Coach's Corner with Robin Miles (#1)

The only thing better than having Robin Miles read you a story is having her tell you some from her life and legendary audiobook career.

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Episode Transcript

Speaker 1 (00:01):
Let me tell you a story.
See, this is what I love,though, robin.
This is the gold.
This is like what it is to getin the booth.

Speaker 2 (00:14):
Well, you know, I do think that we're talking about
left-brain, right-brain kind offunctions.

Speaker 1 (00:20):
And to finally be like oh, I think there's a
common thread here.

Speaker 2 (00:25):
Oh my God, how long it has taken me to get to that.

Speaker 1 (00:28):
Do you think that we should keep going with that, or
should we maybe like go aheadand start working any of that?

Speaker 2 (00:34):
Yeah, let's go back a little bit on it.
Okay, we'll always forget thedifference between tempo and
pace.

Speaker 1 (00:40):
I'm experiencing it right now.
Yeah, yeah, Hi welcome to theno.
Bad Narrator.
I'm here with Hillary Huber.
Austin Gray, Erin Ruth Walker.
Nancy Peterson at the absolutelyamazing home of wonderful
author Dakota LeCoy, uh-huh.

(01:02):
And we're here in the mountainsof South Carolina this week on
a lake, we got together for awriter's retreat to learn to
write these wonderful words thatwe speak.
So we've been hanging out andit's just been an absolutely
stunning week that I can't waitto tell you a little bit more
about.
I am your host, emily.
By the way, and for those ofyou that don't know me, I am a

(01:25):
lover of all things audio book.
I am an award-winning audiobook producer, director,
narrator, pretty much everything.
You name it, I've done it, andI created the no Bad Narrator as
a vehicle.
The pun is absolutely intendedto connect people from all walks
of life around their love ofaudio books and to give everyone
the inside scoop on the peopleand places and practices that

(01:47):
make the magic happen in thisamazing industry.
I want to start out today byjust sharing a couple of the
reviews that we've gotten sincethe show launched.
The first one here.
I listened to both Emily'sinterview with Daniela
Achtatelli and the first no MadNarrator episode, and if you
don't know who Daniela is, she'sthe host of a wonderful YouTube
show called the Narrators Cupof Joe, so be sure to look that
up.

(02:07):
He says I really enjoyed theintimate conversation with Sarah
that was our last guest aboutnarrating.
It's a level of conversation Ihaven't heard anywhere else.
I am really excited to hearthis.
I specifically chose this formatof spending an entire day with
someone and editing all of thataudio down into a one hour story
because I was hoping that wouldallow this opportunity for a

(02:31):
conversation to evolveorganically.
That would be, you know, reallydeep and interesting.
I feel like human beings are socomplex and fascinating and
interesting.
We just have so many differentthings.
There are so many differentthings that can happen in life,
like if you go downtown inKansas City to try to find
something during the NFL Draft.
If you're not sure what that'sabout, go listen to the last

(02:52):
episode.
But I was really hopeful thatdoing this kind of format would
offer exactly that.
So it's really exciting to hearthat feedback.
Here's another one.
What a ride.
One episode in, and I can'twait for future episodes.
If you are a narrator orinterested in audiobooks, this
is a fantastic show.
Excited for the no MadNarrators journey.
Thank you for that.

(03:13):
I can't wait to continue onthis ride with all of you.
I love hearing your feedback.
If you're listening to the showand enjoying it, I hope that
you will please go to Apple orSpotify and toss up five stars,
if you're so inclined, and leaveus some words.
It would be absolutelywonderful to hear from you All.
Right Now let me tell you just alittle more about what we have
coming up.
I would like to take a minuteto introduce my guest for

(03:37):
today's episode, which is alittle bit different than the
first one that we heard.
This episode is called aCoaches Corner and we will have
a coach on these Coaches Cornerepisodes that talk a little bit
about their career in audiobooks, their style of coaching, how
you can get in touch with them,and then also there is actually
a live coaching where I'm goingto be the guinea pig, which

(03:58):
ended up being a lot scarierthan I thought it would be, I
will admit, but our first coachwho is on today, robin Miles,
was just.
She's just the best.
She's an absolute gem to workwith, one of my favorite people.
So let me introduce Robin.
Where do I even begin?
Let's see.
Robin and I have known eachother for a while.

(04:21):
I was lucky enough to meet herback when I worked at CDM Sound
Studios and the thing aboutRobin and the reason I wanted to
have her on as my first evercoaching guest is because she is
actually the reason that I gotinto audiobooks commercially.
Now I've been making audiobookssince I was in high school, but
that was on a volunteer basisand that was with recording for

(04:42):
the Blind and Dyslexic is whereI started.
They since evolved intoLearning Ally, but that's the
same organization, so they werea volunteer based organization.
When I was with them they had abranch in Louisville and then I
started doing my service hoursthere for high school and then
when I went to college at NYU, Iwas up in the city.
They had a branch there too,and I just continued to
volunteer with them, et cetera.
So after college I started asthe studio manager at CDM Sound

(05:07):
Studios and so I was like alittle bit versed in what it was
to record an audiobook, but Ihad not been a narrator on a
commercial basis, like for apublisher or for sale at that
point.
And while I was working there Iwas getting ready to leave and
like go back into acting and Iwas telling the owner, charles,

(05:28):
about it, my boss, and he waslike well, you know, robin has
these classes, and I can'treally remember if he mentioned
something to her or if she saidsomething to me or like.
I don't remember exactly how ithappened, but one way or the
other she ended up knowing thatI was interested in this and she
invited me to just sit in onthe class.
And she was like you know we'rehere, why don't you just stay

(05:50):
after work?
You can sit in, I'll pick somepieces for you.
You don't need to pay anything,it's fine, just participate in
this class.
And so I did, and those piecesthat she picked for me ended up
being my first demo.
And then there's, like thiswhole other story about how that
demo ended up getting me myfirst job which is funny, but
I'll tell that another time.
But it wouldn't have had thosepieces and I really wouldn't

(06:12):
have taken this leap of faith ofgoing into audiobook narration
as a profession, you know,without that opportunity that
she had made available.
So Robin's just a really specialperson to me and she's also a
really special person toeveryone.
Quite frankly, she's one of themost generous coaches in the

(06:33):
business.
She went to the Yale School ofDrama for her master's degree
and she is just this absoluterich wealth of information, and
she just gives that away sofreely.
So if you're looking for acoach that just knows their
stuff completely inside and outand upside down, she is
phenomenal, and she really lovesteaching too.

