Considering I started it less than a year ago, I’m very proud of this achievement. Thanks to all of you that visit on a regular basis. I’ll continue to do my best to provide you with compelling and entertaining content. Here’s to the next 10,000!
There are two videos at the end of this post: One is a live clip from Michael Des Barres’ concert in New York City on March 7, 2013 at the Bowery Electric, and the other is Michael’s music video for his terrific new single, “Life Is Always Right.”
When it comes to how to distribute your music, how do you decide what works best for you?
Well, what works best for me is ownership. Autonomy is everything. As you can imagine, I’ve been owned for 40 years as a recording artist. And I don’t like that. I didn’t like it then, and I don’t like it now…so I don’t do it. I’m in the position where I can sit down and figure out how I want to get my music out to people and bandcamp is fantastic. iTunes and Amazon clearly have an infrastructure that works, and I have my own infrastructure. We do our own artwork. Photographers, for some reason, like to take my picture, so I have an enormous amount of content to turn into the graphics required.
People enjoy working with me because I’m enthusiastic and it’s fun for them. It brings the best out in them. Half of this endeavor is being able to inspire others to do great stuff. And I don’t mean great in the sense of being better than anybody else. I mean just great, fun work that they enjoy doing.
And in terms of distribution, there are a particular ways to go. You have iTunes and Amazon, and then it becomes about building a fan base. I fully accept the notion that music is free. And I have no problem with that; I think it should be free. Then it becomes about selling other things, t-shirts and merchandising or licensing songs for TV shows or movies – whatever it is to make a living out of it. But let’s not forget, I am 65 years old, I’ve got 45 movies, 100 hours of American television and I’ve sold a lot of songs to people. I am not struggling in the back of a van. I have autonomy, in that I can do whatever I want. What a great place to be.
With your rich body of work in acting and music, I think of you as a Renaissance Man. You’re just an artist at heart, right?
Yeah, I just want to express myself. The trick about self-expression is knowing who the self is that’s doing the expressing. So, you have to work on who you are to be an authentic artist. You can be anything. You can be a sculptor, a painter, a photographer, a choreographer, a rock and roll star, whatever. What do you want to express, and who is doing the expressing? If I’m coming from an inauthentic place and I’m trying to be somebody else and I’m writing songs for an audience, or through a persona I’ve invented, it’s inauthentic. The audience doesn’t know why it’s inauthentic, but they know that there’s something wrong. So, half of the work as an artist is figuring out who the fuck you are – who’s doing the expressing. That’s why they say a writer “has a voice.” A writer has a voice because it’s true; it’s a true voice. Whether it be Hemingway or Voltaire, they had their own form of expression. They knew what they wanted to say – a point of view, about art and life and the human condition. And if you feel that way, you’ve got a shot at other people feeling the same way. If’ it’s authentic then it will reach the authentic part of the audience and you’ll have a career.
That’s why Hollywood is such a tainted place. The houses and cars are leased. It’s a land of fantasy, smoke and mirrors and illusion. And that’s why the movies suck and the majority of the music sucks – because they’re trying to figure out what the people want, rather than creating what they love. And I’m not interested in mainstream success. I was never interested in the mainstream. I drown in the mainstream. I have no desire to be there, none whatsoever. And yet I continue to do the TV shows, and I’ve got a couple movies in the can coming out. Of course I do…because I’ve got to fund the work that I love.
If you could collaborate with any musician, living or dead, who would it be?
It would be Booker T & the M.G.’s. I would sit with them and write songs. These were the guys who were responsible for Wilson Pickett records and Otis Redding records. I would love to play with them: “Duck” Dunn, Steve Jordan and Al Jackson. And the other band I would have loved to play with is Muddy Waters and Little Walter Jacobs’ band. I would have loved to have played with them.
Do you have a favorite new band?
I don’t know if you’ve heard of them, but I love Vintage Trouble. They’ll drive you crazy, they’re so good. They’re a young black singer and three white rockers, and they’re fantastic. Their influences are clearly the blues, and it’s exactly what I’m talking about on my radio show. And when they really get it right, it’s beautiful.
