Beware, the lead character is rather profane. Fair warning not to get in the way of the editor’s pen.
I’m but an amateur voiceover artist, but it’s fun to put printed words to voice, especially when they are the words of a crabby character in one of my short stories, who finds herself in a prickly editorial predicament.
This is a story titled Killer Proof, from my collection, Flowering; it comes in a bit under six minutes long.
Mom, this isn't blasphemy—the Virgin is part of the story, honest
I recently read a good, helpful essay on finding and developing your writer’s voice, courtesy of Writer’s Digest (and another fine one, on the same topic from Jane Friedman). An important point in both essays is that the expression of self in writing, be it in diction, passion, slant or tone, can be a variant thing—the hummingbird’s flight is always expressive of the bird, but its dartings and hoverings aren’t always approached from the same direction or desire.
But thinking of a writer’s voice made me think of literal voices, and I remembered a radio piece I did some years ago for a local Santa Cruz station, KUSP. The aural collage was called the Foreign Stories Project, an effort by a producer named Howard Scherr to induce local folks to recount interesting tales of their adventures in foreign lands. I don’t quite sustain the right cadence in this piece, but it’s a fun challenge to try to tell a story aloud, and to see how it’s rendered with sound effects and professional editing. And any story which has a 1,000-mile bus ride to a surprise whorehouse has to have some intrigue.