This Week in Links: April 3 – 7

For Rights Holders:

Your Media Book Pitch Can Open 1,000 Doors! – via The Book Designer – Looking for opportunities to promote your book on TV? Find out who to contact and what to say in this helpful post.

The Ultimate Book Marketing Strategy is Surprisingly Simple – via The Write Life – “A lot of the foundational skills of writing and storytelling are a good foundation to build from for the rest of this stuff. If nothing else, your readers are coming to you for your voice, and that is one thing you are an expert in.”

Repeat After Me: “Goodreads Is My Friend” – via Writer Unboxed – Learn how authors can make the most out of bookworms’ favorite website.

How to Use Instagram to Promote Your Book – via CreateSpace – “A lot of authors are initially a bit baffled as to how to use such a visual medium for book promotion. To get you off on the right foot, here are four of the most common questions I get about Instagram from clients, answered.”

For Producers:

It’s Booth Gear, Baby! – via J. Christopher Dunn – “The accumulation of booth gear doesn’t necessarily reveal the type of person you’ve become. It’s not a reflection of what makes you, you. Instead, it’s what makes you comfortable so you can do an excellent job recording and impress the heck out of your clients who will shower you with repeat work.”

Surviving Marathons at the Microphone – via Dr. Ann Utterback – “So how do you survive a marathon at the microphone? I have an easy process for you to remember.  It’s based on three P’s:  Prioritize, Plan and Pace yourself.”

What The Heck Does PFH Mean in Voice-Over Job Quotes? – via Gary Terzza – For newbies, Gary’s got a quick explainer on what goes into your per-finished-hour narration rate.

Choosing the Right DAW – via Dave Courvoisier – “If you’re a complete beginner, this article will take you through the entire process of choosing the DAW that’s right for you. You’ll also learn what other equipment you’ll need, such as an audio interface, studio monitors, and software plugins.

One response to “This Week in Links: April 3 – 7

  1. RE “What The Heck Does PFH Mean…”

    Well-written, if not terribly specific to Audiobooks, post,

    To put it in ACX-specific terms –

    If you’re doing your own proofing/editing, count on spending – at least – 5-6 hours on every finished hour. So a $250 PFH means you’re making between $43 and $50 per hour of actual work. Which is not bad. If you’re booking work steadily, say one 8-hour book a week, you can do alright. You won’t get rich, but you’ll do alright. So that should be your minimum.

    If you’re farming our your post, you’re still working 3 or so hours for every finished hour. And, at $250 PFH, you’re still doing OK. Not great, but OK. So, again, $250 PFH works as a minimum rate.

    If you’re SAG-AFTRA, on the other hand, you need to be quoting a much higher rate. The union contract with ACX/Audible sets minimum scale at $225 PFH for inexperienced (less than 50 published books) narrators, and $235 PFH for experienced (50 or more titles) narrators. FOR NARRATION ONLY. The Union fees (for health and retirement benefits) and the paymaster fees – totaling 17% – come off the top of your fee. Then you have to pay your proofer, editor, and mastering engineer, or account for the time you spend doing those yourself, and you should also be paying yourself some consideration for acting as producer. A good rate for SAG-AFTRA-ellgible titles would be around $375 PFH. At that rate, you can make a decent living, and be able to put some money aside to carry you through any fallow periods you may encounter.

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