Scott Azmus: Welcome and we’re looking forward to gaining some insights into your narration process, voice techniques, and career. Please tell us a little about yourself.

Murdoch McRae: Ah, Scott, my lad, always a pleasure. Aye, let’s get into it. Well, where to begin? I’m 64 years young, though my knees might argue otherwise. Spent a good chunk of my life in the U.S. Navy, which led me to some… unusual assignments. Most folks don’t realize time travel’s not just for the pages of books. I had the rare honor of working alongside Moses Melville Johnson himself—aye, the man who cracked the code. But that’s a tale for another day, isn’t it?

As for narrating, well, that came later. Always had a voice built for storytelling—deep, a wee bit rough at the edges, but with enough range to slip into just about any character. I took up narration after retiring from active service, and turns out, spinning a tale aloud isn’t so different from commanding a crew. You need clarity, presence, and a touch of the dramatic when required. Been doing it ever since, lending my voice to all manner of sci-fi adventures—including yours, Scott. And let me tell you, your stories? They’re a right treat to bring to life.

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Scott Azmus: What can you tell us about some of your recent work? 

Murdoch McRae: Ah, Scott, you always know how to put me on the spot. Well, lately, I’ve been keeping busy—no rest for the wicked, as they say.

First off, there’s the usual work with the Navy’s Time Shear division. Still narrating training vids for those poor sods learning to maintain temporal stability. Imagine explaining quantum phase divergence to a room full of recruits who just wanted to be mechanics. But someone’s got to do it. My voice has been guiding Time Shear technicians through paradox mitigation protocols and emergency chrono-realignment procedures for years now—makes me wonder if half the folks in that program hear me in their dreams, poor bastards.

And then, of course, there’s your books. When Natalie Mensinger and I got the chance to narrate them, we jumped on it faster than a temporal incursion alert. You’ve got a knack for the kind of stories that fit me like a glove—big, bold, and laced with just the right kind of technical precision. And let’s be honest, someone’s got to make sure your classified knowledge doesn’t go slipping through the cracks. That’s where I come in.

See, every one of your books goes through a Declassification Review before it ever sees the light of day. Can’t have sensitive material slipping past the censors, now can we? I make sure all the time travel protocols, historical chain-of-events, and—what’s the phrase they like?—“timeline integrity” all hold up under scrutiny. We tweak the wording where needed, strip out anything that shouldn’t be public knowledge, and ensure that if some smart-ass historian reads your work in a hundred years, they don’t go getting ideas that might actually break causality.

So, aye, that’s been keeping me plenty busy. Narrating, editing, and ensuring that history—past, present, and future—stays in the right order. Now, what’s next on your list, Scott?

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Scott Azmus: I’d like to dig into your voice exercises and techniques. What are your go-to vocal warm-up exercises before a recording session? 

Murdoch McRae: Ah, now we’re getting into the meat of it, Scott! You can’t just roll out of bed and expect to sound like a battle-hardened admiral or a time-sick traveler slipping through the cracks of causality. No, no—voice work is a craft, and the voice itself is an instrument. You don’t just pick up a violin and start sawing away. You tune it first.

Vocal Warm-Ups: Before any session, I always start with a few key exercises to get my voice in shape. Try these with me:

 1. QEQR… QEQR… QEQR… (Say it a few times, crisp and clear.)

 • This warms up the tongue and articulation muscles. Feels ridiculous? Aye, good. That means it’s working.

 2. Gala… Gala… Gala…

 • Not just a fancy event, my friend. This opens up the throat, and gets the resonance going.

 3. Stretch that face!

 • Open your mouth wide, like you’re in the middle of a yawn. Scrunch your face up, then stretch it out again. Feels silly? Good.

 4. Head and neck stretches.

 • Tilt your head side to side, roll those shoulders. Loosen everything up.

 5. Center your breath low in the gut.

 • Take deep, slow breaths—your belly should move, not your chest.

 6. Breathe in for five… hold for five… release for six (through pursed lips).

 • This controls airflow, keeps you from gasping mid-sentence like an amateur.

