My thesis traces the influence of sound recording technology and its associated ideas on a selection of mid-twentieth century experimental novelists. This influence can often be traced back to these authors’ experiences working with sound media, examples of which include radio broadcasting or audio surveillance. These authors include Henry Green, Ivy Compton-Burnett, Muriel Spark, Samuel Beckett, and James Hanley. My thesis argues that these authors’ experimentation with the form of the novel is typical of a heightened self-consciousness about the scope and value of the novel form in the wake of modernism and the Second World War. Though not a formal group or “school”, I argue that, taken in the aggregate, the sonic rendition of novelistic form which arose in the work of these authors offered one possible new future for the novel at a time when this future seemed uncertain and open to reinterpretation.