← Bookmarked by Reese's Book Club
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- [00:00]
Danielle Robaix
This is an I Heart Podcast.
- [00:04]
Julia Whelan
Today's episode is brought to you by Cotton we spend a lot of time with stories, hours curled up with dynamic plots and characters who feel like friends. What if the story isn't just in your hands but also in the world around you, in the fabric that's holding you close? Cotton is that timeless companion. Soft sheets for a lazy weekend morning with a book. Breezy dresses for afternoons spent reading in the backyard. It's the fabric that can be tossed in the wash without fuss. It's about ease, comfort and caring for yourself and the planet. Just like books we cherish, cotton weaves meaning into everyday moments. Next time you settle in for a chapter, slip into something cotton not just to read the story, but to feel it. Cotton the fabric of our lives. Learn more at thefabricofourlives.com.
- [00:51]
Ryan Seacrest
Lowe's knows when you're looking for reliability, the right brand makes all the difference. And now Lowe's is the exclusive home improvement retailer for the Whirlpool water treatment line, including their Wi Fi softener under sink filtration system and more. With Whirlpool's proven performance and our everyday low prices, better tasting, better quality water is within reach. Shop Pro Trusted brands like Whirlpool and more in store or online Lowe's we help you save. Hey, it's Ryan Seacrest for Albertsons and Safeway. Now through August 26th, it's back to Deals time where you can enjoy store wide deals and earn four times points. Look for in store tags to earn on eligible items from Kettle, Haagen, Dazs, M and Ms. Ritz, Chips Ahoy, Arrowhead, All Poppy, Charman and Red Bull. Then clip the offer in the app for automatic event long savings. Shop in store or online for easy drive up and go pickup or delivery subject to availability restrictions apply. Visit Albertsons or Safeway.com for more details.
- [01:49]
Reese Witherspoon
This message is sponsored by Greenlight. With school out, summer is the perfect time to teach our kids real world money skills they'll use forever. Greenlight is a debit card and the number one family and safety app used by millions of families helping kids learn how to save, invest and spend wisely. Parents can send their kids money and track their spending and saving while kids build money, confidence and skills in fun ways. Start your risk free Greenlight trial today@greenlight.com iheart that's greenlight.com iheart bookmarked by Reese's.
- [02:21]
Julia Whelan
Book Club is presented by Apple Books. Welcome to Bookmarked by Reese's Book Club. I'm Danielle Robaix, and this week, we're talking to the Adele of audiobooks. What does that mean? I could give you my opinion, but I think our guest, Julia Whelan, should be the one to share.
- [02:40]
Danielle Robaix
People have said to me is that my voice sounds trustworthy. So this story may go in places you're not expecting, but I know where we're going.
- [02:50]
Julia Whelan
You may recognize that voice. It's iconic because Julia has narrated over 700 audiobooks in her career. She's done all of Emily Henry's books, all of Taylor Jenkins Reid's books, Kristin Hannah titles, and even the audiobook that changed the literary game, Gone Girl by Gillian Flynn. From beach reads to psychological thrillers, she's delivered hit after hit straight to your earbuds. But Julia isn't just the voice behind the stories. She's also the author of one. And on August 1st, the film adaptation of her debut novel, My Oxford Year, officially dropped on Netflix. And later in the episode. If you've ever dreamed of becoming an author, stay tuned for an exclusive conversation with two powerhouse authors from the Reese's Book Club lit up program. So whether you're here for plot prose or just to bask in the vocal velvet of Julia Whelan.
- [03:51]
Danielle Robaix
Danielle. Sis, I got you.
- [03:54]
Julia Whelan
Oh, yeah.
- [03:55]
Danielle Robaix
Let's turn the page with Julia Whelan.
- [04:00]
Julia Whelan
Julia, hello. Welcome to the club.
- [04:02]
Danielle Robaix
Thank you so much. I'm so happy to be here.
- [04:04]
Julia Whelan
I'm freaking out hearing your voice in my headphones.
- [04:09]
Danielle Robaix
Live extemporaneously.
- [04:11]
Julia Whelan
Oh, man. I mean, now I understand hearing you one to one, why you're known as the Adele of audiobook narrators.
- [04:20]
Danielle Robaix
Apparently. Yes. Apparently.
- [04:22]
Julia Whelan
I'm not gonna start singing Rolling in the Deep unless you beg me to or even just ask nicely. But instead, I wanna ask you what your go to power ballad is.
- [04:31]
Danielle Robaix
Oh, you know, I recently rediscovered that Celine Dion's song, which I can't even remember now. But, you know, there were nights of endless pleasure, and I was like, we did not give this enough credit when it first came out. That music video is bonkers. And I just. I love it.
- [04:48]
Julia Whelan
But here's my question on that. Because people call you the Adele of narrators, and they don't say the Celine Dion. They don't say the Beyonce, they don't say the Whitney Houston. Why do they say Adele?
- [05:03]
Danielle Robaix
I think it's the New Yorker's never ending quest for alliterative quality. I really think that's what it came down to. I mean, I will take it, don't get me wrong, but The Adele of audiobooks just has a nice alliterative quality to it.
- [05:18]
Julia Whelan
I have a different opinion. Can I share?
- [05:20]
Danielle Robaix
Please? Okay.
- [05:22]
Julia Whelan
I think that Adele has this boundless, sort of universal appeal. She defies genre. She can do a ballad. She has pop hits. She could really sing the phone book. And that's you.
- [05:35]
Danielle Robaix
Oh, my gosh. Okay. That's such a better answer. I'm taking that now. I mean, I can't say it about myself, obviously, but thank you.
- [05:42]
Julia Whelan
But you'll allow me. I'm going to use the word boundless so many times in this interview.
- [05:46]
Danielle Robaix
Great.
- [05:47]
Julia Whelan
I. I remember hearing Oprah famously saying that she emulated Barbara Walters when she was coming up and trying to learn how to be a host or a journalist. And I've also heard singers say that they grew up mimicking Celine Dion or mimicking that, like Christina Aguilera guttural, like, growl that she has. When you have a voice as memorable as yours, was there anyone that you grew up or emulated early on?
- [06:15]
Danielle Robaix
Oh, that is such a good question. I don't think I did. I grew up as a child actor, so I've had theatrical vocal training since I was 9, and I've been very much in touch with my own voice for a very long time. And so I don't think I was emulating anyone specifically. I definitely learned from a lot of other great audiobook narrators as I was coming up and trying to figure out how to do the job. But, no, I just. I think I just kind of settled into what my narrator voice was pretty early and just kept going for a while.