(06:54):
She's a university professor,she coaches, she does workshops
and teaches classes she prettymuch does it all.
And then, in addition to this,she herself is just an
incredibly accomplished narrator.
She is an audiophile magazineGolden Voice.
She has won multiple audioawards, she is one of only 20
people inducted into the AudibleNarrator Hall of Fame, and her

(07:16):
work has been featuredabsolutely everywhere, and I
suppose that one of the onlythings that's better than having
Robin read you a story ishaving her tell you some from
her incredible life andlegendary career.
So, without any further ado, Ipresent to you all my friend,
the incomparable Robin Miles.

Speaker 2 (07:37):
Okay, that's all good , no, no, no, no.
Oh, hold on, I just knockedover my thermostat and it would
be nice if I remembered to bringin my mouse.

Speaker 1 (07:50):
Steve.
This is what I love, though.
Robin.
This is the gold.
This is like what it is to getin the booth.
Doesn't it just work this way?
You get in, you get situated,You've got your water, You've
got your headphones, and thenyou realize the AC is still on.
You go up, you turn that off,you get back in, you've got
everything right.
Then you realize you don't haveyour mouse plugged in.
It usually takes like a bufferof about 10 minutes before you

(08:14):
think you're going to getstarted.

Speaker 2 (08:16):
Oh God you are so on the money.
Yeah, I tell you, I don't knowwhat I would do without a
production manager.
I don't know how I did what Idid for as long as I did without
a production manager or anassistant or some type of help.
You know, I should have learnedthe lesson earlier, because I

(08:40):
remember going out to California, going to a backyard party that
Scott Brick had, and he was inthe house and just showing off
his studio area and he had thiswhiteboard and all the projects
were there and importantinformation was written on the
whiteboard outside and I wentthat's a damn good idea, I think

(09:00):
I need to do that.
But then I realized, as he wastalking about it, that he has an
assistant and he has her do allof that ancillary stuff around
his creative stuff and I waslike no wonder.

Speaker 1 (09:13):
I'm drowning.
I don't know about you, Robin,but like I have several
conditions that involveexecutive dysfunction, the front
of my brain is not happy withme.
When I spend a lot of energytrying to organize things or do
minutiae or detail work.
I get really detail orientedand I'm like actually really

(09:37):
good at organizing things, butit takes so much brain space and
then there's nothing left overfor the stuff I actually want to
do.

Speaker 2 (09:44):
Well, you know, I do think that we're talking about
left brain, right brain kind offunctions, because if I'm going
to be producing I have to use myleft brain.
Yeah, it's like turning thewheel on an old, rusty car, and
I can do it.
Once I'm firmly in left brainmode, I'm fine Getting there and

(10:10):
then getting back again to thecreative, although I do find
it's easier to go from left toright than creative right to
analytical left.

Speaker 1 (10:19):
Yeah.

Speaker 2 (10:20):
And that and the organizing stuff.
And it was funny because I wokeup today and I was like I have
one thing to do today Meet withEmily.

Speaker 1 (10:28):
Yeah.

Speaker 2 (10:29):
And I woke up this morning and they didn't.
They were not able to fix thetub in the toilet.
Yesterday, in fact, when hecleaned out the tub, he made it
worse, because now the stuffthat's coming from underneath
doesn't have to get through aclog.
So, between, like, all thethings that are just sort of
swirling around, I'm gettingbetter at having a shorthand.
Shorthand.
This is what's going wrong inthe bathroom.

(10:52):
Okay, he was here.
It didn't work.
This is what I think ishappening.
Here's a movie of it bubblingup.
This is clearly a priority.
When do you want to schedule it?
Just ping, ping, ping ping.

Speaker 1 (11:01):
It's amazing you say this.
I've gotten so much better atthis too, and it's like changed
my life, because I used to sitand just like stare at an email
before I was ready to send it.

Speaker 2 (11:10):
Yeah, that's what I've been having today.
It's just, I don't know,streamlining.
Why did I have to wait till Iwas this age to be able to do
this though?

Speaker 1 (11:19):
I don't know, Robin, but I'm glad you're letting
everyone else know now.

Speaker 2 (11:24):
You know we could do this if more of us women had
female entrepreneurial mentors,because I never had that.
I gleaned what I could from mymom and my dad mother working
for a nonprofit, dad working fordefinitely a profit company.
You know just your basic.
I learned a lot over dinnerswhen we would talk at night, but

(11:47):
honestly it's just taken me, Ithink, way too long to get here.

Speaker 1 (11:53):
I tell you what, though you are super generous
with what you've learned,because, when I think of the
examples of people that I've hadin this career field, I feel
like you do a really good job ofbeing the person that you wish
you had.

Speaker 2 (12:10):
Yeah, that is it I wish I had.
So I want to make sure that Iprovide that, because I don't
want anybody to go as long as Idid without and I knew there
were people that I wanted to bemy mentor.
It just didn't quite work out.
You know just places that Iwould have thought the flow
would have been easier.

Speaker 1 (12:31):
I think there's that thing that happens sometimes of
like there's only room for oneof each kind of person at the
table or something you know.
Like there's only room for onewoman, there's only room for one
racial minority, there's onlyroom for one disabled person,
and so, instead of it feelinglike hey, we're here for each
other and helping each other out, and arising tide lifts all

(12:53):
boats, it's like competing forthat one spot.
I don't feel like that'shappening as much anymore.

Speaker 2 (12:58):
No, I don't feel like it's as much either.

Speaker 1 (13:01):
Do you feel like it used to?
Is that maybe like part of?
Oh yeah, it felt like.

Speaker 2 (13:05):
I need all of you marginalized people to tick off
some boxes that make me lookreally good.
I felt tokenized, if I can makethat into a word.
Yeah, I was there to makesomebody else look good.
You know like I made thischoice to include this person.
Look what a great person I am.
Look how you know how devoted Iam to diversity but then not

(13:29):
interested in what I had to sayor brought to the table.
Yeah, and sometimes you get theother thing too.
Where you're in this situation,where you're in a male
dominated space and you havesomething to say or add or
contribute, that's extremelyvaluable and the guys hear it
and they get a little unnervedby the fact that it was a woman

(13:50):
that provided that and that wasreally smart.
It's threatening Like why?

