Playing with Fire

Audio Drama

Click on image above for link to the Radio Drama, which is downloadable for your local radio station or website. Produced for Sun Sounds Radio for the Blind (art museum related horror,) with a link to the charity. Free download; several others are there too. Full cast and sound. In news, my novel Awakening Storm has been released at Audible, narrated by ESPN horse racing producer and voiceover talent Barry Abrams. 

Barry Abrams

Hurricane Season

Lottery Island or Jackpot Island?

Union Island

You decide the title: Lottery Island or Jackpot Island? Titles of books cannot be copyrighted, but the word “Powerball” is a registered trademark, and should not be used in the title (or so I’m told by Powerball legal, a different employee there whom I can’t name saying, “sounds like a great book!” And there is a 2014 novel at Amazon titled “Powerball.”) Anyway, there is a disclaimer at the end of the novel, partly based on a true story, reading, “This is a work of fiction. No connection to MUSL is intended or implied. Please play responsibly. Unlike Howard.” Howard Rosen is a dweeb solo Powerball winner whose first winning ticket is photographed but lost…so he is made the brunt of jokes on late night TV. (You can’t cash in a photograph, even if no one comes forward and you can prove you bought it at the place identified as selling it. They are very strict, and forbidden from endorsing anything. (LEGAL NOTE: No endorsement is implied.)  There is a woman who sued to remain anonymous, losing many thousands of dollars in interest, because she was unaware that signing her winning ticket legally allowed them to publish her name. In Howard’s fictional case, he wins again ($553 Million after taxes), and doesn’t sign, but erases all traces of him via a hacker so no one can track him….with a plan to reemerge a hero, famous for more than just 15 minutes of shame by financing a coup against a corrupt Caribbean island dictator. Lottery Island is at Amazon for Kindle, Jackpot Island is at iTunes iBooks and for Nook and iPad. Same book, different title. If you have Kobo or just want PDF, it is at Choose your pleasure. Currently in preorder for March 1 release, sales in April will also determine your vote for which title ultimately wins, and goes to audio. My novel Postmarked for Death, endorsed by Clive Cussler and John Lutz, will be going to audio in March at Audible and iTunes, as well. Think postal shootings and a serial bomber like the Unabomber, hunted by a rookie postal inspector. The USPS TV series The Inspectors is just starting up again. Good timing? We shall see. (Am told the new episodes was financed by seized property.) Again, the novel is partly based on true stories of shootings, like the one at Royal Oak, Michigan that killed 14. For the lottery novel above, based on the true story of John Caldwell, he and his sons once fired Enfield rifles over the heads of invading renegades that had taken Union Island, and came for his: Palm Island. He let the Marines park helicopters on his island (leased from St. Vincent’s government for 99 years at $1 year plus 12% of future profits) during the Grenada invasion. I was there writing an article on him for a sailing magazine, but his true story inspired mine. Add Powerball, and off we go…

Island Life



Never Judge a Narrator by their Cover

Horror movies

Lorna Raver is a film and stage actress who also has a career as an audiobook narrator. She records for many publishers, her next to be about the public school system titled “These Schools Belong to You and Me.” Her longtime companion was the late great Yuri Rasovsky, the Grammy winning radio drama icon. Lorna starred in a horror movie DRAG ME TO HELL, directed by Sam Raimi (very much out of character for her…she’s a sweet lady, whom I met at the Audie awards in LA.)

JONATHAN LOWE: Which came first for you–stage acting or voice acting?

LORNA RAVER: I started as a stage actor and stage acting will always be closest to my heart. I love inhabiting another life. I love the discipline of stage work, the challenge of re-creating night after night while keeping it fresh, the interaction with other actors – and with the audience, the exercise of all your skills – mental, spiritual and physical. My first experience with voice acting came about when I was hired to do a play for Yuri Rasovsky’s prestigious National Radio Theatre in Chicago. As is the case with most stage actors who do audio drama, I had a ball! Learning how to convey vocally what one might express physically on stage was very exciting, and there’s no better teacher for that than Yuri.

