Black-and-white photo of a dark-haired young woman holding a microphone as if she is about to start singing.

My “Sin” of Vocal Fry:


I was watching a video on YouTube by linguist Dr. Geoff Lindsey about the recent hate expressed for the speech phenomenon of “Vocal Fry” and some of the mechanism, sound symbolism, and other issues around it. One of the things he brings up near the end of the video is the idea that much of the of the current discussion may have an element of sexism and/or ageism to it. And, as someone who does speak with a bit of “fry” (or “creaky voice” as the British call it), well… I have an opinion.

The Vocal Fry Among American Women discussion that’s going around reminds me of a phenomenon I encountered as a singer and speaker when I was in my twenties and thirties. My male instructors/directors and coworkers (with the exception of my High School choir director Richard Stout) often directed me to sing and speak more “forward,” to sound “brighter and more open,” while my female instructors/directors and coworkers often preferred my tone when it was slightly more relaxed, or “creaky.” “Pitchier” as one of them called it. Other women, I discovered, sometimes found my “bright” tone irritating or “girly,” while men found it more “feminine,” except on the phone, where, ironically, men often told me I sounded “sexy” when my voice was more “fried.” So, yes, I do think a lot of the current public hate for “vocal fry” utilized by American women is sexism (and ageism, since it’s usually directed at women under 40.)

I’ve been working to return to my lower, more relaxed tone recently, since, as I age, I care less about how “feminine” I sound and more about how comfortable I am with my own voice.

We should be comfortable with our voices as with our bodies, we should not find ourselves attacked for what is natural and comfortable for us. I’ve always had a little bit of a lisp; I speak in a lower register than some women, and with a bit of “fry”; I have a regional accent (Central California Valley melded to “SoCal/Val”); I “whoop” when I laugh; and I’m perfectly fine with it. You should be too.

 

 

 

Marty Arriving in November!


There will be a new Kat Richardson Fantasy Crime Noir novel out in November 2024 from Fairwood Press! (Working title: Storm Waters. Scroll to the bottom of the page to see the listing.)

So, I’ve been saying “damn it Marty” for a while and referring to “Marty Fucking Storm” off and on for… umm… about 5 years. And I’ve read the opening scene in several iterations at a couple of conventions, so some of you know what I am talking about. But for those who don’t:

Some wisecracking ex-bootlegger named Marty Storm turned up in my brain a while back, pestering me to write about him. He looks and sounds like a character from a classic 1930s Hollywood crime film and talks like a character out of Dash Hammett or Raymond Chandler. He’s also a water mage, owner of a shipping company based in Los Angeles and Long Beach California, with some spooky-ass family in Bayou Barataria outside of New Orleans. Initially his story was pretty grim, but over multiple revisions, it got a little less bleak, though it’s still pretty Crime Noir with a big ol’ heap of Magic. The story takes place in the first half of 1934—just before the deaths of Bonnie and Clyde, and immediately after the repeal of Prohibition—when Marty finds himself suspected of the murder of his mistress. Investigating the crime to save his own ass drags Marty back into the heart of family problems he’s been dodging for years, and magical contracts he didn’t know existed.

So after a lot of revision, rejection, more revision, more rejection, etc… I threw in the towel and got in touch with Patrick Swenson and Fairwood (who is also a big crime noir fan, like me) and he said “Yes.”

So, spread the word: Storm Waters! Historical Fantasy Crime coming in November from Kat Richardson!

Looking forward to your comments and questions.

(And, yes, I’m still editing and coaching, and I’ll be attending some conventions this year, too.)