- [06:47]
Julia Whelan
In feminist culture, there was this idea that women were supposed to find their voice, and now I think it's sort of turned into women harnessing their voice, using their voice. I'm interested in the fact that you said you found it or had it very early on. Did you recognize that, or do you recognize it in hindsight?
- [07:06]
Danielle Robaix
I think that being the overachieving type, a woman that I am and always have been, I'm also deeply riddled with the impulse to be a people pleaser, as I think a lot of us are. And so it took me a long time to come out of, again, that child actor mentality of just, I'll be whatever you need me to be. I can do anything. How can I help you? You know, to just saying, actually, this is what I want to do. This is who I am, and either it works for you or it doesn't. And trying to use my voice, all versions of my voice, to change the things That I want to change in the different industries that I'm a part of and to just own who I am. And that's a process, I think, for every woman, whether you're a public figure or not.
- [07:56]
Julia Whelan
It is. So I'm curious about the transition from child actor to. To narrator. I read that you've now narrated over 600 books.
- [08:05]
Danielle Robaix
Is actually 700 now. Yeah.
- [08:08]
Julia Whelan
Oh, my God.
- [08:09]
Danielle Robaix
Yeah.
- [08:10]
Julia Whelan
So what was the book that was the turning point in your career?
- [08:15]
Danielle Robaix
I would probably say Gone Girl. I mean, that was back in 2012, and I think that just happened to coincide with a lot of things that were going on. Like, audiobooks were just beginning to boom. You know, the number of people that tell me that was their first audiobook period. Not just of mine, but first audiobook is significant. And I think when you have that kind of cultural juggernaut meeting with this technology of being able to have an audiobook in your. In your pocket, it just. That was really the thing that I think. Let me believe. Oh, maybe I. This could actually be a career, not just a kind of haphazard pickup job that I do a couple of times a year, but I could actually do this.
- [08:55]
Julia Whelan
And when you say this is the thing, do you mean the success of it or the pay? Like, what do you mean?
- [09:02]
Danielle Robaix
That there was a. First of all, brought enough attention to me and to the fact that this is what I was doing now that I started getting more offers. And at the time especially, that was sort of the way the career worked. Like, you didn't set out to go do this. Everyone that I know fell backwards into it. You know, it was just an industry of. Of, can you read? Come join us. And that book was definitely a turning point where I was able to then have enough work coming in that I could sustain myself doing this. But even then, and at minimums, the way the audiobooks are paid, they're not paid very well. And so you have to do. If you're gonna do it full time, you've gotta do, like, 70 books a year to keep your head above water, which is why I have the number I have. And that's not even. There's a lot of narrators I know that are up to 1000, 1200, 1500. That's the kind of volume you need to do to make it a living.
- [10:01]
Julia Whelan
Wait, 70 books a year? So a book like Gone Girl, how many days are you in the studio?
- [10:06]
Danielle Robaix
Well, with that book, especially because it's dual narration, and I was doing half of it, I think my sections were 10 finished hours total. So that was. I think I spent two or three days in studio doing that book.
- [10:21]
Julia Whelan
But a book where you were the narrator for everything would be like a week.
- [10:25]
Danielle Robaix
Yeah, it very much depends on the length of the book, the complexity of the book. But yeah, I do now I limit myself to two finished hours a day in the booth just for my voice and my own mental health. It's hard to be in here for, you know, a very long time. So I will do a 10 hour book in a work week.
- [10:46]
Julia Whelan
I'm not great at math, but 70 books a year, there's not 70 weeks in a year. So you guys are really well.
- [10:51]
Danielle Robaix
Right. It depends on the size of the book. It depends on how much of the book I'm doing. And it also. That doesn't count the prep that goes into it. Right. So all of those books that you record have to also be read ahead of time and prepped. And so it's just a. It was a massive amount of work.
- [11:09]
Julia Whelan
Wait, I'm interested in the prep? What does that look like?
- [11:13]
Danielle Robaix
So when I get a manuscript, I do a prep read where I'm not only trying to get the tone of the piece and what the author's voice is, because that's a huge component of it, Whether it's first person or third person, whether it's thriller, whether it's romance, what's the tone, but I'm also keeping a word list of words that I need to know how to pronounce. And I'm also keeping a character list of any speaking characters and any vocal traits that the author is giving them. And then I'm kind of working out a constellation of who are the major characters that are mostly interacting in a book, so I can start figuring out how to differentiate their voices for the listener. Once I've done the prep read, I send the questions off to the producer, to the author. I have a conversation if we need to, so that by the time I get in the booth, I'm ready to just sit down, press record, and do the performance.
- [12:04]
Julia Whelan
So hearing you share what the prep is like, first of all, that's pretty rigorous and time consuming for each one. But I can't imagine that there are other narrators who don't have acting backgrounds that it sounds like there's so much acting that goes into that.
- [12:18]
Danielle Robaix
I think that's true. I think a lot of us obviously have an acting background, but I also know some who came in through the journalism door or they came in through an academic door where they just have a way with Words. And they're good storytellers and they have a sensitivity to authorial voice. But an acting background definitely helps. Which is not to say that all actors are good at this, because they're not. It's two different skills. The ability to memorize lines and create one character, and maybe if you're doing film or television, having multiple takes to work that out is very different from trying to get through 100 pages a day of playing all of the characters with really no memorization involved. Just reading the text as error free as possible so you can be as efficient as possible. It's a very different skill.
- [13:08]
Julia Whelan
So one of my favorite parts of this podcast is the Reese's Book Club listeners are embedded into the community. And so I get voice notes and DMs every single episode. About the guests that we have. And so many people had requested Julia Whelan. Oh, from. From episode one. And you really are the people's princess and.
- [13:35]
Danielle Robaix
Oh, that's a sad state of affairs.
- [13:37]
Julia Whelan
No, it's not. I was thinking about why, and it's because you inhabit so many different characters, but you make each one sound authentic and never forced. And I'm really wondering what the secret sauce is to sounding like the truest version of every voice you take on.