Poison, god bless them, was a parody of the New York Dolls, as were most 80s’ hairnet, Aquanet hairspray bands. They had catchy little songs with the same riffs since time began. My favorite band of them all was Motley Crue – I thought they were fantastic. I’m very generous with this stuff. I can honestly say that I admire anybody that plugs in because it’s so dreadful. You’re putting yourself, literally, in an execution firing line – they can shoot you. It’s very brave to get up and play, so I never put anybody down. God bless anybody giving it a go. Having the balls to to stand up and say, “Look, this is what I do!” That’s great. Do I have preferences? Yes. And I’ll get on the bike in the gym and listen to Motley Crue. Sure, why not?
You mentioned the two movies “in the can.” Can you reveal any details about these projects?
One has just come out. It’s called California Solo with Robert Carlyle, which is just fantastic. He’s the actor in Trainspotting and he’s on ABC’s Once Upon a Time. Wiry Scottish actor, you’d recognize him. Fantastic movie – very fun to make. Grab a DVD and watch it with your girlfriend. It’s really one of the good movies about rock and roll. I play his manager and it’s all very sinister. And there’s this movie I just finished that’s being edited. It stars Gina Gershon, Jennifer Jason Leigh, Molly Ringwald, and myself, and it’s called Me. And it’s improvised. It was incredible to work with those 80s’ ladies. It’s going to be a hell of a movie. Very sexy, very troubling – very much about what’s going on today. It’s about a guy who thinks he’s in a reality show. I can’t tell you anymore about the story, but it’s going to blow your mind and it’s called Me.
How do your various acting opportunities come about?
I have to audition like every other actor, and if you get it, you get it. For NCIS, I believe they called me in, but they want to see you. They don’t know if you’re 300 pounds or if you’re a junkie. They want to speak to you, and that’s fine; I’ll go in. If there’s something really cool and it has the potential to reach a lot of people, I’ll stand in a parking lot naked to get it. If it’s something I don’t want to do, I simply don’t go in on it. That’s the bureaucratic side of it. Then, there are friends that I’ve worked with and if they think there’s something right for me, they’ll get in touch. That’s usually followed by the sentence, “There’s no money in it.” (laughs) But you do it anyway because it’s challenging and a labor of love and lust.
The way I discovered you was through MacGyver. When you were on the screen you brought gravitas to the scenes.
I’m so glad you said that, and I’m so happy when someone says, “Hey, Murdoc!” It happens every day. I’m in Trader Joe’s with my girlfriend and there’s a guy shaking with item in his hand and I said, “What’s going on? Are you OK?” And he said, “You’re Murdoc!” I said to myself, oh god, that’s so great, and I gave him a hug and an autograph – signed the Trader Joe’s bag and moved on. I loved that character, it was great. And people still dig it to this day. How fabulous is that?
Were you able to make it your own, or was the role of Murdoc already defined for you?
Oh, fuck no! What happened was I just came off The Power Station tour, and I remember I had this big vintage white Rolls Royce and drove onto the set at Paramount for the audition to play Murdoc, a killer in one episode. And the producers were all smoking outside the MacGyver offices and I pull up in my Rolls Royce. I, to this day, know that I got that job because of that entrance. (laughs) They saw me getting out of a white Rolls, all dressed in black and said, “There’s our guy!” And I did it for the next few years, as you know.
Did you have a good working relationship with Richard Dean Anderson?
Oh, I loved him! Sweet, soulful, generous dude. And it was a hard job – being in a TV series. Wow! Hard work. 16 or 17-hour days, especially if you’re the star. You have to know about pacing, and he did. He paced himself well for such a physical role, and he did a fantastic job. And it was a huge show for many years. It wasn’t an under-the-radar show. It wasn’t a pop culture Twin Peaks, water cooler show. But it had a steadfast audience and I was very grateful for the opportunity.
