Jim Dale: A Fly on the Wall
On Narrating the Harry Potter Audio Books

This interview is yet another example of why I absolutely love my job. While writing an article on audiobooks for The Childrenās Writer, I had the wonderful opportunity to interview Jim Dale, the narrator of all the Harry Potter books. At the time of this interview, Jim was in the process of recording book six, Harry Potter and the Half Blood Prince. When we first started talking, he warned that he was not allowed to reveal anything he was currently doing (I could respect that). But he did have much to say on the fine art of narrating audiobooks. Jim was extremely fun to talk to, insightful, witty, and at time hilarious, as when describing his first mistake made when recording book one, and when we had to pause while he retrieved his dogās bone from under the couch. I consider this to be one of the high points of my career, especially because, with our interview complete, Jim said hello to all four of my children in characterāas Dumbledore, Dobby, Professor McGonagal, and Hagrid. Thank you, Jim, once again!Ā
Kim: How were you first selected to narrate the Harry Potter books? Did you audition? Was the job presented to you?
Jim: I had been doing a play Off Broadway called Travels with My Aunt. Maggie Smith played the aunt. Only 4 men in it, and only three of them had speaking parts, between the three of us we created 33 characters. When the producers were looking for somebody to do Harry Potter, Ā they remembered Jim Dale was in that play, so he must be able to do lots of voices. And they hired me. It was only after they signed the contract they found that Jim Dale only played two characters, the other guys played the other 31. I sort of got it from false pretenses.
Kim: As an actor did you ever envision yourself as an audiobook narrator?
Jim: No, it came to me later in life. Iāve been a professional now for over 50 years, I started when I was very young. I was a very young, professional, stand-up comedian in England at age 17. I studied every other branch on the showbiz tree, taken many journeys on various branches that Iāve enjoyed, or not enjoyed, and this one came my way late in life and suddenly Iām thoroughly enjoying it. Ā I couldnāt be more surprised at how successful it is. Thank God they chose me for Harry Potter.
Kim: How do you prepare for your taping sessions?
Jim: Usually thereās a couple of months before the book is released, and during that time the audiobook has to be created. Not only created and edited, many things have to be done to the audiobook before itās done. Ā Weāve only got two months to do the whole thing, design the packaging, do all the promotions for it, and distribute it so itās actually on sale the same day the book comes out, because if it isnāt then the children, as Iāve heard, wonāt be able to control themselves, and theyāll say to hell with you weāre not buying the book! So weāll lose a lot of sales. So all of this is a fast, fast process.
Usually I get the book about two months in advance. But last time I got book five on Friday, and I was in the recording studio on Monday. Itās impossible to read the entire book beforehand, it would take three weeks. So what I do is read 100 pages. As Iām reading Iāll jot down in a little notebook all the characters, and as I go through the book Iāll invent the voices of the characters. I use my own tape recorder and as I read Iāll say, āPage one, fourth line down, Dumbledore. Take one for Dumbledore.ā And Iāll speak the first line that Dumbledore speaks. Then Iāll read a little more and thereās another character, say Ron. Ā Iāll say on the tape, āSecond voice, Ron Weasley.ā And then Iāll read the first line that Ron speaks. So then Iāll take that tape with me into the studio, and as Iām recording, we keep stopping when we come to a new character and I play the tape. Voice number 27, voice number 133, whatever it is, and then I hear the voice I created the night before, speaking the very same line that Iām about to speak, and then it reminds me of that characterās voice.
Later I got a program that I asked them to devise for me which consists of the an alphabetical list of all the characters, over 200 of them, from all the Harry Potter books. When thereās a character say in book five, and I couldnāt remember the character voice, then I would click on the name on the computer screen, and I would hear through the speakers the voice I had used before in book three or book two or book one. I would then record that voice again in my small tape recorder the voice I just heard from the computer.
Kim: So as youāre in the taping process, you can just say pause and theyāll stop recording.