- [13:57]
Danielle Robaix
Whew. First of all, thank you so much. That's just really gratifying. Cause as you can tell, this is a very isolating job. I'm here recording on my own, and three months later, it hits people's audible accounts and there's really no feedback. So that's very sweet. You know, this is such a simplistic. It'll probably seem like a cop out answer, but without getting into a craft lecture about how to act, it really is just coming from an actor's mentality of finding the humanity in each character. Not judging them, just asking yourself the basic, basic acting questions of what does this character want? What is their motivation? What are they most scared of? And if you can start from that basis, you really. It's less about the voice that is kind of grafted onto that and more about just what is fueling that portrayal. That's what I need to know about the characters before I can do them justice.
- [14:55]
Julia Whelan
So you're asking yourself those three to four questions you shared, and then you mentioned that you will sometimes write the author and ask them questions. Do you find the questions you ask the authors similar or are they different for every book?
- [15:09]
Danielle Robaix
Yeah, I think it depends on the book. I mean, it also depends on the author when it's someone Like Emily Henry, for instance, I'll just text em and say, hey, who was in your head when you were writing this? You know, it's like, are we talking about a young Harrison Ford here? Is that what we're talking about? So, you know, it's just helpful to be able to have that shorthand with an author. But sometimes it is a larger conversation. I have this YA fantasy series that I've been doing for seven years. We actually just wrapped it up with book five. And in that situation, I worked very closely with the author to build out this fantasy world and what the different accents would sound like for these different races and ethnicities that she had created in this world. And trying to find those differences and then saying, hey, where are you going with this? You know, I don't want to paint myself into any corners. Like what's going to be happening in book 3, 4. Each project is very different.
- [16:04]
Julia Whelan
You mentioned Emily Henry. So many of the big female writers want you. Emily Henry is one of them, but also Taylor Jenkins, Reid, Kristin, Hannah, who? The Women was one of my favorite books last year. Why do you think that is?
- [16:23]
Danielle Robaix
Why? Yeah, I ask myself that every day. Part of it is absolutely the just actor sensibility of knowing that I am going to bring that lens to the performance. Like how am I doing right by the characters that they have toiled over creating. But I think also a lot of it, especially in the case. Well, actually in the three that you mentioned. And for those three women particularly, they know me as a writer and they trust me in that capacity as well. And I think that's another part of this. Why this job is just very suited to me is yes, there's the 30 years of acting experience, but there's also the overpriced English and creative writing degree and the fact that I live and breathe books and I am an editor and I have my own publishing company. And like, I just take writing very seriously and I understand maybe what their goal is, what they're trying to accomplish. And I really perceive my role as being the conduit and the translator for this very first adaptation that's ever gonna happen. You're never gonna get a truer adaptation of a book than the audiobook. And so for me, it's like, how do I translate the feeling of how I feel having read it and my writer sensibilities to the listener?
- [17:45]
Julia Whelan
Is there a Julia Whelan signature?
- [17:48]
Danielle Robaix
I don't know. I'm so bad at this. I'm so bad at like having any self awareness. I think something that has come up before that people have said to me, is that my. Sounds trustworthy.
- [18:00]
Julia Whelan
So, ooh, I like that.
- [18:01]
Danielle Robaix
Yeah. So I think there's a sense that, like, you're in good hands. This story may go in places you're not expecting, but I know where we're going, so just trust me and I'll take you through it.
- [18:15]
Julia Whelan
Julia before we take a break, I love asking our guests what they've bookmarked this week. It can be a weird fact, a fun quote, something that you've saved on Instagram, even something you've texted your best friend about. What have you bookmarked?
- [18:29]
Danielle Robaix
Andrea Gibson's poem Love Letter from the Afterlife. They were an incredible, incredible poet who wrote a lot about their own dying process. And I have been thinking about it a lot in relationship to my Oxford year recently because I think they just nail something so beautifully about what it means to let go of this life and step into the next one.
- [19:03]
Julia Whelan
May I ask you what they nail? Because I think so many beautiful writers have spoken about grief and when they passed away, that poem permeated the Internet. It hit people. What was it?
- [19:21]
Danielle Robaix
I think it's hope. I really do. Everything feels so incredibly dire right now. And that's why as we talk about this journey for my Oxford year over 14 years and how many different drafts and how many different versions. And I was actually talking to Alison, the original writer, about this the other day, and I said we could have never predicted that at this particular moment in time, when the culture is subsumed by war and tenuousness and feeling like things just aren't the way they should be, we feel this impulse to return to the poets. And it has just been really beautiful to watch people connect with this story. I'm just looking at the first line of their poem, My love, I was so wrong. Dying is the opposite of leaving. That just reframes the entire experience in such a helpful, hopeful way.
- [20:17]
Julia Whelan
Yes, it does.
- [20:18]
Danielle Robaix
That's what I'm really attaching to right now.
- [20:27]
Julia Whelan
Apple Books is the best way to read or listen to the books you love without a subscription right on your iPhone and a heads up for listeners. Apple Books is the official audiobook and ebook home for Reese's Book Club. So you can discover every exciting pick, plus author curated collections and more all in one place. Open the Apple Books app to explore a world of books and audiobooks. You can set and track your reading goals and get great recommendations for your next read or listen again. No subscription required. Visit Apple co Reese that's R E e S E Applebooks to find out more. Today's episode is brought to you by Cotton. We spend a lot of time with stories, hours curled up with dynamic plots and with characters who feel like friends. What if the story isn't just in your hands but also in the world around you, in the fabric that's holding you close? Cotton is that timeless companion. Soft sheets for lazy weekend mornings with a book. Breezy dresses for afternoons spent reading in the backyard. It's the fabric that can be tossed in the wash without fuss. It's about ease, comfort and caring for yourself and the planet. Just like the books we cherish, cotton weaves meaning into our everyday moments. Moments like following four adult daughters as they navigate love, loss and the legacy in the Most Fun We Ever had by Claire Lombardo, all while curled up in soft cotton joggers or sinking into the island of Missing Trees by Elif Shafak. A story that spans generations, forbidden love and a fig tree that remembers everything wrapped in a hand stitched quilt, each thread holding its own kind of memory. Next time you settle in for a chapter, slip into something cotton. Not just to read the story, but to feel it. The fabric of our lives. Learn more@thefabricofourlives.com there's nothing like sinking into luxury.
- [22:19]
Reese Witherspoon
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- [23:15]
Ryan Seacrest
Hey, it's Ryan Seacrest for Albertsons and Safeway. Now through August 26th it's back to deals time where you can enjoy storewide deals and earn four times points. Look for in store tags to earn on eligible items from Califia Farms, Pillsbury Crescent, Yoplait, General Mills, Prego Bertoli, Heinz and Kraft. Then clip the offer in the app for automatic event long savings. Shop in store or online for easy drive up and go. Pickup or delivery subject to availability restrictions apply. Visit Albertsons or Safeway.com for more details.