 7. Exercise the diaphragm.

 • Place your hand between your ribs, say “HUH” with force. Feel that? That’s where your real power comes from.

Voice Techniques for Narration: Once the pipes are warmed up, it’s all about control, storytelling, and presence:

 • Slow down when reading. (Rookies rush. Masters control the tempo.)

 • Imagine you’re telling a friend the story. (Natural, engaging, not robotic.)

 • Speak with CONFIDENCE. (If you don’t believe it, neither will the listener.)

 • Use tone to show changes in emotion. (A whisper, a pause—sometimes, silence is power.)

 • Relax! Elevate the text. (Make it vivid, but let the listener meet you halfway.)

 • Experience the story as you read. (You’re in the world, not just describing it.)

 • Men’s voices tend to fall at the end of dialogue. (Gravitas.)

 • Women’s voices rise at the end of dialogue. (Lyrical, engaging.)

 • Emotion drives belief. (Expand the emotional spectrum, don’t hold back.)

 • Visualize everything. (If you see it, they’ll hear it.)

 • Use the Springboard Technique.

 • Before starting a scene, use a preset emotion. If a character’s angry, growl a little first. If they’re laughing, chuckle beforehand. It brings the voice to life.

And lastly—monitor yourself at all times. Listen as you speak. Stay sharp. Control every word. Now, Scott, let’s hear you try it. Give me a QEQR—go on, lad!

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Scott Azmus: QEQR. QEQR. QEQR! Can you walk me through some basic tongue articulators that help with clarity and precision when narrating?

Murdoch McRae: Ah, Scott, now we’re getting into the technical bits. Clarity and precision in narration don’t just happen—you train for it. Every word, every syllable, every consonant has to land cleanly, like a well-executed maneuver on the deck of a ship.

Let’s start with resonance and range.

Exploring Range & Head Resonance

 1. Find your baseline hum

 • Close your lips, hum mmmmmmm.

 • Feel the vibration across your nose, cheekbones, even into your forehead? That’s head resonance.

 • If it’s stuck in your throat or chest, loosen up and let it float higher.

 2. Shift the pitch of your hum

 • Hum low. Deep, rumbly. Feel it in your chest.

 • Now go higher. Let it buzz behind your nose.

 • Siren it up and down—yes, like a damn ambulance. (And yes, it feels ridiculous. Do it anyway.)

Articulators—Sharpening Clarity

Now, let’s get the tongue and mouth working like a finely tuned machine.

 1. Tongue Clicking

 • Click your tongue against the roof of your mouth. Sharp, controlled.

 • This helps with quick, precise articulation, especially for tricky dialogue.

 2. Stretch Your Tongue

 • Stick your tongue out. Hold for five seconds.

 • Move it side to side, up and down.

 • This loosens up tension and improves flexibility—critical for narrators.

 3. Unvoiced Consonants (sharp, crisp articulation)

 • Say: p, t, k (puh, tuh, kuh).

 • Focus on the air pressure behind each sound—sharp and clean.

 4. Voiced Consonants (power, control)

 • Say: b, d, g (buh, duh, guh).

 • Feel the difference? These use vocal fold vibration—strong and deliberate.

All of this—resonance, articulation, clarity—means when you speak, you’re not just making sounds. You’re commanding attention. Now, Scott, let’s hear that tongue click. And don’t hold back on the siren—I know you want to!

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Scott Azmus: How do you take care of your voice for long recording sessions? Are there any health practices you swear by? What techniques do you use to maintain energy and vocal stamina during extended recordings?

Murdoch McRae: Scott, keeping the voice in top shape is like maintaining a high-performance engine—needs care, precision, and a hell of a lot of discipline. First off, hydration. Water. Always. I keep a thermos of warm water with a little honey. Never ice-cold—tightens the cords. And no dairy before a session—coats the throat like engine sludge.

For warm-ups, I start every session with tongue twisters to get articulation sharp. A few favorites:

➢ Lily Langtree lay on the lawn and languidly, lasciviously laughed.