Q: What are the difficulties and similarities involved?

A: Discovering the emotional resonance of your character and the play as a whole is not significantly different from stage acting, but the techniques required of the actor are different. For example, you may have an emotionally intense scene with another actor but because of a necessary mic set-up, you may not be able to make eye contact with that actor – you must convey all the interaction with your voice. You really learn how to listen! And you really learn how to mean what you say and say what you mean! Of course, voice acting broadens your casting opportunities, too. If you can realistically sound like an old person or a child, you can be hired to play one, even though you may be neither.

Q: I can’t think of any narrators who haven’t acted on stage or on TV at the very least, although I’m sure there must be some. What must a TV or film actor learn in order to make the transition to voice acting, given that he or she can’t be seen?

A: Audiobook narration, to me, is not as closely related to stage acting as is audio drama. Fiction narration certainly requires the ability to “act” the characters in the book and to honor the arc of the narrative, but audiobooks present other challenges different from stage, TV or film acting. Technically, there is the simple fact that you are restricted in movement for long stretches of time. You’re sitting in a booth and you need to be always aware of mic position. Audiobook narration can be grueling and requires mental and vocal stamina. It is incredibly focused work. I am blessed with vocal stamina so that after hours of recording, it is rarely my voice that goes, it is my brain!

Q: What about creating multiple character voices?

A: When it comes to creating different voices for different characters, I don’t feel that I have a good vocabulary for describing that process technically. It’s related to the same process one would use creating a character for stage, film or TV, except that an audiobook may require a dozen different characters not of the narrator’s age, gender or race, all of which need to be distinct, identifiable and consistent. Listening to and practicing voices and accents are useful, but you also need to apply them appropriately. If you really want a tutorial on how to broaden your “voice library,” go out for an evening with Barbara Rosenblat. She studies the sound of everyone she encounters from the cab driver to the waiter to the lady eating at the next table!

Q: What a great suggestion! Have interviewed her. She’s fantastic. Now, was it easier for you to transition to film acting than it might be for someone doing the reverse, do you think?

A: I didn’t really transition from audio to film since, while I had done audio drama before I worked in film, it was only after I had done a substantial amount of stage and TV and some film work that I began narrating audio books. However, the difficulty of audiobook narration is often underrated by those who haven’t done it. On more than one occasion while working on a film or TV show, I’ve had other actors tell me that they tried narrating audiobooks and it was just too hard! Episodic TV requires stamina, but the work flow is so different. You shoot a scene then break then shoot again then break and so on rather than spend an hour or more at a time in the booth recording.

Q: What types of audiobooks do you most enjoy narrating?

A: All types. I like the diversity of narrating both fiction and non-fiction. I think fiction is much more demanding and having the occasional non-fiction break is refreshing to me.

Q: Full cast must be a lot of fun, working with Yuri. I only met him once, after he produced one of my novels. Radio drama is the only acting I’ve tried myself, as solo narration is beyond me. As a medium, it is very time consuming and therefore rare. Any favorites there?

A: The kick you get from acting in audio drama is closest to the kick from working on stage! Yuri is such a skilled audio director, and always gets wonderful actors for his productions, so I’m ready to go whenever he has something he thinks I’m right for. I had a chance to do some “audio noir” or channel my inner Barbara Stanwyck! in his Hollywood Theatre of the Ear production of BLACK MASK AUDIO MAGAZINE for Blackstone Audio, and also had a good time playing a Brit in his Audie Award winning production of THE SHERLOCK HOLMES THEATRE, also for Blackstone Audio.

Q: In non-fiction, I see you’ve recently narrated CHEAP–The High Cost of Discount Culture. What was the research like?