- [23:49]
Julia Whelan
So I know you said when you're reading, you're taking so many notes. What do audiobook narrators pay attention to that the average reader like me wouldn't? I'm a highlighter and I dog ear. I know people don't love that, but live your life.
- [24:06]
Danielle Robaix
Live your life. Thank you. I am taking note of any character information that is necessary. And this is not just vocal trait, but also biographical details. You know, if someone is growing up in Boston, but to an Italian family, that's gonna have a different energy than someone who's growing up in Boston. But to, you know, has their families been there since the Mayflower? Like, it's just there's a. I like to know anything the author is giving me. And then with the word lists, with the pronunciations, I don't take anything for granted. There have been character names, you know, T, A, R, A. And I want to know how the author wants. That said, I just will not make any assumptions at this point. I've been burned too many times.
- [24:54]
Julia Whelan
Right.
- [24:55]
Danielle Robaix
So those are things that I have to. When I do read something for fun, for pleasure, which doesn't unfortunately happen very often, but when I do, it always takes me about 50 pages to turn off my prep brain. Like, it's hard for me to even remember how to read without figuring out how to pronounce things as I go.
- [25:12]
Julia Whelan
Yeah. Has your process evolved over the years?
- [25:17]
Danielle Robaix
It has. I mean, God, when I first started, this is really like back in the Jurassic period when I first started this job. But we had, you know, it was. They would send me printouts, they would send me the printed out manuscript and I was prepping off of actual pages. So I would highlight characters before I realized that that actually just slows me down. Cause I'm translating like, who was blue again? At this point, it's just very streamlined. I do all my prep off the page.
- [25:43]
Julia Whelan
Do you eat any dairy?
- [25:45]
Danielle Robaix
Not on recording days.
- [25:48]
Julia Whelan
What do you eat the night before?
- [25:49]
Danielle Robaix
I can eat anything the night before. I won't drink the night before. Just anything that dehydrates is not good. Especially because I live in the desert. So I feel like I'm constantly fighting that battle.
- [25:59]
Julia Whelan
Right.
- [26:00]
Danielle Robaix
But dairy on the day is really the culprit.
- [26:03]
Julia Whelan
Yeah. Or do you do throat code? Or what's your drink in the booth.
- [26:06]
Danielle Robaix
Oh, I got throat code. I have a few different types of teas that I switch out, but mainly it's just usually this huge mason jar of water.
- [26:14]
Julia Whelan
You don't have an audio engineer?
- [26:16]
Danielle Robaix
No, I do it all myself. What? Yeah, yeah.
- [26:21]
Julia Whelan
You're a one man band.
- [26:23]
Danielle Robaix
I am. I mean, I send off the files once I've recorded them. So they get these raw but edited files and then they go in and listen, clean it up, and send me back any corrections that I have to make. And I do the corrections and I send those off to them and they layer them in and. Yeah.
- [26:42]
Julia Whelan
Wow. So now I understand what you mean. That there really is no feedback.
- [26:45]
Danielle Robaix
There's no feedback.
- [26:46]
Julia Whelan
No, it is you.
- [26:48]
Danielle Robaix
Yeah.
- [26:49]
Julia Whelan
Okay. Well, that brings me to my question about sex scenes. Because you record.
- [26:55]
Danielle Robaix
That's. That's a good segue to talking about being by yourself.
- [27:01]
Julia Whelan
Well, you record a fair amount of romance novels.
- [27:04]
Danielle Robaix
I do, I do.
- [27:05]
Julia Whelan
Is it more or less embarrassing acting those out when you're in the booth alone rather than having somebody there?
- [27:12]
Danielle Robaix
To me, sex scenes are just like in any other type of genre. You always have the climactic scenes. You know, whether it's in fantasy, it's like that's when the battle happens, or in a thriller, that's when the killer gets caught. So it's just, I'm looking at it always through that lens of like, what is the intention of this scene? This is where the first time we get to see these characters finally, you know, come together for lack of a better. Anyway, I don't get weird about it, or it's not embarrassing or it's not hard to do at this point. I've just been doing too many of them. But I have recently done a few duets where, you know, I am working with other people at the same time. And even that, even that's not really weird or sexy because there's just so many other things going on. You know, you're listening for any audio problems or you're. You're listening for. You're making mistakes, you're going back. You don't ever really, like, get into a flow. I don't know, it's the same. It's equivalent to doing something like that on camera where it's not sexy because you just have so many other considerations that you're worried about. You're not able to let go.
- [28:13]
Julia Whelan
Yeah. What have been some of your favorite twists to narrate?
- [28:18]
Danielle Robaix
Ooh. Well, that turn in Gone Girl is legendary.
- [28:22]
Julia Whelan
Do you know how many authors that I've Interviewed on this. On this podcast have cited Gone Girl.
- [28:28]
Danielle Robaix
I mean, it's very hard for me, as like a lover, the lover of history that I am, to say that nothing had ever been done before. Cause it absolutely had. But that feels like it had never been done before. And so it changed everything.
- [28:42]
Julia Whelan
Did you know it was special when you were recording it?
- [28:44]
Danielle Robaix
Yes. That's the one book I've ever been able to predict would be huge.
- [28:49]
Julia Whelan
Did you ever narrate books that you thought would be huge and kind of flop?
- [28:53]
Danielle Robaix
Yes, there have been many books that I've just thought were brilliant, and then I just couldn't understand why they didn't take off sometimes. I mean, I think Beach Read's a perfect example, too, where I actually blurbed that book for Em before I was narrating it. I just. As a writer, I was blurbing it for her, and I told her. I was like, I think this is gonna change everything for you. Like, I just had a very strong sense of, like, that was the book that we all needed at the time that it came out. It just felt perfectly suited to the moment that it was coming out in.
- [29:23]
Julia Whelan
Well, your baby, your project. My Oxford Year just dropped on Netflix.
- [29:28]
Danielle Robaix
Yeah.
- [29:28]
Julia Whelan
I'm halfway through it right now, and my mom and I.
- [29:32]
Danielle Robaix
That's not a good turning point. The halfway point is.
- [29:37]
Julia Whelan
So I haven't hit the moment.
- [29:40]
Danielle Robaix
Okay. Okay.
