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Much study was given to the question of the speed of reading. After conversations with radio commentators it was decided that the speed of reading fiction should be between one hundred sixty and one hundred seventy words per minute, whereas with material requiring closer attention such as the Bible or scientific works, the reading should be possibly as slow as one hundred fifty words per minute.

Studies made with Talking Book readers showed that "listener fatigue" diminished as the quality of reproduction became more and more like that of the human voice. It was decided that while it might seem more economical to hire a staff of one or two readers, as is done in England, to read all books, this plan was rejected for several reasons. First, a studio would be crippled if the staff reader contracted a bad cold making his voice unusable for several days. Furthermore, it was found that a much more artistic result was obtained when the quality and character of voice was considered in connection with each book. Some voices are well adapted to reading scientific material requiring little inflection or interpretation, other books are much more interesting when read by a reader who puts some enthusiasm into his reading. While women readers' voices usually do not reproduce well, a story told by a woman in the first person seems much more appropriately read if done by a feminine voice. Jane Eyre is a good example of why books of this type should be read by a woman rather than by a man with a deep voice. The Diary of a Provincial Lady is a good illustration of the incongruous effect of the wrong book being read by a man.

The work of William Barbour in choosing specific readers for certain Talking Books over a period of several years added greatly to the pleasure derived by readers of these books. His casting of readers for specific works did much to set the tone for Talking Books in this country.

Talking Book studios for the most part draw on readers from radio personnel. While using nonprofessional volunteer readers might save a little money the disadvantages of using them outweigh any economy that might be so effected since the reader's fee constitutes less than ten per cent of the cost of making a record. Few voices record well; perhaps not five per cent of the applicants to the American Foundation for the Blind for reading assignments can pass the voice tests. Furthermore, most volunteer readers are not dependable about reporting for duty on time, and if a studio with expensive equipment and staff is kept waiting for a volunteer reader who must be handled with much tact, considerable money is lost.

Radio actors rather than announcers were selected for reading because announcers seldom have the talent for voice expression that good radio actors possess. It was found that many radio actors of high quality could be employed at very reasonable rates because they could work in the studio of the American Foundation for the Blind during hours that did not conflict with their radio engagements which usually come in the evening. AFRA (American Federation of Radio Actors) has been most considerate about permitting its members to read Talking Books for the blind. The actors, on their part, have felt that in this way they have been able to cooperate with the nonprofit Talking Book studios in making the government appropriation produce a maximum number of titles with the limited funds available.

In a very few instances authors have read their own books in entirety. Jan Struthers, author of Mrs. Miniver, very kindly read all of this book. However, few authors have the voice or a special talent for reading. Frequently, the Talking Book studios, especially that of the American Foundation for the Blind, have arranged with the authors to read the first chapter of their books or specially prepared introductions. It was felt that in this way the reader would come into more intimate contact with them. Eleanor Roosevelt (This I Remember), Thomas Mann (Buddenbrooks), and W. Somerset Maugham (Of Human Bondage), are among those who have read introductions or parts of their books.

One of the most popular well-known personalities who has done reading for the Talking Book was Alexander Woollcott. He was tremendously interested and very kindly volunteered to read, without charge, some of his works such as While Rome Burns, and other books of which he was particularly fond. He was temperamental, though, and the entire staff of the Talking Book department of the American Foundation for the Blind stood in fear of an explosion whenever he came to the studio to read. However, his artistry, even though it might result in nervousness among the members of the technical staff, resulted in some of the most fascinating reading for the blind.

Dialogue reading using two or more voices was never tried out as it was deemed unnecessary to so add to the expense of production. It was felt that after all a Talking Book is not a drama and few books are written to be read in this way. However, some fifty plays have been recorded with cast. They are extremely popular among library borrowers, but the expense of recording dramas with good actors has deterred the Library of Congress from having as many plays done in this way as the blind people would like. We hope that some time the various problems resulting from technical difficulties and the rules of the Actors Equity Association will be ironed out and more plays, especially prepared for broadcasting or suitable for recording, will be made available for libraries for the blind.