Concerns Grow Over Support for Audio Talent in Publishing Industry

I spoke with industry professionals to understand how they cultivated their skills and to assess whether opportunities for newcomers still exist in this evolving field. Each professional I spoke with entered the industry because someone provided them with an opportunity. The real concern is whether that support will continue and if the industry is investing enough in future creators, many of whom work as freelancers.

Emma Samuel, a senior agent at Voice Squad, explained that a narrator's first job is often determined by a brief and a test reading of just a few pages, with no previous credits necessary. She emphasized the importance of nurturing talent straight from drama schools. However, Samuel expressed concern that publishers might prioritize cheaper options, such as celebrity voice clones, over less well-known human narrators, jeopardizing opportunities for emerging talent.

Preparation is another issue; narrators are typically paid per finished hour but must read the entire book and mark it up beforehand. Samuel noted that this preparation is unpaid, though it is where much of the artistry occurs, representing a significant aspect of the creative process that goes uncompensated.

Award-winning narrator Kristin Atherton highlighted the commercial value of narrators, noting that audiences often develop loyalty to their favorite readers, which publishers benefit from. Despite the industry's growth, the starting rates for newcomers have stagnated, and shorter deadlines may deter talented actors seeking their first opportunities.

Ben Carpenter, co-founder of Rakkit, shared his journey, learning production on the job 15 years ago and now mentoring newcomers. The industry's evolving nature means producers and directors often take on additional responsibilities, providing guidance to authors and first-time narrators. The emotional labor involved in creating a supportive atmosphere within the studio is crucial but often not matched by adequate compensation.

Freelance producer Rich Hughes emphasized the interpersonal skills required in the production process, from recognizing a narrator's strengths to encouraging a nervous performer. He noted that despite the continuous growth of the audio sector, many large publishers have not adjusted freelance rates.

Jonny Firth, head of operations and audio at 2020 Recordings, pointed out that much of the work is done in pre-production, where trust plays a key role. Carpenter remarked that the craft often goes unnoticed due to its seamlessness, leading to undervaluation.

While audio has historically served as a training ground for emerging talent, this foundation is eroding in other industries, with over a third of UK employers reducing entry-level positions last year due to automation and AI impact (Work Foundation, via Allwork). However, the audio industry appears to have more resilience, with agents still signing graduates and studios offering training opportunities. Rakkit is working alongside AudioUK to standardize practices and has urged the government to review funding for new talent development.

Nonetheless, fostering new talent cannot rely solely on goodwill. It must be integrated into how audio is commissioned, which includes compensating for preparation time, allowing ample time for training, favoring unknown voices, and increasing stagnant freelance rates.

As Samuel stated, AI may be more affordable but risks becoming less appealing to audiences compared to real actors. Amelia Oliver, head of creative at 2020 Recordings, warned that while AI voices may offer convenience, they cannot serve as a long-term substitute for authentic talent. Nurturing skilled narrators takes time and dedication, built book by book with the support of those willing to mentor them.