- [29:41]
Julia Whelan
But I will say a big congratulations is in order because everybody has been talking about the twist, which is the moment that you sort of alluded to what went into changing the end of the movie a bit rather than keeping it authentic to the book.
- [29:57]
Danielle Robaix
So to have this conversation, we have to actually go back in time to the origin story of this book, which is that it actually started as a screenplay by the wonderful screenwriter Alison Burnet. And in the Hollywood development process, I was actually hired as a writer, a screenwriter who had gone to Oxford to come in and work on some of the setting stuff in the screenplay to make it as authentically Oxford as possible. And in that process of rewrites, the producers and I got to know each other, and they got to know my opinions about the story. And we all just realized that there was, like, so much here that it was perfectly suited for a book. And so I went off and started writing the book and kind of reverse adapted the story and changed quite a bit along the way. But that's why the movie itself and the screenplay has always kind of been on a separate development trajectory. And then the book is the book and has been out for seven Years. And what's absolutely hilarious is in watching people's reaction to the ending in the original, original version of the screenplay. In Alicent's original version. See, this is just spoiler central. But the character, it ends very much the way that the movie ends, let me put it that way. But in every other draft of the screenplay up to and the one that I reverse adapted, and up to and including the shooting draft of the screenplay, it ends very much like the book ends. And so it was in the editing room which Cory and Sophia did a really wonderful interview with Maureen Lee Lanker from Entertainment Weekly about why they decided to change the ending. And so it's just. It's incredible that that decision kind of in post to change the ending actually brought it back to the way it originally ended in the very first version of the screenplay.
- [31:52]
Julia Whelan
I think that there's. And I guess I only know this from my own perspective, but the way I produce or would produce a podcast. So like something audible is different than how I would write something sometimes, and it's different than how I would produce it for television. And you've narrated so many audiobooks. I can imagine that there's a difference in writing for audio versus writing for the page. How much did narrating influence how you wrote this?
- [32:24]
Danielle Robaix
At that point in my career, it really didn't. I was writing it as a writer. That was my history with the project, both as a screenplay and in prose. I wrote it as a novel first and foremost. My second book, I had a little bit more consideration to the idea of it in audio, especially because it was about audiobook narrators. And my third book, Casanova llc was written specifically for audio. Like, I actually only did the ebook of that just because people were asking for it, but I never intended for it to be read. So it was done almost as like an eight hour play. That's the way I feel about that. And I enjoy both practices enormously. But I am first and foremost a writer. I am a novelist. That's how I think about it. I think mostly as a. As how it's going to be read, not how it's gonna be listened to.
- [33:24]
Julia Whelan
Well, you narrated your own audiobook of this. I am wondering if you ever considered having someone else do it.
- [33:29]
Danielle Robaix
I actually wanted to have someone else do it. There was. Yeah, there was a narrator named Katherine Kellgren who is. Was just perfect. She was an icon. She was incredible. And I wanted her to do it. And she unfortunately passed away. So I was sort of left with. I always feel like in certain ways. I felt like I was doing a bad Katherine Kellgren impersonation. Like I just wanted her voice on it.
- [33:55]
Julia Whelan
I'm so sorry.
- [33:57]
Danielle Robaix
Had she been around for this huge boom that has happened, I think more people would have discovered she was beloved. And she is still to this day. People listen to her, her audiobooks, and then are devastated when they find out she's no longer here. But God, I would have loved to have. She should have been here for this. To watch this industry finally get the attention it deserves. It's just deeply sad to me.
- [34:23]
Julia Whelan
Do you ever think about that in terms of your own legacy? Because I actually didn't think about it until you just shared that. But books are so eternal in ways that movies sometimes aren't because technology changes film. And so, you know, some like we don't want to watch black and white movies as much anymore. But audiobooks sustain.
- [34:46]
Danielle Robaix
That's such a good point. I notice from the inside of it, I notice there are certain differences. I notice that there have been changes in performance, the types of the way we perform audiobooks, the depth and breadth of the talent that now do it, and the different voices that exist in it. And it's just become such an incredibly rich storytelling medium that you're so right. Like people return to their comfort audiobooks. The way I will watch When Harry Met Sally like whenever it's on tv. That's just the rule. Like I have to stop and watch the whole thing. And there are people that feel that way about audiobooks.
- [35:23]
Julia Whelan
Why is it When Harry Met Sally.
- [35:25]
Danielle Robaix
Because it's the perfect movie.
- [35:27]
Julia Whelan
It is really perfect. Apple Books is the best way to read or listen to the books you love without a subscription right on your iPhone and a heads up for listeners. Apple Books is the official audiobook and ebook home for Reese's Book Club, so you can discover every exciting pick, plus author curated collections and more all in one place. Open the Apple Books app to explore a world of books and audiobooks. You can set and track your reading goals and get great recommendations for your next read or listen again. No subscription required. Visit Apple Co Reese. That's R E E S E Applebooks to find out more. Today's episode is brought to you by Cotton. We spend a lot of time with stories, hours curled up with dynamic plots and with characters who feel like friends. What if the story isn't just in your hands, but also in the world around you, in the fabric that's holding you close? Cotton is that Timeless companion soft sheets for lazy weekend mornings with a book breezy dresses for afternoons spent reading in the backyard. It's the fabric that can be tossed in the wash without fuss. It's about ease, comfort and caring for yourself and the planet. Just like the books we cherish, cotton weaves meaning into our everyday moments. Moments like following four adult daughters as they navigate love, loss and the legacy in the Most Fun We Ever had by Claire Lombardo, all while curled up in soft cotton joggers. Or sinking into the island of Missing Trees by Elif Shafak, a story that spans generations, forbidden love and a fig tree that remembers everything wrapped in a hand stitched quilt, each thread holding its own kind of memory. Next time you settle in for a chapter, slip into something cotton. Not just to read the story, but to feel it. Cotton the fabric of our lives. Learn more@thefabricofourlives.com there's nothing like sinking into luxury.
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Julia Whelan
Perfect.
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- [38:59]
Julia Whelan
So you've been actually very outspoken about the audiobook industry as a whole, especially the way narrators and voice actors are Compensated, Yes. I actually did not realize.
- [39:11]
Danielle Robaix
Most people don't. Most people don't.
- [39:13]
Julia Whelan
But hearing how you prep, I now understand why you've become an activist in this space. What have people like me and others not realized about what needs to change about this industry?