➢ Betty Botter bought a bit of butter. Betty Botter bought a bit of bitter butter.

➢ What a to-do to die today, at a minute or two to two. A thing distinctly hard to say but harder still to do.

Now, stamina—the key is breath control. A deep breath should expand the gut, not the chest. Breathing in for five, holding for five, releasing for six through pursed lips—it keeps the voice supported. I also pace myself. If I feel my voice slipping, I switch up delivery—lean into the microphone instead of pushing harder. And I take breaks. A tired voice gets sloppy.

For long stretches, I use a springboard technique—finding an emotional preset to launch into a scene. Laughing before a lighthearted section, scowling before a tense one. Keeps energy fresh, keeps the read alive. Because, at the end of the day, narration isn’t just reading words—it’s living in them.

Scott, you always were one to dig deep into the mechanics of things. I remember the first time you set foot in the Time Travel facility—eyes wide, mind racing, taking in every detail like you were already composing a novel in your head. The way you described seeing the Time Shear for the first time… well, let’s just say, not many people have the words for that kind of moment. But you? You made it poetry.

As for narration, it’s a different kind of time travel, isn’t it? Our voices carry listeners to places long gone, futures yet to be, and worlds that never were. But it all starts with the breath, the articulation, and the discipline of making every word land just right.

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Scott Azmus: How do you practice switching between different voices, especially for characters with unique accents or tones?

Murdoch McRae: Ah, Scott, now you’re getting into the fun part! Switching between voices is like having a deck of characters in your head, ready to deal out at any moment. I practice in everyday life—especially while walking my Alaskan Malamutes. They’ve heard more accents than most world travelers!

When I’m working on a new voice, I start by finding a reference point—sometimes it’s a film star, sometimes it’s a phrase in another language, like Italian, Russian, or even Chinese. I’ll repeat it over and over until I feel how the voice sits in my throat, and how the rhythm changes. I also pay close attention to mouth shape and tongue placement—those little shifts make all the difference.

For example, if I need to do a deep, gruff voice, I might channel a bit of Clint Eastwood, keep it in the chest, and slow down the pacing. But if it’s a fast-talking character, I might go higher in the register and punch up the consonants. The key is muscle memory—just like training for anything else, you’ve got to keep at it until switching between voices is second nature.

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Scott Azmus: Could you share a vocal exercise for improving breath control and diction?

Murdoch McRae: Ah, breath control and diction—the unsung heroes of narration! You can have the best character voices in the world, but if you run out of air or mumble your way through a line, well, good luck keeping your audience.

One of my favorite exercises is working with practice scripts—sometimes technical, sometimes poetic. It forces you to control your breath, enunciate clearly, and shape your words precisely. For instance, take this bit about tequila: ‘Nose of deep vanilla and caramel, backed by a very gentle herbal character driven by the agave…’

Now, this isn’t just reading. It’s tasting the words as you say them. You feel the breath control when you sustain phrases like ‘the creamy palate gives the immediate impression of vanilla ice cream…’ You also have to pace yourself so you don’t run out of air before finishing the thought.

Another good one? Song lyrics. I often use ‘Breathe’ by the Deadbeats on their Made in the Shade album. Not just singing it, but speaking it with intent. Try this: ‘Take a step back. Take a breath in. Just breathe. Keep your mind clear. Take it down a gear, and breathe.’

It’s simple but powerful. It forces you to control your air, focus on timing, and find that perfect balance between meaning and delivery. And then, of course, there’s the science of quantum mechanics—perfect for testing precision. ‘In a block universe, time layers stack like pages in a flip book, with each moment causally linked to the one before. Quantum states evolve as threads of information, forming a forward-moving shock front that defines the present.’ When you can make physics sound engaging, you know you’ve got your diction dialed in.

So, whether it’s a tasting note, a sci-fi concept, or a song lyric, the key is to practice with intent. Control your breath, feel the pacing, and let the words carry weight.

