As a writer I’m preoccupied by “voice” — the diction, syntax, and emotional registers of my characters. I hear them before I know who they are and what stories they want to tell me. Immediately upon hearing the audio recording of The Conditions of Love, I became smitten with the voice of Tara Ochs, who so effortlessly modulated her reading to give different expression to each character. And she did this for sixteen hours!
Then last month something magical happened. As the credits rolled at the end of the movie Selma, the name Tara Ochs popped out from the screen. I had been watching “the voice of TCOL” play Viola Liuzzo, the white Civil Rights activist who was murdered by the Ku Klux Klan!
Thus began a correspondence with Tara that has evolved into many exchanges which I’d like to share with you. I’ve often wondered how an actor goes about embodying a character and developing a “voice.” Finally, I had someone I could ask. And you’ll get to meet her because she videotaped two of her answers.
How did it happen that you became the voice of the audiobook for The Conditions of Love?
For The Conditions of Love, I auditioned with a five-minute sample from the book. I don’t know what happens after that — who chose my sample — but I’m REALLY glad they did.
How does preparing to read an audiobook different from preparing for an acting role?
They are completely different. For me an audiobook is more like singing. I’m choosing the voices for each character as if I were matching a tone. But the tone is something I pull from my personal observations about what a voice communicates about a personality. To prep a book, I use the text to inspire me and I combine that with voices I’m familiar with in my life, and hopefully they are strong enough choices that I can keep them consistent throughout!
Did you find anything especially tricky about reading The Conditions of Love?
It’s always challenging when a character ages, because you want them always to sound real and honest, but also to incorporate that changing register while keeping it believably the same person.
I really love how you gave Eunice, my narrator, a strong, sassy and resilient voice. How did you decide how she’d sound?
When I was first starting out as a poet, I discovered Writer’s Relief. Ronnie Smith, the founder, was exquisitely aware of how writers often work very hard on something and then procrastinate in sending the piece out for publication. What she and her staff formed was an agency that did all the dirty work for writers. Writer’s Relief is now celebrating its tenth year, and if you check on their website you’ll see what a fantastic boon for writers it has become including great free advice on their blog, video tutorials, and a free publishing toolkit. They stay loyal to their clients. They were kind enough to do a shoutout on their Tumblr blog when The Conditions of Love was first published last year.
The WR blog currently features a Q&A with me about the process of writing. I always wonder when I do these interviews if anyone reading them will actually find them helpful. I try to offer tips I’ve actually find useful, and ones you won’t find in most writing advice columns. Here’s one I doubt you’ll find in any book or blog on writing:
Have a sangha, the Buddhist word for a place of refuge. Cultivate a group of friends who love and support you and who understand the challenges of your writing life. Make sure you can belly laugh with them too. A good minute of belly laughing does wonders for the creative spark.
I have found that “recharging” with friends has often been critical to staying healthy and sane. And there are four more suggestions I hope will provide comfort and support to a writer somewhere. One fun aspect to this interview: Writer’s Relief is giving away a free copy of TCOL to one lucky reader who comments or asks me a question on the blog before June 11. Check it out and let me know what you think. You could be the winner.