- [39:27]
Danielle Robaix
So the big elephant in the room is that narrators don't get royalties. And the rest of publishing functions on a royalty model. And also as does Hollywood as a union actor, like I said, who's been working since I was nine. I get residuals on Lifetime movies I did 20 years ago. But audiobooks, of which I have 700 out there in the world, I see nothing for. And this would be one thing if the upfront payment, if the buyouts were significant, but they're not. And the main thing that I keep going back to and why I will never shut up about this until it changes is because as you said, audiobooks are now a part of media at large. They've exploded so much. This is a multibillion dollar industry with double digit growth year over year. And I know as a traditionally published author myself, how hard it is for authors to have discoverability. How do people find your books, you know, in this oversaturated media market? And one of the answers to that, and a big part of it is your audiobook narrator who is narrating your book, because listeners follow narrators very often. And so to be in a position where I'm, I'm helping people find the books that is benefiting the author, it's benefiting the publisher, and it won't benefit me. Especially at a time when we are kind of under attack by synthetic voice and AI coming into the market. I can see the future in the future is you either have celebrities narrating audiobooks or robots narrating audiobooks. And yet all of the books I've recorded over the last 15 years are still out there. They're still being sold. People are still enjoying them because they're antiques at this point. It's like, oh, real human voice by real professional narrators. And I'm not getting anything for that. Yeah, that's a fundamental problem that I have. I decided I devoted the last few years of my life to trying to fix. And it's a worthy fight.
- [41:30]
Julia Whelan
Have you gotten anywhere?
- [41:32]
Danielle Robaix
I had to start my own audio publishing company. I couldn't get the audio publishers as they exist now, you know, the corporate structures to change this, you know, and I just realized that I just can't hear anymore, you know, well, it's just not done. That's not the way we do things. Well, we could. Systems are built by people. We can revise them. So I'm doing it now so that no one can say, well, no one else does that. That's not the way it's done. Well, I'm doing it. Wow.
- [42:02]
Julia Whelan
The name of Your company is AudioBrary.
- [42:04]
Danielle Robaix
Yes. Yeah.
- [42:05]
Julia Whelan
Which is very cute. I like that.
- [42:06]
Danielle Robaix
Thank you.
- [42:08]
Julia Whelan
If you can get into the weeds. I know it's hard. What makes it stand apart from the rest of the industry?
- [42:13]
Danielle Robaix
Yeah. So audiobrary is two things. We're an audio publisher, so we license audio rights from authors or presses with books, and we create audio versions and you can get them anywhere. We are also a direct to consumer retail channel. So when you buy directly through audiobrary, the author and the narrator who is getting a royalty benefits greatly because there's not a retail shop taking a large percentage off the top, which, by the way, in audio, it's so much larger than in any other digital product. I mean, we are talking Audible can take anywhere between 50 and 75% off the top of audio. So even what the author and the publishers are left with is so small. So we do a direct to consumer model as well. And when you buy directly through audiobrary, you can get bonus material. We always do interviews with the author, with the narrators. And we also have a rental model so you can rent art projects. And now we're starting to partner with. We're opening the platform up to other people who have existing audio who want to treat their narrators better and want to be on our shelves. We're just starting to open that up. But this has been. This has been a labor of love. I have no entrepreneurial spirit. I really want that to be clear. I am doing this out of righteous rage and I would love to just be narrating and writing, but I just can't. I could not let this go unfixed any longer. So that's what I'm doing. And we've been up and running for about a year and a half now, and we have, I don't know, 15 projects or something of our own. And then, not to mention the books that we are also adding to our shelves, but it's a curated collection and it's just, you know that if you come to audiobrary, it's going to be human written, human narrated.
- [43:59]
Julia Whelan
And.
- [44:00]
Danielle Robaix
And the money is going directly into the pockets of the people who actually created the stuff.
- [44:05]
Julia Whelan
It sounds like it would be really important for some big authors to do this through audiobrary.
- [44:12]
Danielle Robaix
Yes. I mean, part of the problem is that at this point in the way publishing works, if you sell to a traditional publisher, you will not be able to retain your audio rights. They won't carve them out anymore, they used to, but they know how valuable they are now, so they don't. So we deal with a lot of backlist and we deal with a lot of original audio projects and also people who just decide they're done with this system and they want to try something new. And I still work for traditional publishers and I have wonderful relationships with them. And I just, I love this industry so much that I want to try to find a way to make it sustainable for the future. Because I can't see a version where people are paid appropriately in what is coming down the pike.
- [45:05]
Julia Whelan
I mean, it sounds like, I know you're not a complainer, but it sounds like it's almost untenable to record 70 books a year.
- [45:13]
Danielle Robaix
This is the other thing is like, exactly to that point, as I watch, especially as I just turned 41 and even I can't do the volume I used to do and I look at the narrators who are now getting into their 60s and 70s, and it's like, you should not have to be doing this. Like you should be able to make passive income the way everyone else is off of the products that you helped create.
- [45:38]
Julia Whelan
You mentioned human a few times. How can you, an expert, tell the difference between an AI voice and a human voice?
- [45:48]
Danielle Robaix
I think it happens over duration. So some of these voices are actually very impressive and they've gotten a lot better, but they're good for like 30 seconds or 45 seconds. When you listening to an 11 hour audiobook, the repetitiveness and the kind of redundancy is where you can really tell. Now that said, I'm not willing to bet the farm that they're never gonna get there. I think they will. I personally think the technology is going to get so good that you won't be able to tell the difference. But the entire point of what I'm trying to do is, yeah, but what if you know the difference? Is that going to change the way you purchase? Where will you put your support? You want books to be able to be available and accessible to people. And if that means a synthetic voice narration for certain titles, I understand that as long as the people have been compensated and consented to having their voices cloned. But for most people, you want, if a human wrote the thing I want a human interpreting my words. I just do.
- [46:51]
Julia Whelan
Yeah, I'm Gonna switch the energy up a little bit because we do something called speed read. We're gonna put 60 seconds on the clock, and we're gonna see just how many rapid fire literary questions you can get through.
- [47:03]
E
Oh, Lord.
- [47:04]
Julia Whelan
Okay, okay. Three, two, one. I saw in your Instagram bio that you identify as the voice inside your head. Who is the voice inside of Julia Whelan's head?
- [47:15]
Danielle Robaix
It's an authorial voice, and it's George Eliot. And it was a line I actually wrote into my Oxford year saying she's. She's the voice of God in my head.
- [47:22]
Julia Whelan
What is one literary trope you would ban forever?
