Category Archives: Authors + Publishers

Representation in Romance: Why Lauren Blakely Writes Diverse Character Landscapes

If you’re a writer, there’s a good chance that at some point you’ve been given the advice to write what you know – and why not? What stories could you tell more credibly, what characters could you represent more authentically than those you pull from your own experiences? Some of the most compelling stories come from writing what you know – it’s why memoir is such a popular genre. But what if you want to paint a richer landscape – one that explores a fuller spectrum of human experience? How do you ensure you’re doing justice to characters with challenges and triumphs different from your own?

Author Lauren Blakely

Our guest on the blog today is the incomparable Lauren Blakely. She’s an active LGBTQ+ ally, writer of inclusive love stories, and her latest audiobook, the MM romance Hopelessly Bromantic, just hit the digital shelves. She’s published nine MM romance novels (a romance sub-genre in which the romantic leads are both men) in print and audio to date, with a tenth on its way June 28th, so with love of all kinds in the air this month, we thought we’d sit down and ask her how she diversifies the landscape of her romance novels to show love for all in an authentic way.

How did you get started writing MM romance? What inspired you?

My inspiration came from two places – a book and my family. My father is gay and my mother is straight. I grew up in the 70s and 80s, and my parents made the decision to stay together. That experience shaped me in many ways, but ultimately, it led me to want to explore this genre. That began first as a reader, when I picked up André Aciman’s Call Me by Your Name in bookstores when it first released in 2007. Then I moved into reading MM romances from Sarina Bowen, Kindle Alexander, Rachel Reid, Casey McQuiston, Alexis Hall and others. I love the genre, and it speaks to me personally, in part because of my family. But it also speaks to me as a writer. I love writing MM stories about men who are out and comfortable being out. They move fluidly among their straight and gay friends and they’re unafraid, at the end of the books, to get down on one knee and propose. I love being able to create a world my father wasn’t able to embrace when he was younger. It brings me joy personally, and I hope it does the same for my readers and listeners.

Lauren’s latest audio release, Hopelessly Bromantic

Do you use a sensitivity reader for your MM books?

I use a gay male sensitivity editor on all my MM titles. I work with Jon Reyes from Tessera Editorial, and he’s terrific. He’s more of an “authenticity editor” because we communicate constantly about my MM romances – from titles I might use, to characters we both think deserve stories, to the details in the stories themselves as I shape the books and series. I’ve learned a lot from him —  about certain words to use and not use, about how to frame the accepting worlds I aim to create, and especially how, when I am writing bisexual men, to make sure I’m treating bisexuality with the respect it deserves. Sometimes he reads when I’m finished, but recently I asked him to read my upcoming November release – Turn Me On – while I was writing it since the sex scenes are a little racier and involve a bit of kink. I wanted to make sure the bedroom dynamics were just right and I was treating them with the respect and honor they deserve. We discuss all of his notes so that I’m clear on why he’s suggesting a recast of a sentence or scene changes or anything else he sees and makes note of. He also makes sure I treat consent between two men with the same gravitas I treat it with in an MF romance.

Are there other sources you use for inspiration and information/research?

Sure! I give my search bar quite a workout! Among many topics, I’ve researched great ideas for dates for gay couples, since I wanted to make sure I wasn’t simply writing the same dates I’d write for a straight couple, I’ve looked up articles from LGBTQ+ magazines about bedroom “strategies,” if you will, and I’ve read many stories from queer athletes and celebrities who have come out about their experience of being out. Those are just a few examples.

What was the first MM book you wrote? What have you learned since that first one?

My first MM romance was A Guy Walks into My Bar, and it’s still a fan favorite. I think I’ve learned a lot since writing it, especially in creating side characters. I started working with Jon shortly after that title, and he has been so supportive of the gay friendships in my MM romances, so I’ve spent more time developing side characters who are also queer. Hopelessly Bromantic and Here Comes My Man truly typify that. One of my favorite scenes in Here Comes My Man is when six queer characters all have sushi dinner together in Las Vegas after a concert – it’s a fun, friendship-centric scene among characters of mine who all will have their own love stories, too.

Here Comes My Man, coming to audio later this month

What would you tell an author who wants to start writing more diverse characters but are worried about getting it wrong or appropriating?

