This spring marks ACX’s 10th anniversary as a hub for self-driven authors, actors, and publishers to make connections, produce compelling stories, and distribute their art to a world of listeners. We’re proud to have made it ten years, but ACX would be nothing without the creators who use it to pursue their dreams. So we’re celebrating our 10th anniversary by celebrating you! Over the next few weeks, we’ll be publishing stories from ten years worth of creators that have made ACX special. First up, narrator/producer Janina Edwards.
How did you become a narrator?
My career has a Part One and Part Deux. In Part One, I recorded my first audiobook around 1989 in New York City for the American Foundation for the Blind. I was and am pretty shy, and although my undergrad degree is in acting, I couldn’t handle the theatrical audition process. AFB was mentioned in a voice over class I took. I inquired, and was hired to do about 5 books. Then life happened. Part Deux began around 2010, after my daughter graduated college. I always wanted to get back to voiceovers, specifically audiobooks. I got some coaching (Paul Armbruster and Diane Cardea), took some classes in audio recording and basic editing, met a demo producer (Eileen Kimble), and she mentioned ACX as something to investigate. I also went to APAC (the Audio Publishers Association Conference) and networked with narrators and publishers I met there. When I returned from the conference I started auditioning on ACX, and pay2play sites. Started getting experience. It took about a year before the traditional publishers started hiring me.
Are you a full-time narrator?
Yes. But I didn’t go full-time until 2019. There were a couple of years when I worked full time as a grant proposal writer, and then recorded in the evening and on weekends. I went full-time when I had enough publishers hiring me regularly, and paying me a livable rate (I had joined the SAG-AFTRA by then), and I’d paid off all my credit card debt.
You’ve been with ACX since the beginning! How did the platform help you build your career in narration and where have you gone since?
ACX was instrumental in creating the initial body of work that launched Part Deux of my career. While there are publishers on ACX, at that time the traditional publishers didn’t know me and weren’t yet ready to take a chance on me. Further, ACX allowed me to try different genres and styles, from romance and mystery, to how-to and academic history, to memoirs. Working directly with authors on ACX, I learned how to develop a relationship with the writer, understand their goals for the project, support them, and be responsive to their needs.
When did you know this was what you wanted to do? When did it click for you?
1989. The booth is my stage. It just took a while for the dream to fully manifest.
Who was most instrumental in getting your career going (besides you)?
Other narrators who introduced me to their contacts. Narrators and engineers who allowed me to pester them with questions about equipment, software, and everything I didn’t know. Producers who gave me a chance.
What was your big “I made it” moment?
It’s exhilarating when I see my name placed with the same prominence as some of my idols and peers. The other week I realized that Andre DeShields (the original Wiz in the stage production of The Wiz, and part of the original Ain’t Misbehavin cast) was a co-narrator for The Final Revival of Opal and Nev. I was floored. The first time I ran into January LaVoy at a recording studio I was like “Ms. LaVoy, so glad to meet you…” And she was like “Oh, you’re Janina, right? I couldn’t believe she knew my name.
What’s the most important thing you’ve learned about the industry since getting started?
It’s all about relationships. I recently heard the wisdom “don’t be a jerk.” Though a lot of folks are joining our ranks, in the upper echelon, all the narrators know each other. There’s about two degrees of separation between folks. If you’re a jerk, it’ll boomerang eventually.
Any particular habits you have while you’re recording?
I try to limit myself to 4-5 hours of recording a day. Usually from 11-5, with a break in the day somewhere. Beyond that, my productivity is compromised. Sometimes I have to go longer, but I really try to respect those limits. My goal is to do great work. That means I have to allow time for rest (vocal and body), creativity, life and play.
What’s your most essential piece of studio gear? What do you have to have around when you’re recording?
A big glass of water (room temperature), and a hot cup of ginger tea (Yogi brand: Mango Ginger, Lemon Ginger, or plain ol’ Ginger), or warm lemon and honey or agave.
How do you define success in your career?
I want to do projects about things that interest and excite me and do great performances. I want every project I do to be great. When authors/producers see your great work, then great(er) work is offered to you. I think that’s also a lesson from ACX. Do the work that allows you to shine, and make every project great.
What’s your favorite thing about being an independent narrator?
Re: Independent—I love working for myself. It’s a lot, but I don’t have to answer to anyone but my own conscience. Re: Narrator—I love that I get to do all the characters (in a traditional 1-person narration). It’s just fun. Independent means I can take on whatever projects I want that showcase my abilities. I can take a vacation or break when I want (though you have to be very deliberate and set that time aside as sacrosanct).
What’s your favorite listen?
I’m a longtime Nora Roberts fan. I love Julia Whelan’s and January LaVoy’s performances of her books. I really enjoy Amanda Ronconi’s performance of Molly Harper’s books—vampire, werewolf, human fantasy romance stuff. (I am so ashamed. Not.) Kim Staunton’s performance of Beverly Jenkins’ historical romances—the perfect blend of black history, romance, and mystery. And Karen Chilton’s performance of Alyssa Cole’s books—multicultural, inclusive romances and mysteries.
If you could narrate any book ever, what would it be?
I would be lying if I said a specific book. When I agree to narrate a book, I’m the most excited about narrating that book (and if I’m not, I shouldn’t be accepting the project). I feel like the Cookie Monster in a roomful of cookies when I’m offered a project. I want to say yes to them all and just wolf them down.
What do you aspire to next?
I made my living as a professional grant proposal writer for about 13 years. I am now writing fiction and essays on things that interest me. I’m particularly interested in creating audio specific content. Who’d a thunk it?
You can find Janina on her website, and you can find her many award-winning and nominated audiobooks on Audible. Stay tuned for another story from a celebrated creator in our next installment of this special anniversary series!