My friend, follower and fellow blogger, Vic De Leon, has returned for another guest blog post. This time, he’s going to share with us his Top 5 Wes Craven movies. I hope you enjoy the post, and make sure to check out his blog, Vic’s Movie Den, for more great content about movies – including my Top 5 Wes Craven movies.
Top 5 Wes Craven Movies
By Victor De Leon
Director and Writer Wes Craven is one of those few film-makers who has become a household name by establishing that he is capable of setting the bar, setting trends and re-inventing the horror genre more than once while remaining fresh and original. Craven for many years has challenged his audiences as well as frightening them and maintaining a high standard of craftsmanship. With an impeccable eye for composition and a keen knowledge of writing and structure, Craven has remained true to the genre and to his adored fans. Craven is a jack of all trades. He has written, shot, edited and even starred in his films. He has shown that he can never get stuck for too long and he embraces new innovations, new ideas and continues to be an exemplary artist of the moving image.
His movies and images have provoked fear, wonder and amazement and he has created some enduring characters and moments that will always be etched in the minds of horror genre junkies young and old. From Freddy Krueger to Horace Pinker, Craven leaves no stone un-turned when exploring the dynamics and complexities of the classic horror antagonist. With “Scream” he once again redefined himself and created the “Meta Horror” genre with a franchise that has spawned 3 sequels and has a TV show in development.
For my fellow blogger, Michael Cavacini I have compiled my Top 5 favorite Wes Craven films. I thank him very much for once again letting me grace his fine site with one of my Top 5 lists. I hope you all enjoy!
A perfect example of Craven re-inventing himself by taking on his Nightmare franchise in an original, brutal and menacing way. Here, Craven relies on his “Meta” horror tactic and thinks outside the box with a story re-uniting the cast of the first Nightmare on Elm Street entry. New Nightmare is fresh and consistently scary which is something previous efforts lacked. Solid acting, directing, true mood and style makes this an obvious choice for my top 5.
4) The Hills Have Eyes
A outrageous and depraved story marks this early work of Craven’s. This film is perhaps the template for the slew of survivalist horror movies that came after it. Craven succeeds in weaving a true to life and gritty piece of demented cinema. A strong effort that disturbs, excites and pushes the envelope. Along with Hooper’s “Chainsaw” this 70′s Craven film is timeless and endures in a stark and disturbing way.
3) The Serpent and the Rainbow
This film based on the novel by botanist and scientist Wade Davis is an underdog film entry from Wes Craven. The film stars Bill Pullman in a very difficult role as a Davis like character that has to investigate, for a Drug Company, claims of people returning back to life in Haiti. Actually believing that a powder like substance may be involved, Pullman’s character finds out that more menacing supernatural forces may be at work. Creepy, spooky and nightmarish, Craven revels in keeping his viewers on edge and second guessing what they are watching unfold. A solid performance from Pullman, strong direction and the beautiful locale serves up a very watchable and scary voodoo thriller which explores themes from taboos to political strife. Very recommended.
2) Scream
Hip, stylish and a game changer, Scream remains Craven’s most extraordinary “Meta” effort. A young and handsome cast help to propel the story. Kevin Williamson pens a terrific creep-fest that Craven respects and excels in translating to the screen in an exceptional manner that re-invents the slasher film. A tremendous horror film on many levels, “Scream” remains hip and relevant to this day. A horror film about kids obsessed with horror films. Just brilliant. The film also references many horror movies from John Carpenter’s Halloween to The Howling from Joe Dante.
1) A Nightmare on Elm Street
Original, very scary and beautifully scored and photographed, A Nightmare on Elm Street is Wes Craven’s magnum opus. Craven sets the bar extremely high and with his cast, which includes a young Johnny Deep to the seasoned John Saxon are all amazing to watch here. Robert Englund as Freddy Krueger is flawlessly horrific and menacing. He IS the bad guy. The film has an almost palpable atmosphere of dread and fear. It is a film that Craven utilizes to provoke a fear of the dark and our own dreams. A film where no one is safe, not even from their slumber. It is a movie which is a fable of the darkest elements and the unease is prevalent from the first to the last nightmarish frame. Craven has created an enduring and legendary picture with both a great antagonist and protagonist in the character of Nancy played with eager professionalism by Heather Langenkamp. Beautifully unnerving and technically brilliant, A Nightmare on Elm Street is my favorite Wes Craven film. Highly recommended!