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Scott Azmus: Let’s discuss how you create different character voices. How do you approach developing a character’s voice? Is it based on their personality, emotions, or physicality? When you need to create a completely new voice, do you draw inspiration from people you know, or is it purely from your imagination?

Murdoch McRae: Ah, Scott, you know me—I’m always on the lookout for voices. I “audition” people all the time, whether I meet them on the street, see them in a film, or even just come across a photo that sparks something. A character’s voice has to match their personality, their emotions, and even how they carry themselves. Some voices sit deep in the chest, others live high in the nasal cavity. When I was narrating Orphans of Fire, one character had this high, slightly nasal voice with a bit of sinus fry, plus pauses in just the right places. Another had an old professor’s throaty buzz. And don’t get me started on the alien Uyuni! Their speech has this “wiggle singing” quality—took me a few days to get that one right. Sometimes a character’s voice is purely from imagination, but more often than not, I’m pulling inspiration from the world around me.

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Scott Azmus: What are the most challenging character voices you’ve done, and how did you master them?

Murdoch McRae: Ah, now that is a question I love. You want to talk about challenging voices? Lately, I’ve been wrestling with the speech of the Moorad from planet Mayveth. Now, these aren’t your standard deep-voiced warlords or ethereal whispering aliens. No, no—these beings play their words, like running a bow across violin strings or plucking at them like a harp.

Mastering their voice means breaking language down into texture—not just sound. There’s a rhythm, a phrasing, an intent behind every tone. To get the Moorad right, I use a mix of techniques:

 1. Tonal Movement – They don’t just speak, they glide between pitches. So, I practice light vibrato to create that trembling, string-like resonance, and I’ll slide my pitch up and down, like tracing a note on a violin. If I hum with a soft resonance in my chest, I can give their words that floating, unearthly quality.

 2. Staccato vs. Glissando – The Moorad have a way of shifting between sharp, plucked sounds (staccato) and drawn-out, fluid sounds (glissando). For plucking, I’ll break my words into short, clipped bursts—“The (pause) stars (pause) pulse (pause), one (pause) by (pause) one.” And when I need to bow my voice, I stretch out vowels and let my pitch slide—“Floooooowwwwsss” (starting low, rising, then trailing off).

 3. Resonance & Whispering – To really sell the alien quality, I layer a faint hum under the speech, as if their voice is always resonating. Sometimes, I’ll start or end a sentence with a breathy whisper—“Listen… the stars are speaking.” That gives it an ethereal edge.

 4. Texture & Articulation – Crisp consonants for the plucking, elongated vowels for the bowing. A Moorad wouldn’t just say, “We seek harmony.” They’d shape it: “We (sharp) seeeeeek (fluid rise) haaarrrmonyyyyyy (gentle vibrato).”

It’s a balancing act—part musical, part speech, part something else entirely. And getting it right means stepping into their world, feeling how they communicate with those plucking palps and resonating strands. I’ll walk my Alaskan Malamutes, murmuring phrases under my breath, tweaking the tone until I can hear the Moorad, until I believe in them. Only then can I make the listener believe too.

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Scott Azmus: Are there any tricks you use to differentiate voices so they’re clearly distinguishable from one another during a performance? Especially for female characters, do you use specific tones or vocal registers to convey emotions more effectively in different characters?

Murdoch McRae: Ah, voices—now there’s a craft that never gets old. Differentiating characters, especially in a novel packed with personalities, is all about placement, resonance, and texture. You don’t want a dozen characters who all sound like slight variations of yourself—you want a CAST.

For female voices, I focus on three things:

 1. Vocal Placement & Mouth Shape

 • Higher, Brighter Tones: Shrinking the mouth, keeping the teeth close, and limiting jaw movement helps lift the resonance. It’s subtle but effective in creating a feminine, crisp delivery.

 • Floor-of-Mouth Release: Relaxing the back of the throat, whispering with projection, and keeping the tongue from tensing. This helps get that airy, natural feel. If I feel tension under the base of my tongue, I know I’m forcing it.