Speaker 1 (13:54):
Have you ever had this experience, robin, of being
like like you notice that thathappens multiple times over
several years and it took youlike?
Maybe I'm just talking aboutmyself here, but I've told you a
little bit about my backgroundthat I grew up in a school that
was designed for women and thenI went to an all girls high
school and I mean I just feellike I came from a very

(14:15):
matriarchal kind of backgroundand it legitimately took me a
long time out in the real worldto stop being like oh, this is
an isolated experience that Idon't like, and to finally be
like oh, I think there's acommon thread here.

Speaker 2 (14:30):
Oh my God, how long it has taken me to get to that
point.
Some of the parts of it areliterally racial, some of them
are gender.
I just my husband sometimesjokes that I'm very Pollyanna,
and he's right, because I grewup in the suburbs and like a
ridiculously like suburbanneighborhood.

(14:52):
I was one of very few blackpeople so I think my presence
wasn't threatening because thereweren't enough people like me
to be threatening.
And then when I got out in theworld and I had two uncles who
were cops, it wasn't until Imoved to New York and I almost
got arrested for not doingsomething.

(15:14):
I was basically like putting mytoken before Metro cards in the
turnstile and this girl wenttraipsing through the door, the
exit door, and the woman in thebooth went pay your fare.
And there I was, standing there.
I had just gone through theturnstile to undercover cops
come up and I said what's up?
And he said you, you hopped theturnstile and I went no,

(15:39):
actually I just paid for thesetwo tokens.
You can ask the woman in thebooth and the guy went I don't
need to talk to nobody.
I saw you, what am I doing?
I was like no, you didn't.
I went to the turn through theturnstile.
I was on one side.
Boyfriend follows, puts hismoney away, comes to the
turnstile.
I won't let him through till hegives me a kiss.
He does, I let him through andI was like just ask her.

(16:03):
There was another girl and Idon't want to be the one going.
She looks like this Go get heryou know, I don't want to be
that person.
But, um, oh, my God, I thought Iwould lose my mind.
I was so angry and my boyfriendis used to being like from a
black neighborhood where youdon't ever talk back to cops
because you can end up dead, andI don't know that experience.
So I'm like you're not going toask.

(16:25):
Why aren't you going to ask?
All you need to do is ask andyou'll find out.
He's taking the handcuffs outand he's about to cuff me and
the other cop.
There's a black cop with theguy.
He's listening and looking atmy body language and he goes all
right, all right, all right,Just, I want you two to go, just
go, and the other cops go nuts.
What are you going to let himoff?
You let them go.
What's the problem?
Go.
He tells us to walk through andthen, as they turn around, I go

(16:48):
.
I just want an apology when youfind out you're wrong.
I love you.
Robin, Polly, Anna, all caps.

Speaker 1 (16:55):
How did your boyfriend react to that he?

Speaker 2 (16:57):
was like what the fuck are you doing?
You don't understand this isdangerous and I, I don't.
I've never had that experience.
It's complicated, but, um,there's a learning curve that's
involved.
Well, let me ask a question.
All right, read, read, yeah,okay.
Um so, first thing, whichpieces did you like best?

Speaker 1 (17:18):
All right, so I have not read them yet.
I want to have it be an actualcold read.
So I'm going to read it outloud, very monotone, just so
that there's a general sense,before we start, of what this is
.
And I'm going to do that forboth of them.
So you want me to do that rightnow.

Speaker 2 (17:35):
There are two that are first person.
Storm Crow character is about17 and she's like the Empress's
daughter, and the prologueestablishes the normalcy of what
this place is and it drops youright into the action.
I mean, it's that's the openinghook is completely tied to the

(17:56):
action In speakeasy.
It's really scene setting,trying to figure out the place
and the feel and what is thismythical thing that you're in?
And then there's the style, andI wanted to talk about that a
little bit too, but I won't sayanything till after you've read
it.

Speaker 1 (18:13):
All right.
So here's this is fromspeakeasy by Catherine M Valenti
.
Valenti, part one Panther Sweat, check in.
There's this ragamuffin cityout east you follow, sitting
pretty with a river on each arm,lit up in her gladdest rags in
1624.
She'll tell you she's seen itall, boy howdy, the deep down in
the high up champagne andsyphilis, pearls and puke.
Oh, she's a cynical doll.
Nothing new to her, don't youbelieve it?

(18:35):
Treat her right and she'll openup to you as innocent as Eden
and twice as naked.
She's got secrets.
Sure, who doesn't, who doesn't?
Pour me a snort and I'll spill.
Mister, spot me a meal and I'llshow you the goods.
This is awesome.

Speaker 2 (18:47):
Isn't it?
Yeah, she just this is such astrong character writing.
Yeah, Because it's first personshe tells the story of what
happens in the Artemisia thehotel, but she's as strong a
character as everybody she talksabout.
Yeah.

Speaker 1 (19:01):
Yeah, okay, if you go looking for it, just about
halfway uptown and halfwaydowntown, there's this hotel
stuck like a pin all the way,like a pin all the way through
the world.
I don't, I don't know what thatmeans.
I'm going to need to look atthat.
Up on the roof of the Artemisia.
It's Artemisia.
Up on the roof of the Artemisia, it's heaven in a handbag.
Oh my God, robin.
Green grass and golden chickenslaying golden eggs under the

(19:23):
telephonic graph.
Telephonic graph wires Yep.
Telephonic graph wires Okay,500, if there's one.
They got Chinese Ducks the colorof nose powder, 12 she goats
descended straight down from thegirl who gave her tit to a
titan.
A couple of Jersey cows givingmilk as sweet as maple syrup.
Bees like gold buttons closingup the clouds.
Sheep just bursting out fleecethat spins better than silk Ever

(19:44):
got drunk on a tomato Hopped upon cucumbers.
Well then, you never ate out ofthe garden.
On top of the Artemisia and Iswear, up there in the sky, they
got a little black bear as tameas a kitten.
I hear telly goes by.
Rutherford Learned himself togrowl.
I love you.
That's how you know it's heaven.
The goats don't eat the sugarpeas and the ducks don't fly off

(20:04):
, and even the fellow with theclaws knows about love.
Oh my God, that's good.

Speaker 2 (20:08):
Isn't that gorgeous?

Speaker 1 (20:09):
I'm going to have to look up something else by her,
because that's oh, that's sogood.

Speaker 2 (20:13):
That's so good.

Speaker 1 (20:15):
Okay, let's look at the other one.

Speaker 2 (20:21):
This is a young adult series three books where you
have a matriarchal society,everything's going wonderfully,
it's magical, they have thesecrows and then, as soon as the
book starts, she's deeply indepression because a
male-dominated kingdom nearbyhas basically attacked them

(20:43):
without warning and killed allof their crows.
Which was their magical ability, how they were able to hold on
to their sovereignty.