Ace Frehley is one of the greatest rock and roll guitarists of all time. Not only was he amazing during his time as the lead guitarist of KISS, but his solo work was quite impressive too. Ace’s most recent solo album, Anomaly, features one of my favorite cover songs: “Fox On The Run.” Check it out below.
Jon Land, the bestselling author of over 25 novels, just won an International Book Award for his latest Blaine McCracken thriller: Pandora’s Temple. His acclaimed novel, which is on my list of books to read, won for being the best Thriller/Adventure novel. To learn more about this book, check out the the BookTrib Live Chat below that Jon did late last year.
Over the past year I’ve become obsessed with audiobooks. They’re a great way for someone with a busy schedule (i.e., me) to enjoy books on the go. Whether I’m walking around town or brushing my teeth, I’m almost always listening to an audiobook on my iPhone or Kindle Fire HD, through the Audible or Overdrive apps.
Audiobooks are a magical form of entertainment because of the narrators that read them. These men and women are legitimate actors that breath life into the stories they read with a variety of intricate character voices, accents and dialects. The right audiobook narrator can make a mediocre book good and a great book excellent.
One of my favorite audiobook narrators is Dick Hill. Most famous for being the voice of Lee Child’s Jack Reacher series, Hill has nearly 500 audiobooks on Audible – including classics, sci-fi and fantasy, mysteries and thrillers, you name it. Hill is one of the most prolific audiobook narrators in the business and his ability to turn words into theater for the ears is impressive.
I recently had the honor of interviewing Dick Hill, and I hope the questions and answers below provide you with a greater understanding of this interesting profession. Enjoy!
How did you get involved in narrating books?
A friend of mine, Brit actor, was narrating for Brilliance Audio. They were looking to cast a WWII combat novel, and he suggested I get in touch. I did, recorded a couple pages of something similar I got off the supermarket shelf on a crappy little recorder and sent it to them. (They weren’t looking for audio quality, they’d provide that, they wanted to hear me read). Booked the gig, and knew I’d found my niche. Never looked back.
On average, how many hours does it take to record a book?
Depends on the length of the book, type of text etc. Generally I finish an hour of recorded book in around 75 minutes.
Do you read chapters straight through, or do you stop and start and edit the pieces together later to establish a seamless sound?
Susie is upstairs engineering and directing, and whenever I stumble or miss a word, we stop, roll back to a likely spot, then do a punch edit. She plays back for me to hear a lead in, then does an on the spot edit and I come right in and do it right. Generally.
How many audiobooks do you narrate each year?
I’d guess around 40 a year now, give or take a dozen.
From a business standpoint, do you have long-term contracts with publishers where you have to narrate a certain number of books a year, or are you hired on a book-by-book basis?
I’m paid per finished hour.
How are audiobook narrators compensated? Is there an upfront payment, a monthly retainer, royalties based on sales, or a combination of all three?
There are some works being done through ACX on royalty share, but I work strictly for fee. If Lee wanted to do a royalty share, or Stephen King, I’d be happy to, but those are not the kind of authors hoping to get someone to narrate their book on spec.
How do you make sure your recordings don’t include any background noise from inside the studio, like turning pages?
I’m quiet. I’ve developed a technique for moving from one page to the next that’s mostly soundless. If I do screw up, we just do an edit.
What is the most challenging aspect of your job and what is the most rewarding?