 • Practice Phrases: I warm up with words like moon, motion, minion to set the resonance. Then I play with pitch at the ends of sentences—women tend to let their voice rise slightly there.

 2. Resonance & Emotional Texture

 • Breathy & Soft for Intimacy: If the character is meant to sound warm or alluring, I add more air—huhhh… you were searching for that lipstick color, weren’t you?

 • Sharp & Crisp for Authority: If she’s direct or commanding, I tighten the resonance, let the consonants hit harder—Close that dressing room door.

 • Sly & Dominant for Power: That Quantum Savant AI? Low-frequency purr with weight behind it. A voice that hums through your chest, smooth and deliberate. Think of someone who always sounds like they know something you don’t.

 3. Character Personality & Inspiration

 • I audition voices everywhere—someone on the street, an actor, even a customer service rep with an unusual cadence. I’ll test their voice in my head, sometimes even mimic it on the spot (to my wife’s horror when I accidentally do it at people).

 • Sometimes, I find a character’s voice in the physicality. If I imagine them sipping tea with a smirk, their voice adjusts. If they’re an elderly professor, the resonance settles in the throat with a bit of buzz.

When I switch between characters, I let their placement lead me—one voice higher and breathier, another lower and clipped, another smooth with drawn-out vowels. Each one needs a signature so when I return to them fifty chapters later, I know exactly where they live in my voice.

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Scott Azmus: It’s time for some career advice and tips. How did you get started in audiobook narration, and what advice would you give someone just starting in the field? Are there any specific classes, workshops, or resources you would recommend for someone trying to improve their narration skills?

Murdoch McRae: Getting started in audiobook narration was a bit of a journey for me. It all began with voice work in various fields, but when I saw the demand for audiobooks rising, I dove into that space. I was lucky enough to work with some great mentors, and over time, I found my niche in sci-fi and speculative fiction, where the voices can get really creative. My best advice for someone starting in the field would be to first build a strong foundation in the basics of voice acting. Classes and resources really helped me hone my skills, and I can’t recommend these enough:

 1. Paul Jenkins’ Audiobook Production and Narration Course on Udemy – it’s a comprehensive resource for getting your feet wet in the world of audiobook narration. Paul Jenkins’ Course

 2. Peter Baker’s Voice Acting Masterclass – this one is a great fit for those looking to develop their voice acting skills, especially for audiobooks. Peter Baker’s Course

There are also some amazing YouTube channels for voice-over and narration tips:

 • Booth Junkie – his series on using Reaper for voiceover is top-notch.

 • Bill DeWees – he offers practical advice from a pro in the field.

 • Voiceover Masterclass – a goldmine of informative videos.

 • Faulks Digital – helpful insights into starting voiceover work on Fiverr.

 • REAPER Mania – tutorials on using REAPER for recording and editing, covering a lot of the details Booth Junkie misses.

 • Fiverr Talks with Joel Young – tons of info about breaking into voice acting, especially on Fiverr.

Software-wise, I rely heavily on REAPER and Audacity—both are powerful tools for recording and editing audiobooks. REAPER is especially great for complex projects, and Audacity is a great free tool to get started with.

And finally, practice, practice, practice. Narration is as much about connecting with the text as it is about the technical skills. Keep pushing your boundaries, find your unique voice, and, most importantly, enjoy the process!

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Scott Azmus: What skills are essential for someone wanting to break into audiobook narration, aside from just a good voice?

Murdoch McRae: Breaking into audiobook narration isn’t just about having a good voice—there are a number of essential skills that will make or break your success. First and foremost, versatility is key. You need to be able to switch between different character voices, tones, and emotions with ease. That requires an understanding of acting—it’s all about storytelling. You must immerse yourself in the character and narrative, and know how to use your voice to bring that to life, whether it’s through a soft whisper or a dramatic outburst.

Breath control and vocal stamina are also crucial. Audiobook narration can involve hours of recording, so you need to have the physical ability to sustain your voice. Knowing how to take care of your vocal cords and maintain clear diction is a big part of that.