Speaker 1 (20:51):
Are these crows leaning close to the body of my
crows?
So are the crows big.

Speaker 2 (20:57):
Huge Okay, think Avatar.
That's the visual Gotcha.
All right, there's no.

Speaker 1 (21:03):
I'm gonna just read quickly through this whole thing
, because it's on two sides ofthe page, so I don't think it's
quite as long as it looks, allright.
Prologue I was a storm.
Adrenaline ripped through myveins like lightning as I leaned
close to the body of my crow,preparing to execute a dive.
How do you say that?
Ilya?
Yeah, yeah, yeah, yeah.
Ilya's warm, steady heat keptme grounded, even hundreds of
feet in the air.
Cold wind whipped tendrils ofhair free from my braid, nipping

(21:26):
at the skin around my gogglesand stealing my breath.
The thin, well-worn saddlebeneath me was nothing more than
a strip of leather to bindstirrups to the rain's trailing
from my hands to Ilya's beak.
Illusion of control this ridedepended on trust and mutual
respect.
Anything less and no amount ofleather would keep me seated on
Ilya's back.
Yes, estrel, estrel, yeah, okay.

(21:46):
Years of Estrel's instructionsraised through my mind.
And who is Estrel?

Speaker 2 (21:49):
That's like their estros mentor, teacher, mentor
and her mother's best friend.

Speaker 1 (21:54):
Okay.
So, auntie Estrel, um, years ofEstrel's instructions raised
through my mind Keep your bodylow and tighten a dive, give the
rain slack, keep your kneesback so you don't put pressure
on the crow's wing joints.
And just for the listeners toknow, that's in italics, mmm.
I knew it all, like my ownheartbeat.
I talked close to Ilya's bodyand we dove.
Water misted my skin as Ilya'sstorm crow magic Split apart a

(22:16):
cloud seconds before we shotthrough it and plummeted toward
the earth.
My heart screamed into mythroat pure, unadulterated joy,
erupting through me with everypassing moment.
This has so many good words.
I held my breath as we fell,counting the seconds we could
only gain so much speed beforeIlya's wings wouldn't be able to
handle the strain of opening.
15, 16, 17 those are italics.
We burst through layers ofclouds.

(22:36):
Eris, mm-hmm, eris spread outbelow us.
The city was a blur as we dovea sea of light and color, fast
approaching 20, I squeezed myknees and Ilya's wings snapped
open like the slice of a bladecatching an updraft to send us
sailing in a gentle arc.
Lightning buzzed at the tips ofIlya's wings as she let out a
piercing call.
I sucked in a lung full of coldair and let it out in a laugh,

(23:00):
thrill of the dive resoundingthrough me like a thunder clap.
I craved that feeling likestarved lungs, craved air,
letting it fill me until I feltimpossibly alive.
We circled wide and low,descending the rest of the way
until Ilya's shadow blanketedthe city streets.
Aris unfolded beneath us like acolorful map, dense with thick
green foliage and spotted withwildflowers.

(23:20):
People called up to us, wavingfrom crowded streets as revelers
, prepared for the festivalleading up to Nagnok, the city's
yearly hatch night.
In a few hours, every singlecrow from across the kingdom of
Rodeaer would put on a masterfuldisplay of Riding and magic and
the year's crows would behatched.
One of them would be minetonight.
I would choose my own crow andbecome a rider.

(23:40):
Okay, so that's interesting,because it seems like she is.
We dipped lower childrenchasing Ilya's shadow in the
hopes of catching a strayfeather to wish upon.
This was my favorite part offlying, even more than the
thrill of diving or the magic ofsoaring through endless skies.
I loved gliding peacefullyabove Aris, the wind brushing
along my skin as the city passedbelow, even on the back of a
stolen crow.
There we go.
Well, not quite stolen.

(24:02):
Ilya belonged to Astral, myteacher and mother's best friend
, and while Astral ahead, let meride Ilya alone before she
technically hadn't given mepermission tonight to tonight,
probably because I didn't ask.

Speaker 2 (24:12):
Haha, that's so good.
So you I mean you really get asense of what I love about this
is our Author just goes plopright in the middle of it.
Yeah, and also let you knowthat she's a bit of a rebel,
yeah.

Speaker 1 (24:29):
There's so much good in here because, okay, it like
it tells you all these littlethings like First of all, I just
love that.
It's like you dive in right inthe middle of the action and it
says things like it shows therelationship between the rider
and the crow.
With this, no amount of leatherwould keep me seated.
It depended on trust and mutualrespect.
It's an illusion of control.

(24:50):
And then the, the numbers initalics.
I love that.
I've had several books likethat, where it's this counting
outside of what's actuallyhappening and so you get like
the inside of the person's headversus what it is that it's
going on.
And then it says that she's arebel and she's tough, but she's

(25:10):
also just gentle and just likesthis peaceful Floating the best
and the children wishing on thefeather.

Speaker 2 (25:18):
Yes, and I love how very quickly the author
establishes one.
This is what's normal and thisis who this person is, and then
it's all taken from her.
I remember recording this andthat first sentence, prologue I
was a storm period.
There's no rest of theparagraph, yeah, and so I

(25:43):
Remember having to figure outvery quickly.
Who am I talking to?
Is this mid thought I was astorm, that's what was going on?
Or because the title is thestorm crow, but she's saying I
was a storm just like the crow?
Or was it a stormy, fast,swirly experience and you were

(26:07):
actually a part of it, not justobserving it, or in it?
It's like what is it that shewants to say to you, the
listener?
One of the ways that I thinkabout first-person pieces is
first-person stories.
Fiction tend to have a unifyingkind of an element like what's

(26:28):
the reason for being?
Like?
It's raison d'etre, or, in thiscase, a raison d'etre like
what's my reason for speaking?
I mean, I think it's a reasonfor speaking.
Is a say there a reason?
Raise, a raise, all deal like araison d'etre, a reason for
being, in French.
Well, if I take the word beingout and I put well, I need a
reason for speaking, like why doI need to talk for 10 hours to
tell you this story?
Why is it important to me andoff to tell you for 10 hours

(26:51):
what happened?
A raison d'er dir E is to speakor to say, oh okay, and so I
think of it as Is this aninsider story and so the only
way you're gonna know is if Ibring you into it.
Like the devil wears Prada, howwould you know what goes on
behind closed doors in thefashion industry, unless I take

(27:14):
you by the hand to bring you in?
Or is this a cautionary tale?
Something happened to me and Iwant to warn you.
If you're not careful, this iswhat could happen to you.
I have a purpose in my speakingfor 10 hours.
I need to warn you about this.
So there's the cautionary tale.
There's the Confessional tale,where you've done something and

(27:37):
you feel bad about it and youneed to kind of get it off your
chest, and that's what pulls youthrough 345 pages.