Jim: In the old days I used to sort of sit and think up two or three voices for a character and choose the best one for it. However, now with the time being so precious to us, I really donāt have the time for that luxury. I really have to just go with my own instinct based on the description written by the author. The way the author describes who the character is, how theyāre dressed, what they look like. All these things have to be considered before I even open my mouth. Then I have to put myself in the head of that character and see the world and the story through that characterās eyes, whether it be a hero or a villain. I have to be that villain. I have to love being that villain. I have to love being everybody that I do, because people love themselves, of course they do. Ā Thatās how I go through it. Instinctively, I just go for the voice that I think will be a little unique and a little different, especially when it comes to people like snakes and spiders. Itās also very difficult to do the ordinary voices, like the Weasley brothers, because when you listen to boys talk they all sound very similar. You have to differentiate by making one a little slower, making one a bit faster, one a bit more excited. Thatās how you put a little bit of difference between them.
Kim: Thatās very interesting because that shows how you take into consideration what the author has written.
Jim: You have to. Donāt forget, with the description that the author gives of how the character looks, with my description of what the character sounds like, the child in their own head can create a far more detailed person as to who is speaking in that book or in their headphones. Rather than just read about it on the page, suddenly theyāre hearing that character. Suddenly that character comes to life. So it gives them a whole different palate of coloring of that character in their mindās eye. Ā
Kim: How are mistakes handled in the recording session?
Jim: Especially with the Harry Potter books, there is a strict timeline. I donāt have time to read the whole book. Mistakes are naturally going to be there. Youāll inevitably fluff a line. And theyāll say okay letās stop and do it again. And if you question it, as I did on my first book, youāll get an answer from the floor manager like the one I got, which was, āJim, if youāre going to waste time wanting us to explain where you went wrong, then this book is going to take a year to record. Take it from us, you did something wrong, just do it again.ā I must just say thank you, your right, I wonāt even question what the hell it was, and Iāll just do it again. Itās really fast, Iāll just speak a sentence, and thatās how we correct them. Ā I might read something loudly like, āāI didnāt know you were coming here today,ā she said whispering,ā and Iām like oh shit, whispering! So I have to write whispering in at the beginning of the line and do it again.
Ā Weāre stopping and starting thousands of time over a hundred page book . Youāre stopping for things turning the page. You have to stop, otherwise youāre going to hear the page turning. You have to stop if you hear sounds like my tummy rumbling because I didnāt eat enough breakfast, which happens quite often. Ā Microphones pick up every little sound. It thereās a fly in the room you canāt possibly record. If you have a scratch on your body, thatās suddenly heard, uou canāt have that. And then of course you have to stop for tea time. And after that thereās pee time. So thereās constantly starting, stopping, starting, stopping. And with Harry Potter, as I finish one set of tapes, they go out to be edited, and later on as Iām recording, back comes a certain set of tapes and theyāll say make a correction on this. So I have to throw my mind back to that earlier session and what I was doing then to correct a problem that had been missed by the engineer or the producer. There are mistakes that I donāt notice, the engineer doesnāt notice, nor the producer, until down the line some kid in the back office says, āBy the way heās pronouncing this wrong.ā And everyoneāll say āJesus none of us noticed!ā So thereās a constant re-recording even days after you finish the whole book.
Kim: Do you think listening might curtail a childās interest in reading?Jim: No not at all. A child could listen to an audiotape and enjoy it a year or more Ā earlier than when they actually learn to read. Ā Kids could also have the book in front of them and follow along as they listen. Ā This is a great aid. They begin to associate that sound with that word. I think an audiobook can only help. It encourages children to read more on their own. It gives children the opportunity to get more out of the book than what theyāre reading. They get to hear what the character sounds like, and that can add tremendously to the excitement of the story. They hear Ā characters as theyāre screaming at each other, fighting, or whispering. Itās very intimate, as if you were a fly on the wall. When you are an audiobook listener, you are a fly on the wall.
Harry Potter and the Sorcererās Stone

Grammy Award ~ "Best Children's Audio Book" ~ Odyssey Award
Harry Potter and the Goblet of Fire

The Benjamin Franklin Award Ā ~ "Best Children's Audio Book" ~ Audiofile Earphone AwardĀ
Harry Potter and the Prisoner of Azkaban"
Versions of this interview were first published in The Childrenās Writer Bulletin and Focus on Your Child parenting newsletters, on the joy of listening to audiobooks.Ā