You also need to be highly technical. Mastering recording equipment, editing software, and acoustics are just as important as the performance itself. You can be the best storyteller in the world, but if your sound quality isn’t top-notch, it won’t matter. Being comfortable with software like REAPER or Audacity is essential for editing your work.

Lastly, patience and persistence are vital. The audiobook industry is competitive, and it can take time to find your rhythm and build a reputation. But, if you keep honing your craft, expanding your vocal range, and learning the business side of things, you’ll eventually carve out your place in the industry.

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Scott Azmus: What is your process when preparing for a new audiobook project? How do you approach a script before you begin recording? Do you have any tips for staying organized with multiple projects and deadlines?

Murdoch McRae: When preparing for a new audiobook project, I always start by reading through the entire script before I begin recording. I want to understand the story, the characters, and the tone—basically, the heart of the narrative. I take note of key details, especially if there are different accents, dialects, or vocal qualities required for certain characters. If it’s a character-driven story, I’ll often make a list of distinct vocal choices for each character, whether that means a shift in pitch, a certain type of breathiness, or even subtle differences in cadence to bring their personalities to life.

After that, I do a vocal warm-up to get my voice ready for hours of speaking—things like humming, tongue twisters, or even running through some of my resonance exercises. That helps loosen my vocal cords and ensures I’m able to maintain clear diction and breath control throughout the session.

When it comes to organization, I break down the script into manageable chunks. I usually divide it by chapters or sections, sometimes even scene-by-scene, depending on the length of the book. Each session is dedicated to a specific section or chapter. That way, I’m not overwhelmed by the length of the entire project. And I keep detailed notes on each character’s voice, the emotional tone of scenes, or any particular nuances I need to keep consistent as I move forward.

For keeping everything organized with multiple projects, I swear by a simple but effective system. I use a project management tool, usually just a basic calendar or task list, to track deadlines and progress. I make sure to schedule breaks and recording sessions, as well as edit time. If I have multiple projects going at once, I’ll set up separate folders for each, keeping scripts, notes, and audio files neatly sorted. If I’m juggling different voices or characters, I might even mark a few notes on vocal techniques or specific pronunciations I want to keep consistent for each one.

Lastly, I stay flexible. Sometimes, a character’s voice or tone needs to evolve as I go deeper into the story, and being able to adapt is essential. It’s important to not get too locked into your first impression of a voice—you have to let it breathe and develop naturally with the flow of the narrative.

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Scott Azmus: Where are the best platforms or places to find audiobook narration gigs? How can someone build a professional reputation in audiobook narration and stand out among other narrators?

Murdoch McRae: When it comes to finding audiobook narration gigs, there are several platforms that cater to both new and seasoned narrators. Some of the best ones I recommend are:

 1. ACX (Audiobook Creation Exchange) ACX – This is probably the most well-known platform for audiobook narrators. You can find a wide range of projects, from self-published authors to larger publishers. ACX allows you to audition for jobs and negotiate your rates, which is a great way to get your foot in the door.

 2. Voices.com – While more general for voice-over work, Voices.com is a fantastic platform where you can find audiobook narration gigs along with other voice-over opportunities. It’s also an excellent platform for networking and getting hired by a wide range of clients.

 3. Voice123 – Similar to Voices.com,  Voice123 is a marketplace for voice talent, and you can easily find audiobook narration gigs here. The platform allows you to create a profile, upload demos, and apply to various projects.

 4. Fiverr – If you’re looking to start building a reputation, Fiverr can be a great place to offer your services. Many narrators start on Fiverr by offering affordable pricing in exchange for positive reviews and experience. Once you’ve built a portfolio, you can gradually raise your rates.

 5. Upwork – For freelance work, Upwork can help you find audiobook gigs and build relationships with clients. It takes a little longer to establish yourself here, but once you do, you can get some high-quality, consistent work.

