Category Archives: Audiobook Industry

The 2019 Audie Awards: ACX Honorees Share Their Tips

The Audie Awards are the Audio Publishers Association’s annual occasion to honor the best titles in audio publishing. This year, eight ACX titles received Audie Award nominations, with His Viking Bride taking home the prize in the Romance category! We checked in with some of this year’s nominated Rights Holders to ask:

What lead you to submit your audiobook for an Audie Nomination? How do you plan to use your win in your audiobook marketing going forward?

His Viking BrideViking

Category: Romance
Written by: Olivia Norem
Performed by: Greg Patmore

A: I chose to enter His Viking Bride based on my reaction the first time I heard the audiobook. When you spend months putting together a novel, you eat, sleep and breathe it – you become consumed by it. Hearing Greg Patmore’s narration the first time, I was able to enjoy my story as a fan. I kept finding myself wondering “Who wrote that?”

I thought it was a good audiobook, so took a chance and entered. Honestly, I was never expecting to become a finalist, let alone to win.

I’ve spent more than three decades in marketing. When I left marketing to become an author, I didn’t realize in the beginning that I would be right back in marketing. I’ve found the organic approach works best. I utilize all social media channels, and reach out to a lot of bloggers. Podcasts are a channel I will be exploring now that we have the 2019 Audie award. I will also be reaching out to local, regional, and national television trying to gain more exposure.

The Goliath Code Goliath

Category: Faith-Based Fiction and Nonfiction
Written by: Suzanne Leonhard
Performed by: Gabrielle de Cuir

A: Submitting The Goliath Code for Audie consideration was my narrator’s idea from the start. Although I’ve written many books, this was my first audiobook, and the fabulous Gabrielle de Cuir has been the driving force behind its momentum from the beginning. She suggested we submit the audiobook because she was in love with the story and felt confident it would make the finals. And it’s paid off; sales for both the book and the audiobook have gone up since the Audie finalists were announced. When it comes to indie publishing, you’ve got to make your book as visible as you can. Awards are a great way to move your book ahead of the pack.

Now, I plan to have the Audie Finalist logo placed on the audiobook cover, and the nomination will be mentioned in all future promotions for the book itself. Even though the paperback book was first published in late 2017, I still have an ad running for it on Amazon. It’s the first of a series of books, so I work hard to keep it in the public eye. If the book wins an award, or gets a mention on social media somewhere, I always promote it on Facebook and Twitter. Having that prestigious Audie Award finalist logo on the audio cover is going to be eye-catching.

PossessionPossession

Category: Romance
Written by Jessica Hawkins
Performed by Christian Fox

A: I’ve been publishing my own audio since 2015, and at first, it was a labor of love. Gaining an audience has been a slow but steady process, which makes it all the more rewarding to see my listenership grow with each release. I submitted to the Audies to honor that journey as well as the amazing talent behind the scenes—the production team, Lyric Audiobooks, and the nuanced and enthralling narration of Christian Fox. It’s more than that, though. Getting recognized by the APA and by Audible for a self-published title feels like a noteworthy accomplishment in my career (and a win for my indie peers too).

As for promotion, I’ll be adding the Audie finalist designation to the blurbs on all retailers, to ads and marketing wherever relevant, and as a badge on my website. Audio lovers recognize the significance of such a nomination and I intend to make sure they know! I hope it signifies to listeners and retailers like Audible that quality is top of mind each time I start a new production.

Splat! A Quirky Cat Audio BookSplat

Category: Original Work
Written by: Adele Park
Performed by: a Full Cast

A: The Audies competition has several rounds of judging, which gives indie studios like Straight to Audio Productions [which Adele owns and operates] the chance to be heard by experts in the audiobook industry. Our 2011 Audie win for Multi-Voiced Narration for Jitters-A Quirky Little Audio Book showcased the cast in front of producers who hire talent. Winning an Audie or even becoming a Finalist lends credibility to both the author and the publisher of an audiobook.