- [47:25]
Danielle Robaix
I really don't enjoy Enemies to lovers for the most part. When the banter is mean. Rivals to lovers I can do. Enemies to lovers I can't.
- [47:33]
Julia Whelan
Great distinction. What's one that you'll defend with your life?
- [47:36]
Danielle Robaix
Sex lessons or kissing lessons, Whatever you want to call it.
- [47:39]
Julia Whelan
I love that.
- [47:40]
Danielle Robaix
It's the best.
- [47:42]
Julia Whelan
What's a book that you'd wish you'd narrated?
- [47:44]
Danielle Robaix
Ooh, if Salinger's estate ever opens up his oeuvre, I want to do Franny and Zooey. They have to let me do that one.
- [47:52]
Julia Whelan
What's your favorite audiobook to recommend?
- [47:55]
Danielle Robaix
Daisy Jones and the Six, because I think it's a perfect gateway audiobook.
- [47:58]
Julia Whelan
Okay. One accent you'd love to never do again.
- [48:01]
Danielle Robaix
I really can't for the life of me do Australian, so I would like that to go away.
- [48:05]
Julia Whelan
What's a book that you wish you could hear again for the first time?
- [48:08]
Danielle Robaix
Beautiful Ruins by Jess Walter, narrated by Eduardo Ballerini.
- [48:13]
Julia Whelan
Which fictional character do you secretly think you're most like?
- [48:16]
Danielle Robaix
It's actually Jamie from my Oxford year.
- [48:19]
Julia Whelan
Do you ever peek at the last page first?
- [48:21]
Danielle Robaix
No. I'm not a psychopath.
- [48:24]
Julia Whelan
Would you narrate your memoir audiobook?
- [48:26]
Danielle Robaix
Oh, yeah. Yeah. If I ever. I'm never writing a memoir, but, yeah, I would have to narrate it.
- [48:31]
Julia Whelan
You have 10 minutes in a bookstore. Which section are you heading to first?
- [48:35]
Danielle Robaix
Oh, God. 19th century history.
- [48:37]
Julia Whelan
Whoa.
- [48:37]
Danielle Robaix
Julia, I'm so sorry. I'm so sorry.
- [48:40]
Julia Whelan
I had no idea you were a nerd.
- [48:43]
Danielle Robaix
I'm a 60 year old, dad. I'm so sorry.
- [48:46]
Julia Whelan
Why 19th century?
- [48:49]
Danielle Robaix
Because that's my period. That's just what I've always loved. The Victorians.
- [48:53]
Julia Whelan
I love that.
- [48:54]
Danielle Robaix
Yeah.
- [48:56]
Julia Whelan
Julia, you're such a dynamic person. Thank you for this.
- [48:59]
Danielle Robaix
I thought there was a question coming. I was like, mm, mm.
- [49:03]
Julia Whelan
No, I was just thinking, like, I understand why you're able to tap into so many characters because you are so tapped into yourself.
- [49:15]
Danielle Robaix
Oh, thank you. Oh, my gosh. Wow. What a compliment. Thank you. I really appreciate that. And this was delightful.
- [49:26]
Julia Whelan
Before we go, I want to introduce a new segment to the club. Now, as you know, I've been a fan of Reese's Book Club for years as a reader. But Reese's Book Club also fosters community among writers. Each year they provide five emerging writers with an all expenses paid writing retreat, a three month mentorship with a published author, and marketing support. It's called Lit Up. And for a few of these incredible writers, their novels have actually debuted as Reese's Book Club picks. How life changing. I had the opportunity to sit down with one of the lit up writers, Alison King, and her mentor, Adrienne Young. Now, Alison's novel, the Phoenix Pencil Company was the Reese's Book Club pick for June. And we had an exclusive conversation about storytelling, mentorship, and the power of the pen. And I just really want to talk about the magic between the two of you, not just in what you write, but in also how you created this story together. What's something unexpected or beautiful that happened during this process, Alison?
- [50:33]
E
Oh, because I haven't had any formal writing training, really, a lot of it has been by instinct. But then I felt like Adrian was able to articulate to me why things were working. So it wasn't just like, this doesn't feel like it's working, but also this is really working because of X, Y and Z. So I remember the specific thing was I think the book starts with a picture of two women, and then at the very end, it also ends with a picture of two women. And I remember Adrien telling me, like, oh, I really hope they take a picture together at this scene.
- [51:09]
F
That's a cool moment.
- [51:10]
E
Yeah, exactly. And I had done that by instinct, not really thinking about it or even questioning it really, but then being able to hear Adrian tell me why that worked, I feel like leveled up my writing in a way that I wasn't expecting at all.
- [51:25]
Julia Whelan
So part of the lit up fellowship is a writing retreat. I kind of imagine you guys somewhere under the Tuscan sun, snacking on parmesan crisps, drinking. Or in my alternate reality or romantasy, I imagine you in a cozy wood cabin sipping something warm, journaling in a linen robe with someone in the background roasting sweet potatoes. I really thought about this, but I also think I might have seen that in a movie one time. So I'm wondering what actually happens at a writer's retreat.
- [51:58]
Danielle Robaix
Honestly, I don't think it was too.
- [52:00]
E
Different from what you described. Like, it was quite fancy.
- [52:03]
Danielle Robaix
Wow.
- [52:04]
E
Well, we were in Nashville and we were in a fancy hotel, and I guess we were mostly in the hotel the whole time, where we had some conference room or two, and we had the really fancy room at the top as well, just to have meetings in the whole lit up cohort. So there were five of us, and then our mentors as well, and then also a team from. We need diverse books and madcap retreats who were running workshops for us. And we just had workshops or writing time in the morning. And then we would meet with our mentors to talk about what was going on. And we had lunch together. And I remember the lunches were really fun in a way of being able to hear all the mentors talk to each other about the writing business, publishing industry.
- [52:48]
F
It was a different kind of writing retreat because it was very, like, structured, and they were doing workshops and things, but then we were also meeting and having meals together. And what I really loved about it was that even among the mentors, it was all writers at different stages of their career and different levels of experience. And so it was like, a chance for me to also be talking and getting wisdom from writers who are, like, putting out, like, their 25th book or whatever.
- [53:22]
Julia Whelan
And I can imagine the way you're describing this retreat is like being around writers, whether it's the mentees or mentors, and you're all in this very specific position. It must have just felt really nice to feel seen and like you're in this group of people who understand you.