I would absolutely encourage writers to incorporate the use of queer beta readers and/or sensitivity editors. As a woman writing queer men, there are things I simply can not know. I want to do my best for all my readers and listeners, telling big-hearted, sexy and emotional love stories between two men, so it just seems wise to make sure a queer man is reading my words before they are published.

Increasingly, in this day and age it just makes good sense to depict a rich world, with characters from differing backgrounds and experiences – to me, it’s important to write LGBTQ+ characters because, well, that reflects the real world. As a romance writer, I’m trying to show the beauty and joy of falling in love in this world, and this world is diverse, so I work hard to put diverse characters and cultures throughout my books.

What kind of feedback have you gotten from readers/listeners in the LGBTQ+ community?

I’m fortunate in that I’ve heard from a good handful of queer men who read and listen to my books and tell me how much they enjoy them. It is immensely gratifying to hear that I’ve done right by them and for them. I also have heard from many moms of LGBTQ+ children who express their gratitude that these love stories are becoming more popular. That’s humbling and uplifting and one of the great joys of the job.

Tanya Eby: One Thousand Strong (And Growing!)

The journey of a thousand audiobooks begins with a single page. A scant few narrators have hit this prestigious milestone, and as of this week, that shortlist includes industry powerhouse Tanya Eby. Her 20+ year audiobook journey has seen an Audie award (and three nominations), along with Earphones & SOVAS awards and multiple original content productions. Join us as we go back in time to the beginning of her story to see how she got to where she is today.  

Multi-Hyphenate Storyteller Tanya Eby

ACX: Tanya, congratulations! 1,000 audiobooks Recorded is a significant achievement, and it strikes me as one that you only reach by treating this work like a marathon, not a sprint. How have you paced yourself to be able to achieve this milestone?

Tanya Eby: It’s definitely a marathon! I needed to learn early on how to pace myself, and how to schedule myself so that I didn’t burn out. I know how much I can comfortably record in a day (about 2.5 finished hours without pushing) and use that to figure out how many days a book will take me to record. Then I take a day or two off in between recordings to give my voice and my brain a rest. 

We hear a lot from narrators that they build a career by finding their niche—did you carve your own niche in this industry, or do you do a little bit of everything?

I do a little bit of everything because I love the challenge each new book brings. There’s a natural warmth in my voice that works well with romance and nonfiction, but I also love adding a little grit for mysteries/thrillers, true crime, fantasy and sci fi. Some narrators create a niche where they do one type of audiobook recording. My pseudonym, Tatiana Sokolov, is more of a brand for romance novels with a higher spice level. But other than that, my niche is really focusing on the heart of a story, bringing out humor when needed, and creating a memorable listening experience.

It’s interesting because I don’t think I have a niche, but publishers and some indie writers think I do! Different clients think of me in different ways. Some hire me just for romance, some for nonfiction, some for mysteries (gritty or cozy). Because I have many clients, I’m able to diversify my work this way. Also, having many clients has helped me sustain my career. When I don’t have work from one client, I tend to have work from another. 

What other major mile markers have you hit—and how did you know it was time to make the leaps you’ve made?

I look at this career like climbing a long staircase. Slow and steady, each step leads to a new one. So over the last two decades or so of recording, I’ve had lots of little milestones. I moved from recording in my front closet to purchasing a vocal booth. I outsourced post-production work when I realized I’d make more income putting my time towards recording another title than using that time to edit and master an audiobook (skills I don’t really have anyway). When I realized there where titles I wanted to hear as an audiobook and those pieces weren’t being produced, I started my production company. I think when I start to get really comfortable and things are flowing, that’s the time to try a new challenge and stretch myself, to take another step up.

What strategies have you found to streamline or hone your process along the way?

Building relationships with audiobook professionals is the number one way I’ve been able to achieve this goal. I also take my job very seriously and am rarely late on deadlines. I deliver quality performances, turn around fixes quickly, and communicate with production teams clearly. This has built trust with my clients that they know when they hire me, they can count on a good performance and finished product.

I love my work, and I take great pride in it. I think it shows in the consistency and quality of what I offer. I also needed to learn to say ’no’ sometimes, or as I like to say “Yes, but…” Sometimes I can’t make a deadline the client wants because I’m recording something else, so I need to be honest and say I can’t take that project on for that timeline, but here is when I can get the piece to you.

