Today, we’re joined by Robin Whitten, Editor and Founder of AudioFile Magazine, one of the industry’s top sources for audiobook news and reviews. Robin is here to demystify AudioFile‘s editorial process, teach ACX Rights Holders how to cast the best voice for their book, and share how to submit for a review.
The Elements of a Well-Reviewed Audiobook
AudioFile has been around the block with audiobook reviews. I started the magazine in 1992 when I could not find any reviews that considered the audio performance or the listening experience. What started as a 12-page newsletter has morphed into a multi-platform audiobook review and recommendation source. We review nearly 200 audiobooks per month, and now have 36,000 reviews in our Review Archive.
Listeners, library selectors, authors, narrators, and publishers access AudioFile reviews in our print bi-monthly magazine, in weekly e-newsletters, on the AudioFileMagazine.com website, at AudiobookREX.com, and featured by content partners who sell audiobooks.
Audiobooks come into our Portland, Maine, offices in a steady (digital) stream. We receive review copies from all major publishers and in increasing numbers directly from authors, rights holders, and narrators. Our AudioFile reviewers –about 120 individuals from all over the country with a few scattered around the world—help us create 40-50 professional reviews each week.
What’s a professional review?
A professional or editorial review is often different from a user-review. Editorial reviewers step back and consider each audiobook from a wider perspective. They use their audiobook listening experience to evaluate and assess the quality of the narration, the overall performance, and the alignment with the author’s intent. A professional’s critique is considered alongside the many other audiobooks they’ve experienced.
There’s always a place for user-reviews. The candid enthusiasm and satisfaction (or lack thereof) offers immediate feedback and is easy for others to react to. AudioFile reviews are more than just one reviewer’s opinion; they’re deliberate and collaborative. At AudioFile, we encourage discussion of elements like successful emotional tone & dramatic style more than a rating system. Our reviews are carefully edited and meet strict standards. Three editors see each review, and the grammar and the sense of the language have to pass them all.
The Focus of AudioFile Reviews
AudioFile reviews very specifically focus on elements of the performance, and what sort of listening experience to expect. Obviously we have to discuss the storyline, but we are not there to critique the author’s written work, or to give a plot summary. Each AudioFile review should make clear to the reader that it’s an AUDIObook review. We may be critical of a performance choice, or the success of an accent, but we do not trash titles indiscriminately.
What Should Authors Listen For?
The most critical element for an audiobook review is the casting. The choice of the right narrator is essential. The skilled narrator can fulfill the intent of the written work and give subtle layers of brilliant storytelling. However, the narrator is not just a voice. The narrator has to get inside the words, and thus into the head of the author. Experience shows, and reviewers can spot the pros.
Sound quality is also something noticed by all listeners. Lapses in QC, like extraneous noise, sloppy edits, and varying sound levels will always be called out by reviewers. All of these are controllable issues, and not perfecting them is a black mark.
Unpredictability comes into reviews primarily because all performance choices or all stories do not appeal to all reviewers. Part of the professional review process is to match reviewers with audiobooks appropriate to their tastes and skills.
AudioFile reviewers are given criteria for their evaluation, criteria we take seriously enough to outline on our masthead: Narrative voice & style; Vocal characterizations; Appropriateness for audio format; Enhancement of the text. We have great respect for the narrators and authors. To get top marks with our review criteria, here are some specifics:
- Listen for more than “a great voice.”
- Choose a narrator whose vocal style and tone is aligned with your written style and tone.
- Make sure the narrator emotionally connects to your intent.
- Think about how much “performance” you want from your characters. (Note: at Audible, we recommend a subtle performance over a “cartoonish” one.)
- Consider whether big accents will define your characters or distract from them.
- Consider whether your book has visual elements like maps or charts, essential footnotes or multiple time-line shifts? These present extra challenges in audio production.
How Do We Choose Audiobooks to Review?
The audiobook publishing floodgates opened a few years ago when ACX added their titles to the already expanding lists from traditional publishers. AudioFile receives announcements of upcoming titles from traditional publishers and starts our selection process there.
We make one pass after looking over basic title merchandizing sheets; references from various book scouts in the library and publishing industries; and whatever publicity we find. If an audiobook comes out after the success of a print or eBook title, reviews and buzz can bring these into focus. We take recommendations from narrators, and authors, as well as standard publicity information.
Rights holders, authors, and narrators can submit titles to AudioFile by sending an email with information about the title to firstname.lastname@example.org. AudioFile’s managing editor, Jennifer Dowell, will coordinate the review copy and make sure we have all the relevant details.
Why a Good Review is Only Half the Story.
A good review can go a long way, but you need to get out in front of the crowd with the good news. Marketing audiobooks is one of the toughest parts of the process. ACX gives rights holder’s good tips and resources. AudioFile’s broad listener audiences are eager to find their next audiobook. Our readers depend on us to find and review gems that might otherwise be missed. To give listeners an additional resource we started the Indie Showcase for independent authors and publishers. The advertising program gives prime print and online exposure to individual titles. To find out more about the Indie Showcase, email Michele Cobb, email@example.com.
AudioFile strives to find the best audiobooks to recommend to our subscribers and visitors. If you follow our advice above and end up with a great audiobook, we’d love to hear it! Please send it in for review.
Robin Whitten is the Editor & Founder of AudioFile Magazine.
I’ve auditioned for more than 15 roles as a narrator, but still have gotten no offers. I have a background in Radio and Televsion commercial production. I have done the weekly auditons and have a sight on audible, but so far no bites..what am I doing wrong?
Reblogged this on christopherjfgibson.
I have found the same thing Jim. I have a similar background and get good feedback on my auditions but nothing has panned out. Just keep trying!
Without hearing one of your demos, I obviously can’t nail it down to just one thing. However, saying that you have a background in radio and TV commercial production raised a red flag.
Maybe you haven’t gotten an offer because you sound too “announcer-y” for an audiobook? Having a good voice is one thing, but having solid acting abilities goes a long way to landing jobs. (Incidentally, this is coming from an Audiofile Earphones award-winner!)
Hope that helps a bit. Good luck!
Reblogged this on ckylesimmons and commented:
I am the author of 22 books. I am accepting auditions for my novel “A Death in Newport.” It is now up on ACX and I welcome new voices.
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Reblogged this on Chris The Story Reading Ape's Blog and commented:
My thanks to Sandy Jones (the great woman behind Author Patrick Jones) for directing me to this great article 😀
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