Speaker 1 (27:45):
Robin, I literally just had a moment, was like and
this stuff's really good, I needto be writing this down.
Why am I not writing this?
I totally forgot what we weredoing, so funny.
Okay, that is not a contextthat I have ever had.
You know, I've been doing thisa long time.
I've never thought about itthat way.
That's incredible to put it inthat context for every single

(28:08):
book that you come across.

Speaker 2 (28:10):
And I do believe in the beginning, especially in
something like a prologue, likethis it was so exciting you
weren't there.
But let me see if I can breakit down for you what it felt
like, that excitement ofbringing somebody who you really
want to know.

Speaker 1 (28:26):
Okay, so as we were reading this, I was like I want
to start with this one and itseems like we already have, so
let's keep going with it.

Speaker 2 (28:32):
No, I will.
I will make one observation.
It's not an observation,actually.
I'm just gonna share atechnique, please.
When I Crack open a book to read, I Really take my time, I Don't
rush and I read it out loud tomyself.
Really, I want to hear what therhythm of the, like the rhythm

(28:57):
pattern in the writing.
I just want to feel like, where, where does the language break
into chunks?
Where do I need a breath?
Where do I want to breath?
I just let it play through melike a player piano.
You feed the music in and youlet it hit the keys and the keys
are you and see what comes out.
And then afterward I might wantto change something more, like a

(29:20):
directorial Don't rush there,robin or wait, wait, wait, enjoy
that minute, you know.
But I I always read so slowlywhen I start because I'm trying
to give over my needs, my wants,over to whatever it is that my
author wrote.
Yeah, like the rhythm of how Iwould speak.

(29:42):
It is Not what I'm looking for.
I'm looking for the rhythm ofwhat's in the sentences and the
thoughts, speed and rhythmpatterns and breath, and I'm
trying to let go of my need todo my own thing.

Speaker 1 (29:56):
Okay, would you like me to try that?
I've never done that before andI have a game to try.
I just would like a littleguidance on if I'm doing what
you're Saying or not.
Can you let me know if I needto start over or slow down even
more?

Speaker 2 (30:11):
Honestly, this is your Exploration.
This is not about doing itright or doing it wrong.
It's letting the words impactyou and make choices for you,
because there's no other way toalmost no other way to do it.

Speaker 1 (30:24):
You know what that's kind of reminding me of?
You've ever gone through theKristen link ladder freeing
Shakespeare's voice book?
Yes, I have.
There is, I think, an exercisein there where you like write
out the monologue and you tearthe words up and then just throw
them on the floor, mm-hmm, andyou like pick each word up one
at a time and just let the word.

Speaker 2 (30:43):
Yeah, that's dropping in, that's dropping in and
letting the word just drop storm, storm.
You just kind of let it.

Speaker 1 (30:55):
Am I leaning more toward the dropping in feel of
doing this or am I leaning moretoward?
This is still a story that I'mtelling, but I'm letting the
words move me through it.

Speaker 2 (31:07):
That last way of describing it works for me.
Okay, when I do dropping in,it's very me, me, me, me
oriented.

Speaker 1 (31:14):
Yeah, very kind of self-indulgent, like, yes, very
indulgent, feeling the wordsyeah and it, there's a place for
that.

Speaker 2 (31:21):
But I don't usually have enough time to like do a
self-indulgent dropping in pass.
I'm just so used to doing it, Ido it constantly and do you do
this?

Speaker 1 (31:29):
you do this with the whole book.

Speaker 2 (31:31):
Well, not with the whole book, but I definitely do
it for, like the first 80 pagesof Average length book, which is
, like you know, 340, 380 pages,I'm very Meticulous about just
letting the tone of it infect me, letting the speed and the

(31:53):
rhythm of the thoughts Infect me, so that that leads me In what
I do, as opposed to makingchoices that are outside of the
text and imposing them on thetext.
Yeah, we're just stuff that'sin me, like I like doing it this
way.
That's what I do.
Well, this book isn't about me.

Speaker 1 (32:10):
So here's one more question before I start, and I
feel like I'm stalling, so Idon't want to keep stalling, but
I'm Anticipating, as I do this,that I'm going to have
discoveries.
Do you just let those live inyour body, or do you write those
down, or how do you usuallyNotate or try to remember those?

Speaker 2 (32:30):
I think I'm at a place now where I don't need to
write them down, I just need tofeel them and I just note it.
But I would say, for if thiswas someone who was newer to
audiobooks, I might want to bewriting down all that stuff in
my margin Gotcha, and sometimesif I have a lot of characters
and a lot of changes of sceneRight underneath, like chapter

(32:53):
16.
All right, the names of thepeople that are in the scene,
and I might just put a littlebit like you know, this is where
she tries to get him to marryher, so I go, oh right, okay,
remember what chapter that is.
It's important when you'renewer to write that stuff down.
They can tell you have aprocess that you can pull out of

(33:13):
your back pocket at any second.
Definitely take notes, and youknow that'll be different for
each person.

Speaker 1 (33:19):
I think All right, here I go, all right.
Prologue I was a storm.
Adrenaline ripped through myveins like lightning as I leaned
close to the body of my crow,preparing to execute a dive.

(33:40):
Ilya's warm, steady heat keptme grounded, even hundreds of
feet in the air.
Cold wind whipped tendrils ofhair free from my braid, nipping
at the skin around my gogglesand stealing my breath.
The thin, well-worn saddlebeneath me was nothing more than

(34:05):
a strip of leather to bindstirrups to the rains trailing
from my hands to Ilya's beak.
An illusion of control.
This ride depended on trust andmutual respect.
Anything less, no amount ofleather, would keep me seated on
Ilya's back.
Years of estrals instructionsraced through my mind keep your

(34:32):
body low and tight in a dive,give the rain slack, keep your
knees back so you don't putpressure on the crow's wing
joints.
I knew it all, like my ownheartbeat.
I tucked close to Ilya's bodyand we dove?
Do you think that we shouldkeep going with that?

(34:53):
Or should we maybe like goahead and start working?
Any of that?