To build a professional reputation in audiobook narration and stand out from other narrators, I recommend:

 1. Create an Impressive Demo Reel – Your demo reel is your calling card. Keep it short (1-2 minutes) and highlight your range, tone, and ability to differentiate characters. Make sure it includes examples of your best work—whether it’s fiction, non-fiction, or a mix of both. Having a professional-quality demo is key to getting noticed.

 2. Consistency – Whether you’re working with small independent authors or large publishers, consistency is crucial. Always deliver high-quality work, meet deadlines, and maintain good communication. Word of mouth can be your best marketing tool.

 3. Specialize or Niche Down – As you gain experience, think about specializing in certain genres or styles. If you have a strong voice for fantasy or sci-fi, or if you have a knack for a specific type of accent, market yourself in that niche. It helps you stand out in a crowded market.

 4. Get Reviews – The best way to build credibility and show future clients you’re reliable is by asking for reviews. After completing a project, don’t be afraid to ask clients for feedback or reviews, especially if you’ve gone above and beyond. Positive reviews go a long way in building trust and making future clients more likely to hire you.

 5. Network – Make connections with authors, producers, and other narrators. Attend workshops, participate in voice-over forums, and network through social media platforms like LinkedIn and Twitter. The audiobook industry is very much about relationships, so making connections can lead to future opportunities.

 6. Continue Learning and Growing – The audiobook industry is always evolving, so you should keep honing your craft. Keep improving your acting skills, your vocal range, and your understanding of the technical aspects of narration. Keep an eye out for relevant workshops and courses—even experienced narrators can benefit from continuous learning.

By showing professionalism, staying consistent, and building a strong online presence, you can gradually build your reputation and become known as someone who delivers quality work.

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Scott Azmus: We’re almost out of time. What types of books or genres do you enjoy narrating the most, and why? What’s the most rewarding part of narrating an audiobook? Do you have a favorite audiobook that you’ve narrated? If so, why does it stand out to you?

Murdoch McRae: I’ve always had a particular fondness for science fiction. There’s something about exploring the unknown and giving voice to futuristic worlds that really excites me. But beyond the genre, I love narrating books that engage and support young U.S. Navy personnel as they prepare for their missions across time. There’s a certain responsibility and honor in voicing stories that might just inspire someone to go out and face the future head-on.

As for the most rewarding part of narrating, it’s the chance to truly connect with listeners, to bring characters to life in a way that feels genuine. Whether it’s a nuanced moment of emotional growth or a high-energy action scene, the reward comes in knowing that the listener is right there with you, experiencing the story in real time.

One of my favorite audiobooks I’ve worked on is Fire and Forget: Time Wing Book. It was an absolute joy to narrate, especially because of the intricate storytelling and the raw emotions that come through in the story. It really stuck with me, as did Holding on for Life. These projects were particularly meaningful to me because of how they connected with people, and I was honored to give voice to those stories.

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Scott Azmus: Alright, Murdoch, before we wrap up, I have to ask: If you could narrate an audiobook for any fictional character—whether it’s a talking animal, a time-traveling wizard, or an alien from another galaxy—who would it be, and why?

Murdoch McRae: Oh, what a fun question! If I could narrate for any fictional character, I’d probably have to choose something like a time-traveling rogue AI—think along the lines of HAL 9000 but with a twist. A bit like a cosmic hitchhiker who’s seen it all and has a dark sense of humor. It would be a blast to give that voice layers of mystery, intelligence, and just a touch of menace, all while playing around with time-jumping dialogue. Plus, I’d love to add some quirky sound effects or distortions to make it really stand out. It’s that blend of sci-fi and personality that always draws me in. But if I had to choose an animal, maybe a wise-cracking sea otter, just to let loose with a fun, energetic character. They’d have tons of personality, and the humor would be endless!

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Scott Azmus: Thank you so much for joining us today, Murdoch! It’s been fantastic hearing about your journey, techniques, and the stories behind the voices. For anyone looking to follow in your footsteps, you’ve certainly given them some invaluable advice. We can’t wait to hear what you narrate next! Best of luck with all your upcoming projects.