I find all the aspects I deal with challenging, but in a very good way. I relish the challenge of presenting the listener with the best, most compelling delivery I can achieve. It’s of the moment work, which I love doing. I don’t pre-read things, with a few exceptions. Susie preps the books, makes a vocabulary list to check, and gives me a character sheet noting gender, age, any accents mentioned or implied, etc. I use those to guide my performance. Since she’s prepped the book, she can alert me to any potential traps (e.g., don’t make the mystery caller too this or that) so the voice seems reasonable to fit the character it turns out to be. She generally doesn’t tell me just who those people are, or really, anything beyond performance guidance. I like to discover what happens right along with the listener. I love flying by the seat of my pants, doing cold reads. I’m good at them, and I think the sense of discovery helps with my work. Most rewarding?…pretty much all of it. Plus the checks. Getting paid to have fun, in large part.
Without naming it, have you ever had to narrate an awful book? If so, did you have to work harder or approach it differently than a book of higher quality?
Yes. Harder work. A couple were so bad I felt like a five dollar whore faking passion. I turned down any more work from those authors. Pretty lucky now, the publishers I work with most often have a very clear idea of the sort of things I like to do, and I’m seldom offered work I’d find offensive.
I’ve noticed that some of your books feature interesting audio effects to immerse the listener in the story. For example, Jack Reacher might be talking to someone on the phone and the voice on the other end is altered to sound as if it’s coming through a phone line. How is this done?
Those were probably earlier books. I prefer eschewing that sort of thing myself. If you’re gonna’ have a phone effect, then how about ambient noise, traffic, door slams, gunshots? I don’t include any effects or ask for any. I’m not aware of any publishers adding them any longer, though I’m not sure. I don’t listen to audiobooks myself, my own or anyone else’s. It’s immensely pleasurable to record books, but once I’ve done that why would I want to listen to them? Been there, done that.
What kind of personal preparation goes into getting to record an audiobook and how do you preserve your voice?
Occasionally if Susie gives me a heads up about a particular accent, I may go online to find samples of 15-year-old Malaysian girls with lisps raised in Irish Catholic orphanages till age ten then indentured as servants to a family of Germans with a Spanish head of the household. Other than that, I pretty much have a handle on how I approach accents, etc. Might not be Meryl Streepalicious, but then she has to perfect an accent for several hundred lines in a few projects per year. I do many more characters, many more books, so while I do try to do a good job with accents and dialects, my primary concern is to create characters and narrators that feel well motivated and interesting and further the author’s intent.
Recently, three of Lee Child’s Jack Reacher books, Die Trying, Tripwire and Running Blind, were rerecorded by another audiobook narrator, Jonathan McClain, and released on Audible. There was a backlash from fans for you not being the narrator. Do you know why your versions of these books were replaced and will you continue to be the voice of future Jack Reacher audiobooks, including Never Go Back, which comes out in the fall?
Yes, I’ve heard from a number of concerned folks. I think what that is, audio rights for the UK are issued separately, and Mr. McClain has been doing those. I will be doing the latest Reacher, and unless something happens I expect to continue doing so. Folks just have to look carefully to ensure they’re getting the reader they prefer, I guess.
Aside from narrating books, what other kinds of acting have you done?
I’ve worked regionally in live theatre, onstage. No film, some commercial video, ads and the like.
You and your wife have extensive experience in the audiobook industry. How did you two meet, and have you had the opportunity to collaborate on a project?
We met when she played Guinevere and I played Arthur in a production of Camelot. In addition to our work onstage, once we entered the audio world I directed her several times, she’s engineered and directed me on lord knows how many projects, and we’ve recorded a number of dual reads, one of which won us both Audies, the audiobook equivalent of an Oscar or a Tony. Or a Westchester Kennel Club best in show I suppose.
What projects are you currently working on that fans should look out for in the months to come?
Expecting that Reacher script soon, think there’s a fall release. Doing the last of the Stephen White series about Dr. Alan Gregory, which is heartbreaking for us. Love his writing and character insight, and one supporting character, Det. Sam Purdy, is one of the characters nearest and dearest to my heart. Susie’s prepping it this week, and is raving about how good it is and wailing about the fact that it is the last.