Speaker 2 (34:57):
Yeah, let's go back a little bit on it, and one of
the things that I like to do isI trust actors.
I really do so.
Once we mention something Idon't necessarily want to work
it, work it, work it.
You know what I mean, but justto introduce the thought that
would change the choice.

Speaker 1 (35:17):
So, okay, go ahead.
I had some impressions of thatbecause I've never done that
before.
Okay, say it, let's start withthat then.
So for me, well, first of all,I found myself feeling very
impatient.
I really wanted to like shootthrough it, you know, but in
slowing down and just allowingthe words to be more present,

(35:38):
like before me, before I letthem come in and go out, there
were moments where I was like,oh, I felt my voice naturally go
up on that and that's not achoice I would have made, or and
I definitely felt like the pace, like the italicized part keep
your body, like that just feltdriving and different than the

(35:58):
rest of slowing it down, reallydid make me more conscious of
those things, and I don'tusually experience that before I
get into it.
So that was very interesting.
What would you have to say onthat?

Speaker 2 (36:12):
Well, two things.
First, you're exploring, andpart of exploring is slowing it
down so that you don't rushthrough it, so that you don't
miss little bits of the visionsthat you're seeing right or the
experience that you're actuallyhaving.
I always forget the differencebetween tempo and pace.
I always forget One is theactual speed with which you go

(36:35):
word to word to word to word toword, and the next one is the
speed at which you end asentence and then continue on to
the next.
This particular reading, youwent through the sentence at a
good clip but then had longpauses every time there was a
period.
Really, yeah.
So one of the things you can doto change that is to not take

(36:58):
such a pause every time you getto a period.
Keep the drive going.
I think that's what annoyed youwas that you wanted to keep
going but you had a like I'mgoing to wait.
Then you went on to the nextone, whereas you can let it
drive from the end of a periodinto the next thought.
But if you go word to word toword, adrenaline ripped through
my veins like lightning as Ileaned close to the body of my

(37:20):
crow.
You know, it's like word toword to word, to word to word.
Those are two things you canplay with in terms of how you
manage your speed.
If something is very wordy orthe images the compound images
have a lot that people need tosee, then I don't necessarily
want to rush through.
I can always slow it down andgive them a second to catch up

(37:43):
at a comma or a second to catchup at a period.
We're not always conscious ofthe fact that we have that power
to do that.
When you got down two lines, 19to 21, which were the italicized
parts there's a choice there.
There is of Estrell'sinstructions raced through my
mind.
Now it's italicized text, whichmeans verbalized thought, or a

(38:08):
reportage on what somebody elsehas already said, which means
you can either play herrecalling keep your body low and
tighten a dive, give the reinsslack, keep your knees back so
you don't put pressure on thecrow's wings.

Speaker 1 (38:21):
That's sort of what it felt like.

Speaker 2 (38:22):
Yeah, I'm going to go over the instructions I was
given, so you're reporting onthem.
Or in other instances it mightmake more sense to flip into the
voice Estrell's voice givingthe lesson.
But that's a choice Reportageor quote?
Yeah, it's a distinct choice,one or the other for sure.

Speaker 1 (38:44):
Yeah, it's really interesting to slow it down like
this, because it's thedifference between doing things
simply on instinct and makingconscious choices.
There are a lot of differentthings that I might do as I'm
narrating a book that I justdon't really think that much
about.
That's just the way.

(39:04):
Yeah, that's just like the waythat I've worked, or it's the
way that the character struck me, or and I've not taken the time
sometimes to sit down andconsciously make choices, I
would just sort of go oninstinct.
And it's an interestingjuxtaposition because, on the
one hand, with us being paid perfinished hour and sometimes

(39:25):
having a lot of research, orsometimes it really serves us to
be able to jump in on instinctand just get the thing done, oh,
absolutely.

Speaker 2 (39:34):
I would have to say instinct is first line of
defense.
It's the first approach.
Whatever your instinct is, gowith them.
But then again, a chapter likethis, that's a prologue, is
establishing the first footprint.
What is it that the authorintended?

Speaker 1 (39:51):
I mean realistically.
We want to take care with allof our projects, but there are
some that we have to knock outfaster than others, and that's
where instinct can really help.
But an approach like this isjust very.

Speaker 2 (40:05):
Well, I would never want to start with this approach
.
I'd never want to start withthe analytical.
I always want to start withinstinct, and then I'm always
looking for a way to do what Ido in the most organic way
possible.
I want to stay out of my leftbrain.
I don't need to go there.
So if I want to adjust how I'mdoing this or it's just to

(40:26):
explore how I'm doing it, whatI'll do is I'll change the
person that I'm talking to andwhat I want from them.
I just change that Like I wantyou to know me and so I'm going
to tell you all my personalreactions and things that have
happened to me.
So it's this massive sharingand it's very intimate and

(40:49):
private.
The excitement of it I was astorm.
I, you know, like just jumpinginto it, whatever that means for
you in terms of I want thisperson to know how amazing this
was.
I want to make them feel asexcited as I.
That's an action, yeah.

Speaker 1 (41:09):
You know, what I think is interesting about the
action is it's like who was it?
It was the difference betweenthe two actresses.
It was Sarah Bernhardt andEleanor Aduce, I think, oh,
eleanor.
Aduce yeah okay, so she was theone that brought about the kind
of naturalistic you know, likeyou feel it on the inside and
then it comes out, and SarahBernhardt was the big expressive

(41:31):
.

Speaker 2 (41:31):
Yeah, the big gesture , the grand gesture.

Speaker 1 (41:33):
Yes, and so those were kind of the two.
I always think of that in myhead as like the two, and I also
think of it as a little bitbetween like British and
American styles of like teachingacting.
Now I always feel like Britishactors are so well trained and
everything that they do is Iwould love the opportunity to
study there at some point.

(41:54):
But I feel like the difference,though, is that a lot of times,
in starting out, it seems likethey have kind of a focus on the
technique, and then it movesinto the emotional and then,
like on the American side, it'smore like all about the
emotional, and then maybe we'llthrow some technique on it, and
I don't know where this falls.

(42:16):
But people have so manydifferent ways that they will
potentially naturally expressany given emotion.
Like, if I feel angry, I mightexpress it completely
differently than the person nextto me.
I think what becomes sointeresting with the human voice
is that it might not even soundlike what you would expect

(42:37):
anger would sound like, butsomehow we know what it is
because we feel the energybehind it.