A: My main goals in non-fiction narration are clarity and conveying the “mood” of the book. The research involved in preparing for a non-fiction read is often much more extensive and time-consuming than for fiction. For example, I read two books on ancient Egypt for Tantor: TEMPLES, TOMBS & HIEROGLYPHS and RED LAND, BLACK LAND both by Barbara Mertz, and which involved major research. It is of invaluable assistance when the author is available for consultation, as was the case with those two books, but you don’t always have an author contact. One thing I really like about non-fiction narration is that I learn so much – especially about topics I would not necessarily be drawn to otherwise.


Lorna Raver has narrated both Cujo by Stephen King and an audiobook about Mother Teresa.

Lorna Raver:


Acting & Listening Advice from Alan Alda

Alan Alda bookMost communication is nonverbal. We want to look at the faces of those testifying in Congress and detect lies or deceit. They try to keep their faces blank in order not to telegraph this, but subtle clues or reactions are there in their voices and tone, too. Their pauses, gestures. Alan Alda talks about how the face is judged, not for just beauty or ugliness, but for believability. Why paying attention to people’s reactions or expressions when they talk is most important in understanding WHAT THEY MEAN. Mostly we misunderstand what people say or mean, but by truly listening and observing we have a better chance of connecting (and resolving conflicts too.) Instead of waiting for people to stop speaking so we can make another point, Alda’s point is to LISTEN with all our senses with the objective to UNDERSTAND. Not to “win” an argument by demeaning or defeating anyone (or everyone) seen as an opponent. Great new audiobook upcoming June 6. Order at Tower Review. As James Garner once put it: “I don’t act. I react. Give me a reactor over an actor any time. It puts you there in the moment, and you’re less likely to flub the way you read your lines, too.” Alda was in the movies Bridge of Spies, The Aviator, Everyone Says I Love You, Manhattan Murder Mystery, and Crimes & Misdemeanors. On TV’s MASH, and Scientific American Frontiers. He has won 7 Emmys, and is a big fan of science. “At first I think they just wanted a famous face do the introduction, and then narrate off camera, but I wanted to be there and interview the scientists.” He’s read Scientific American magazine since a kid.

Ariana Grande

Romance Book Winners


Romance novels

The romance finalists in the Audie awards this year are: 

Dirty by Kylie Scott, narrated by Andi Arndt, published by Macmillan Audio
Duke of Sin by Elizabeth Hoyt, narrated by Ashford McNab, published by Hachette Audio
First Star I See Tonight by Susan Elizabeth Phillips, narrated by Nicole Poole, published by HarperAudio
Glitterland: Spires, Book 1 by Alexis Hall, narrated by Nicholas Boulton, published by Hedgehog Inc Productions
The Obsession by Nora Roberts, narrated by Shannon McManus, published by Brilliance Publishing

Humor and Horror?


Sometimes they go together, as in satire. The good thing about the imagination is that it can connect things that otherwise seem unconnected. In our Filter Bubble culture on the internet that is sometimes difficult to see, since we are tracked and analyzed, then fed back more of the same things we clicked on previously. (Read The Filter Bubble and Future Crimes.) For a look of what it was like to have a father with a very active imagination, doing things on television no one had tried before, read the memoir of Anne Serling, whose father Rod Serling developed The Twilight Zone, a groundbreaking series that riveted viewers first in black and white, then in color. My interview with Anne is HERE.


Eric Schlosser

Do You Sleep With Your Smartphone?

goodreadsMany do. And they check their email and Facebook feeds constantly. In Sleeping with Your Smartphone, Harvard Business School professor Leslie Perlow reveals how you can disconnect and become more productive in the process. In fact, she shows that you can devote more time to your personal life and accomplish more at work. The good news is that this doesn’t require a grand organizational makeover or buy-in from the CEO. All it takes is collaboration between you and your team—working together and making small, doable changes. Why can’t our culture turn off the McNews and pop stars long enough to live their own lives? How can readers find time to read? Add audiobooks, and you’ll free up time on the go by listening to books (and learning) instead of “whatever is trending this millisecond.” Still want pop stars? They generally read their own biographies, so you have that option too.