- [53:38]
F
Yeah, I mean, I felt like that. I think also, what would have been really cool for me if I had had that opportunity before I was published. Publishing is really hard, and it takes a lot of work to actually get a career going. But also the people who do it are just normal, regular people. And in that way, it's, like, very accessible. You know, I think that it's a matter of kind of, like, timing and a little luck, you know, in how long you can hang in there to try to break in.
- [54:09]
Julia Whelan
Why did you say yes to being a mentor in this space to begin with?
- [54:13]
F
Well, I very much believe in what the lit up program is trying to achieve. You know, they are achieving. And I am a big fan of Reese's Book Club because my book was picked for Reese's Book Club in the first year of the Pandemic, you know, when it could have just been totally buried, like so many good books were. And I really feel like having that Opportunity and exposure from Reese's Book Club was vital for that series. And when there is an opportunity to kind of give back and help somebody else traverse that part, a little bit is really valuable. But, yeah, I think it's just a very cool program, very cool initiative, and very needed and timely, I think.
- [55:04]
Julia Whelan
What is both of your best advice for anyone sitting at home staring at a blank Google Doc, wondering if they have a story worth telling?
- [55:12]
Danielle Robaix
Just that you do, I think, like.
- [55:15]
F
We all do, right. And the craft of writing is something that you really have to work on and learn over time. But having a story is something that everyone has, you know, and it's not necessarily even autobiographical, but just your perspective, your lens on the world. And anyone who has like the hunger to write fiction, especially you can do it. You can learn how to do it. And even how Allison was saying, like, she's doing so much from instinct. Right. And I think a lot of people have those instincts.
- [55:54]
Julia Whelan
Yeah. There's a mystery around books and publishing that I think you're alluding to, and I sometimes call it the audacity factor. I think you have to get over having the audacity, like, who am I to tell this story? Who am I to write this book? And if you can get over that hump, the story is there.
- [56:13]
E
Yeah. Yeah. I feel like that was a little bit what I was getting at with we're just made out of stories. If you tell yourself that your story of, oh, I am a writer and I'm going to write this, then it will happen. And I think it's mostly just about putting words on the page. And maybe if a Google Doc doesn't work, then handwrite it or get out a good pencil and start writing it. Important thing is that, like, those words aren't the final ones and it'll just keep changing.
- [56:38]
Julia Whelan
Allison, Adrian, thank you for all of the magic. This was great.
- [56:44]
F
Thank you so much for having us.
- [56:49]
Julia Whelan
And if you want a little bit more from us, come hang with us on socials. We're at Reese's Book Club on Instagram serving up books, vibes and behind the scenes magic. And I'm R O B A Y, come say hi and DM me. And if you want to go 90s on us, call us. Okay. Our phone line is open, so call now at 1501291-3379. That's 1-501-291-3379. Share your literary hot takes, book recommendations, questions about the monthly pick, or let us know what you think about the episode you just heard. And who knows, you might just hear yourself in our next episode. So don't be shy, give us a ring. And of course, make sure to follow Bookmarked by Reese's Book Club on the iHeartRadio app, Apple Podcast, or wherever you get your shows. Until then, see you in the next chapter. Bookmarked is a production of hello Sunshine and iheart Podcast. It's executive produced by Reese Witherspoon and me, Danielle Robaix. Production is by Acast Creative Studios. Our producers are Maddie Foley, Brittany Martinez, Sarah Schlied and Darby Masters. Our production assistant is Avery Loftus. Jenny Kaplan and Emily Rutter are the executive producers for Acast Creative Studios. Maureen Polo and Reese Witherspoon are the executive producers for hello Sunshine. Olga Kaminwa, Kristin Perla, Kelly Turner and Ashley Rapoport are associate producers for Reese's Book Club. Ally Perry and Lauren Hanson are the executive producers for iHeart podcasts and Tim Palazzola is our showrunner. Apple Books is the best way to read or listen to the books you love without a subscription right on your iPhone and a heads up for listeners. Apple Books is the official audiobook and ebook home for Reese's Book Club so you can discover every exciting pick, plus author curated collections and more all in one place. Open the Apple Books app to explore a world of books and audiobooks. You can set and track your reading goals and get great recommendations for your next read or listen Again, no subscription required. Visit Apple Co Reese. That's R E E S E Apple Books to find out more. Today's episode is brought to you by Cotton. We spend a lot of time with stories, hours curled up with dynamic plots and characters who feel like friends. What if the story isn't just in your hands but also in the world around you, in the fabric that's holding you close? Cotton is that timeless companion. Soft sheets for a lazy weekend morning with a book. Breezy dresses for afternoons spent reading in the backyard. It's the fabric that can be tossed in the wash without fuss. It's about ease, comfort and caring for yourself and the planet. Just like books we cherish, cotton weaves meaning into everyday moments. Next time you settle in for a chapter, slip into something cotton. Not just to read the story, but to feel it. Cotton the fabric of our lives. Learn more at thefabricofourlives.com Untold Stories Life.
- [60:00]
Danielle Robaix
With a severe autoimmune condition, a production from Ruby Studio in partnership with Argenics, is back with Season four. Join me Me Martine Hackett as we explore the realities of life with myasthenia gravis or MG and chronic inflammatory demyelinating polyneuropathy, or cidp. We'll uncover the stories of resilience and self advocacy in the face of uncertainty. From overcoming misdiagnosis to finding empowerment in small victories, these are moments that change us. Here's a glimpse of what's in store Whenever I go to my specialist, he mentions the R word remission. Is it possible? Like is it over? But also knowing it's never really over, but just being able to say, hey there. There's light at the end of the tunnel. Stay the course. Don't give up on yourself. Every single person living with the autoimmune illness has a life worth living, and it's up to you to define that, to capture that, and to go guns blazing. Follow and listen to untold Stories on the iHeartRadio app or wherever you get your podcast.
- [60:59]
Ryan Seacrest
Hey, it's Ryan Seacrest for Albertsons and Safeway. Now through August 26th, it's back to Deals Time, where you can enjoy storewide deals and earn four times points. Look for in store tags to earn on eligible items from Kettle, Haagen, Dazs, M M's Ritz, Chips Ahoy, Arrowhead, All Poppy, Charmin and Red Bull. Then clip the offer in the app for automatic event long savings. Shop in store or online for easy drive up and go pickup or delivery subject to availability restrictions apply. Visit Albertsons or Safeway.com for more details.
- [61:29]
Danielle Robaix
This is an iHeart podcast.