Speaker 2 (42:42):
Yeah, and that's usually attached to an action
that's being played on a target,target being the person you're
talking to.

Speaker 1 (42:51):
And it's like everybody acts differently but
we somehow get their meaninganyway.
It's what you're saying.
It's all based on action, butI'm also thinking of things in
terms of energy and like thelife force behind them.
I don't know if that makessense.

Speaker 2 (43:05):
Oh, I love that phrase, the energy and the life
force behind it.
I'm not sure if you had a roomfull of 40 actors, if you'd find
more than two people sayingexactly the same thing about how
they do what they do I workwith.
I went to one drama school andI teach at another drama school

(43:26):
and I've worked with actorswho've been to drama school and
who've learned by doing, byactually being on the stage.
I think those things, all beingequal, are about how well the
person internalizes thetechnique right, closes the hood
on the car and then just drivesthat sexy Ferrari down the
street, as opposed to sitting onthe curb with the hood up and

(43:48):
going.
Hey, everybody look out myengine.
Yeah, it's so smooth.
Everything is.
Nobody wants to see that,except another mechanic.

Speaker 1 (43:54):
Yeah, Nobody wants to see that.

Speaker 2 (43:57):
So I tend to go for the tone.
I take the text slowly so I canjust sort of let myself contact
the text without rushing, sothat I can feel where it's
driving me to.
It gives me as much informationas I can get from it,
intuitively, just intuitively.

(44:18):
And then I might say, wow, whatif I change who I'm talking to?
What if this were like atribunal I was in front of?

Speaker 1 (44:30):
Oh, wow, that would completely I'm thinking of the
last line would be like mutteredunder her breath instead of yes
, probably because.
I didn't ask.

Speaker 2 (44:38):
Yeah, you know that could work too.
Yeah, it actually could youknow, but a lot of it will be
well.
What's the context of thisprologue that I'm reading?
Does that make sense?
Does it pull you through theentire thing?

Speaker 1 (44:52):
I don't like pointless originality, it's just
you know I'm going to be socreative.
I've never heard that phrase,but I know exactly what you're
saying.

Speaker 2 (45:02):
Pointless originality , P-O so.

Speaker 1 (45:07):
Okay, I want to try and move through this a little
bit more.
Yes, let's go back to the top.
Let's just keep going through.
Okay, this is nerve wracking,robin.
Oh, I recognize that I'm likeputting myself on display, doing
something that I'm not perfectat.
Normally, when you put thefinished audio book out there

(45:29):
for people to listen to,everyone has had a chance to
edit it and master it andquality control it and make sure
that everything you know.
So I just I want to speak tothat experience a little bit.
That this is actually.
I was not expecting this.
I thought this was just goingto be like oh, I jumped in the
booth and I've done this amillion times and it's just
going to be fun and it's Robinand we'll work together.

(45:50):
And for anyone that mightlisten to this who is nervous
about, like, being in front of aclass with coaching, or they're
unsure about how it's going tofeel to work with a coach and
they're hesitant because they'renervous, like I'm experiencing
it right now, yeah, yeah, allright, so I would like to go
ahead and start this again andI'm just going to keep going

(46:13):
until I hear something from you.
Okay, prologue I was a storm.
Adrenaline ripped through myveins like lightning as I leaned
close to the body of my crowpreparing to execute a dive.

(46:33):
Ilya's warm, steady heat keptme grounded, even hundreds of
feet in the air.
Wild wind whipped tendrils ofhair free from my braid, nipping
at the skin around my gogglesand stealing my breath.
The thin, well-worn saddlebeneath me was nothing more than
a strip of leather to bindstirrups to the reins trailing

(46:57):
from my hands to Ilya's beak.
An illusion of control.
This ride depended on trust andmutual respect.
Nothing less and no amount ofleather would keep me seated on
Ilya's back.
Years of estrals instructionsraced through my mind Keep your
body low and tight in a dive.
Give the rain slack.

(47:18):
Keep your knees back so youdon't put pressure on the crow's
wing joints.
I knew it all.
Like my own heartbeat, I tuckedclose to Ilya's body and we
dove.
Water misted my skin as Ilya'sstorm crow magic split apart a
cloud a second before we shotthrough it and plummeted toward

(47:38):
the earth, my heart screamedinto my throat pure,
unadulterated joy eruptingthrough me with every passing
moment.
I held my breath as we fell,counting the sinkings.
We could only gain so muchspeed before Ilya's wings
wouldn't be able to handle thestrain of opening 15, 16, 17.
We burst through layers ofclouds, air is spread out below

(48:02):
us.
The city was a blur as we dovea sea of light and color, fast
approaching 20,.
I squeezed my knees and Ilya'swings snapped open like the
slice of a blade catching anupdraft to send a sailing in a
gentle arc.
Lightning buzzed at the tips ofIlya's wings as she let out a
piercing call.

(48:23):
I sucked in a lung full of coldair and let it out in a laugh,
the thrill of the diveresounding through me like a
thunder clap.
I craved that feeling likestarved lungs, craved air,
letting it fill me until I feltimpossibly alive.
We circled wide and low,descending the rest of the way

(48:43):
until Ilya's shadow blanketedthe city streets.
Arras unfolded beneath us likea colorful map, dense with thick
green foliage and spotted withwildflowers.
People called up to us, wavingfrom crowded streets as revelers
, prepared for the festivalleading up to Neknok, the city's

(49:05):
yearly hatch night.
In a few hours, every singlecrow from across the kingdom of
Rodeir would put on a masterfuldisplay of writing and magic,
and the year's crows would behatched.
One of them would be mine.
Tonight, I would choose my owncrow and become a rider.

Speaker 2 (49:27):
Great, let's pause there.
That's like where I actuallywould have stopped it, because
it concludes that first openinghook.
This is the opening hook, youknow, and the way it hooks is
through the excitement and thesharing of the excitement.
Love what you're doing withyour breath and what's
interesting.

Speaker 1 (49:47):
That's really interesting to say because I was
gonna say my one experience ofthat that I like right off the
bat was as soon as you stoppedme, I was like I feel like I
need to breathe, I feel like I'mokay.

Speaker 2 (49:57):
But that's exactly.
See, this is the thing.
Breath is a huge expresser ofinternal emotion.
Whatever you're feeling changesinterrupts your breath, and you
can hear what's going on withsomebody inside by what's going
on with their breath, and so,with a lot of pieces, what I'll

(50:18):
do is I'll tell people, when youget to the period at the end of
a sentence, just let go andjust release your muscles and
let the air fall back in, asopposed to pulling the air in,
what we do is we get to the endof a thought, we get to a period
and we go period, and then whatyou end up with is a pattern

(50:38):
generator of.
And after a while that can bepretty annoying if you're a
listener.