I mention my Audie win for Jitters and Finalist status for Splat! A Quirky Cat Audio Book and Gadzooks! A Comically Quirky Audio Book in all my marketing. I request that Amazon and Audible note the title as an Audie Winner or Audie Finalist for the projects that have been recognized by the Audio Publishers Association. These logos are also used on CD covers. A lot of my marketing involves funny videos; here is the one we did to announce Splat! A Quirky Cat Audio Book as a Finalist in the Original Work Category:

Loki Ragnarok

Category: Original Work
Written and Performed by: Mark Binder

Loki

A: Loki Ragnarok was a labor of love and despair. Twisting the Norse Eddas into Loki’s epic poem took almost twenty years. When we went into the recording studio, it went beyond poetry into a full scale performance. The production and music by George Dussault were precise and chilling. By the time the audiobook was finished, we knew it was something powerful and moving, funny and disquieting. It seemed award-worthy, and the only way to find out was to try. That we were selected as a finalist was really an honor.

Promotion is always a challenge. We’ve already updated the packaging and “jacket” copy. I’ve begun doing some touring and reading from the book as a way of cross-promoting the audio. We’re continuing to promote it on Twitter, Instagram and Facebook, and are experimenting with a GoodReads ad campaign. And of course, it would be lovely to catch some buzz from the upcoming Loki spinoff TV series.

Want more advice about getting reviews and award recognition for your audiobooks? Watch The Elements of a Well-Reviewed Audiobook from ACX University.

The Elements of a Well-Reviewed Audiobook

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

AuON14_cover_300dioFile 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

Robin covers

Robin Whitten, AudioFile’s Founder and Editor.

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.

CoverBest of-300We 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 editor@audiofilemagazine.com. 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, michele@audiofilemagazine.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.

ACX at the 2014 Audie Awards

This past Thursday, amidst one of the busiest weeks of the year in the audiobook industry, ACX attended the “audiobook Oscars,” better known as the 2014 Audie Awards at the New York Academy of Medicine.

IMG_1231The night kicked off with an opening cocktail reception, where the industry’s best engineers, narrators and other audiobook celebrities rubbed elbows, munched hors d’oeuvre, and sipped cocktails, while the night’s nominee’s received medals for their work. Our mistress of ceremonies, author Libba Bray, kicked things off with a blisteringly funny monologue, highlighted by the musical number “Talk Audie to Me.”

IMG_1225

Author and Audie hostess Libba Bray.

This year, 6 ACX titles were nominated for this prestigious award. We’re thrilled to celebrate the producers and rights holders of the following books:

The first round of awards featured presenters Robert Fass, Suzanne Toren, and Joe Barret (ACX producers all) announcing winners for categories like best Non-Fiction, Biography/Memoir, and Business/Educational audiobooks. Billy Crystal (sadly not in attendance) then picked up his first award of the evening for Still Foolin’ ‘Em, in the Humor category.

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Audible Studios received their first award of the evening for Graeme Malcolm’s narration in the Short Stories/Collections category for his read of Sherlock Holmes in America. Our celebration continued when Audible Studios next won its  second award of the evening for Best Erotica audiobook (Shana Savage, reading Carrie’s Story.)

IMG_1229Robin Whitten of AudioFile Magazine presented the Special Achievement award to George Guidall for his impressive record of success in the audiobook industry. With over 1,100 audiobooks recorded, the standing ovation he received upon acceptance was well deserved.

Katherine Kellgren was honored with the Audie for Solo Narration/Female for the Audible Studios production of The Twelve Clues of Christmas, and David Pittu picked up his second award of the night for his read of The Goldfinch.

IMG_1230

The final, most coveted award for the evening, Best Audiobook, netted Billy Crystal his third win of the night for Still Foolin’ ‘Em.

Congratulations to all the 2014 Audie nominees and winners. With all the talented rights holders and producers on ACX, we can’t wait to see what you create to be featured at the 2015 Audie’s!

Audible has a full list of 2014 Audie winners here. You can read @ACX_com’s live tweeting of this year’s ceremony on Storify.