Speaker 1 (50:44):
Yeah, and an editor who's like man Exactly.

Speaker 2 (50:48):
However, this particular part, her breath, is
doing what the excitement isexpressing, what the excitement
is doing to her.
Okay, so, no, I wouldn't changeyour breath here.
Okay, great, great, becauseyou're literally like that's
actually part of your experience.

Speaker 1 (51:04):
So I wouldn't mess with it.
You know, I felt there was amoment okay, so like if I was
narrating this, you know, justworking on this book, there was
a moment where I felt like okay,here's where I dropped into it
and I can keep going from here.
It was like I think it was atwater, missed in my skin.
Before that I actually wouldprobably go back and like redo
the front part of it, because Iwas a storm.

(51:25):
A journal like I just wasn't.
I don't know if it's just thatit was the beginning and I need
to drop into it more or what,but yeah, I think that's it.

Speaker 2 (51:34):
And I would say to you, trust yourself, because I
can tell you I did the samething.
I did this three times until Igot it where I wanted it and I
will say just wanna flagsomething nicely done Lines 40
to 41, when you finish thatparagraph, letting it fill me
until I felt impossibly alive.
We circled wide and low,descending the rest of the way

(51:56):
until Ilia's shadow blanketedthe city streets.
There's a slowing down and youimmediately responded to the
tempo change in your body, notin your left brain, and that's
what you wanna do is let itinform you.
And you did so brava, and youwanna be able to like.
That's that instinct you.

(52:17):
Also, if you're visualizingwhat you're doing, it's
different from where you justcame from, Driving down and then
blanketing back up, and nowfluff, fluff, fluff, fluff,
fluff.
Coming down and circling overis different and you let it in,
you let it in and then you letit out.

Speaker 1 (52:36):
Is there any part of this that right now, before we
move on to the next one, youwould have me do again?
Is there anything that you werelike?
Let's try this instead of that.

Speaker 2 (52:46):
Well, I mean, if we were actually doing a directed
session, I might have stoppedyou just to tell you hey, nice,
tempo change, let's do it onemore time, because now that I've
said the word oh, wow, tempochange.
And you acknowledge, oh, that'sright, that's what I did, I
don't need to tell you to doanything, you've just clocked it
in your mind.
When you do it again, it'll beeven just a hair more pronounced

(53:07):
.
I trust actors that way.
I don't wanna do it this way,because I'm the director and the
director knows what to do and Iwant you to change your pace.
I don't wanna do that.
I do not wanna be literallydictating, and that is one of
the big challenges I'm sureyou've encountered.
This is when you are a narratorand you are a director.

(53:29):
One of the things that happensis you go through a text and you
know how you would do it if itwere your gig Uh-huh.
But you cannot direct somebodyto be you.
You have to listen to theintegrity of their performance
and make sure that they createan arc where there are arcs, or
mind the transitions, but youcan't have them do it the way

(53:54):
you would do it.

Speaker 1 (53:56):
And you know what the fun part is about being the
director is that, yes, goinginto it with the mindset of how
I love being surprised by howsomeone else sees something that
I just was like like neverwould have done that myself,
never would have seen it.
I think that that's the mostexciting part about going to the
theater too Just having peopleexperience things in a different

(54:20):
way than you.
It comes across a different way.
It's something you might haveknown, that story you might have
chosen, that action you might,but it still is a revelation to
you, seeing it through theireyes or hearing it through their
voice.
I love that part.
Yeah, all right, let's move onto the Speak Easy.
Speak Easy.
This is so cool.
I don't know if I can fit allof this into just one thing, but

(54:42):
now I'm kind of thinking likemaybe Robin will be my first
three guests.
Maybe maybe I just recordedthree months.
We are actually going to endtoday's episode there and, as a
surprise bonus, we will have thesecond half of it released a
little later this week.
When Robin and I get together,we end up just talking a little

(55:03):
too long about stuff, so we hadthis conversation scheduled for
two hours.
That went on for four, but Idon't want you to miss out on
anything that she had to say, sowe'll have that whole extra
episode posted for you laterthis week.
In the meantime, here are acouple of takeaways that we had
from this episode.
One stars they're just like us.
Even Robin Miles forgets toplug in her mouse when she gets

(55:24):
into the booth.
You know, we all forget ourwater.
We have to go and turn thething off, or you know whatever
it might be, so don't feel toobad if that's something that you
struggle with too.
Number two get the help that youneed.
You might not be in a place inyour career where you're ready
to hire a production manager,but maybe you have a spouse or a
kid or a friend or someone elsein your life that can help you

(55:45):
with some of the areas that, ifthey got taken off your plate,
it would free you up to dobetter with the narration.
Three left brain, right brain.
Set yourself up for success.
Know what you're doing and when, and don't try to force
yourself to go back and forthtoo much.
Four mentorship matters.
Look for a mentor that can helpyou get where you need to go or

(56:06):
can help you with specificthings in your career that you
have questions with, or ifyou're at a point where you can
start offering these things toother people.
Be a mentor.
Give someone else that nextstep up.
Five tempo versus pace Iabsolutely loved this.
The speed with which your wordsare coming out or the speed
with which you are using thepunctuation both of these things

(56:27):
can help shape and craft astory in very unique and subtle
ways.
Six make conscious choices,whether it's about italics,
whether it's about who you are,who you're speaking to, what is
happening in the moment.
Be conscious with everythingthat you're putting out there.
Seven no one cares what's underthe hood of your Ferrari.
Technique is only meant to beon display during things like

(56:49):
coaching and practice.
Otherwise, you're just wantingthat to feed a seamless
performance that looks easy.
Eight pointless originality nothanks.
Nine trust your instincts.
And 10, nerves are totallynormal.
It has been an absolute pleasureto share this episode with you
and, if you liked it, I would soappreciate if you could follow

(57:11):
the show and maybe leave a kindreview or five stars on Apple or
Google.
This is what helps otheraudiobook lovers know that we
are a good listen.
Like I said, there'll be awhole second episode of Robin
available very soon.
But if you just can't wait andneed to coach with her now, you
can reach her at R-MilesR-M-I-L-E-S at Voxpertisecom

(57:37):
that's V-O-X-P-E-R-T-I-S-E dotcom.
Thank you so much for listeningand I'll see you on down the
road.