So after 1,000 audiobooks, what keeps you going? What keeps it fun?

Each book requires a little something different from the narrator and I love figuring that out. What’s the tone? What’s the pace? Am I a voice of authority here, or am I a character? Am I falling in love, fighting for my life, or a little of both? Each book is a new challenge, and it keeps my workdays fresh and exciting.

And what about you, reader? Are you on page one or one thousand of your audiobook journey? Do you have any significant milestones you’d like to share? Let us know in the comments!

ACX University is Back with New Episodes 3/15

Break out your pens and pencils, students of sound—ACX University is back in session and we’ve got an all-new slate of fresh, essential programming for your continuing audiobook education.

Whether you’re an author, producer, narrator, or director, this syllabus will have you playing, imagining, experimenting, connecting with your community, and springing into action. This season’s all-star roster of instructors includes:

  • Khristine Hvam
  • PJ Ochlan
  • Jorjeana Marie
  • Eboni Flowers
  • Tyrrell Harrell (of TYDEF Studios)
  • Jocqueline Protho (of The Audio Flow)
  • Eric Jason Martin
  • Erika Ishii
  • Matthew Mercer

And more!

We’re releasing three new episodes to YouTube this week, so keep an eye on our channel for details and get to the head of the class by clicking that ‘Subscribe’ button so you don’t miss a lesson. As always, ACX University is free and open to everyone—so join us, won’t you?

Work-Life Balance for Freelancers

“Work-life balance.” “Self-care.” “Unplugging.” “Boundaries.”

These buzzwords have been popping up more than ever the last couple years. Working from home, modified schedules, and career transitions have blurred the lines between work and not-work, and you’ve probably seen more than a handful of articles on leaving time for yourself and not letting your job absorb your personal life.

But if you work for yourself, this concept of work-life balance can be a good deal trickier. For independent creators, the work you do for yourself may be exactly what recharges you or gives your life meaning, so it can be easier to justify working overtime on your passion projects, and harder to put them down. It’s likely too that if you’re self-employed (and especially if you’re trying to get an independent career up and running), any time away from that work is accompanied by guilt—that you’re not pushing yourself hard enough or that you won’t “make it” if you don’t devote every spare second to your craft.

And while it’s true that when you’re your own boss, no one is going to keep you on track if you don’t, it’s equally true that all work and no play makes you a burned-out author, or actor, or publisher, who starts to resent your passion projects and doesn’t have the energy to give them your best work anyway (as someone who spent nearly a decade as a freelance producer, ask me how I know).

Since I’ve always found that balance pretty tough to strike, I thought I’d turn it over to someone who’s always struck me as being really good at this to give you some tips on how to care for yourself, maintain your work-life balance, and still feel like you’re the kickass boss of your own creative destiny.

Khristine Hvam is a narrator, producer, director, voice coach, and the co-creator of the pLAy and play NYCe workshops for creatives with fellow multi-hyphenate voice actor PJ Ochlan. She’s won multiple awards for her many different audio projects and continues to balance an impressive self-made career in vocal production and performance with a full life outside her work.

Here are her tips for finding your own balance and making your creative work, work for you:

  1. Set a “work schedule” that works for you and your life…and then ditch it when a really great opportunity comes up. And then go back to it. It’s fine. I promise. Figure out how much finished time you can realistically record in any given week and don’t over extend yourself. For a long time during the pandemic, I worked in two-hour chunks. Morning, late afternoon, and after the kids went to bed. I hated it, but I reminded myself often, “as are all things, this too is temporary.” Now that the kids are back in school, I have a new work schedule that I feel much more comfortable with. We’ve got to be flexible, otherwise we’re just frustrated.
  1. Give yourself a routine. Mine: wake up, make coffee, feed cat, drink coffee, wake children, feed children, drop off children, work…you see where I’m going with this. Humans need a bit of routine. It helps our ancestral brains function better.
  1. Break the routine once a week and do something different. Different coffee shop, different route to drop off the kids, different workout, trip to Vegas…shake things up. It’s GREAT for the creative brain.
  1. Make a list of your priorities. Balance is about compromise. This list will help you see what you want to give your attention to—OH, and it will change, so re-do this list every few months and check back in with yourself.
  1. Celebrate the little things. Whether it’s with a night out, or an expensive coffee, or a leisurely walk—celebrate your accomplishments. “Hey I made my bed today! Whoot whoot!”
  1. Don’t be afraid to say no. No one is keeping score on how many times you say yes and no. “Booked” is booked, and that’s ok. If you want to take an action, add into those “no” emails when you’ve got avails coming up. That’s helpful. And don’t overbook yourself. Saying no to a project is much better than saying you’re late with it.
  1. Choose “work-free days.” I don’t work on the weekend, BUT there are times when I need to break that rule for the bigger picture. Like, “I need to work over the weekend because the kids have off this Monday from school and I need to be with them.”
  1. Plan vacations well in advance—like a year in advance—so that you’re able to plan projects (and pickups) and finances around them. And plan long vacations. Give yourself a proper vacation. Plan for it. Save for it. And then enjoy the heck out of it.
  1. Put your phone away! Like WAY away. Scrolling is a time suck and social media just makes you think people are doing more/better than you. They’re not. Do what you need to do on there, then kick rocks. 
  1. Take a long hard look at your financial situation. What do you need? What do you want? Talk to a financial expert, get some help and some good advice. Sacrifices will have to be made, but future you will thank you for it. Knowing what you need to earn in order to reach your financial goals will help you choose when to say yes and when to say no to projects.
  1. Set attainable goals. Think big, then work backward to what you can do today.
  1. Find a good therapist, and lean on your support people when you’re feeling overwhelmed. Don’t be afraid to ask for help. It makes other people feel good and it helps form stronger bonds.
  1. Find ways to PLAY. What brings you joy? Do more of that. Make a list of what you liked to do when you were in Elementary school and find the adult equivalent. Then go do it. Not every day, or every week, but when you can. When it fits.
  1. Be nice to you and don’t “should on yourself.”
  1. Balance isn’t a day-by-day endeavor. Think of it over the long term. In one-year chunks instead of one-day. It’s life balance, not day balance. Life is a marathon, not a sprint.

Work-life balance is a fairly new concept to be embraced by the mainstream workforce, and many of us weren’t conditioned to think it’s important, much less trained to structure our own lives to prioritize it. So, give it a shot, and don’t beat yourself up if it takes you a little while to figure out a balance that works for you. Self-forgiveness is great for morale and makes it a whole lot easier to get back on track when you get derailed.

Announcing Our Improved Time-to-Retail

Today, we’re excited to share that audiobooks which meet our Submission Requirements will be made available for sale within 10 business days. In the past year, ACX has received more audiobook submissions than in any other period, and together, we shared this record-breaking number of titles with eager listeners across the globe. This success also brought challenges to our processing timeline, and we thank you for your patience and feedback as we worked to enhance our workflow.

Once the Rights Holder approves and submits the final project, the production will be checked by our Quality Assurance team, and, if there are no issues with the audio files, cover art, or retail data, you can expect to see your title live on Audible, Amazon, and iTunes within 10 business days. If we find that your production does need an adjustment, we’ll let you know—with resources to help you get it right—within that same 10-business day period.

We understand that timing is everything when it comes to marketing and promoting your work, and we hope this time-to-retail will help you plan your promotional efforts with greater ease, getting your work in front of listeners sooner.

It’s a pleasure to help bring your best books to life, and we can’t wait to hear your next production! For further questions and assistance on this update, or any other topics, please visit our Help Center. We also recommend diving into our latest blog posts and ACX University episodes for storytelling and production inspiration.   


Celebrating 10 Years of Storytellers: Producer Tanya Eby

This spring marks 10 years of ACX, and we’re celebrating a decade of authors and narrators telling stories their way by sharing the career journeys of several amazing indie creators. Read this blog series from the beginning, or read on to hear from our next celebrated storyteller—quadruple threat author-publisher-producer-narrator, Tanya Eby.

How did you become a narrator/producer? 

That’s a really long story and includes a fair amount of missteps and embarrassment. Once I’d recorded about 300 books at a studio, ACX launched, and I knew I could produce audio on my own. I’d been well-trained by all those previous books, so I became a producer/publisher and created Blunder Woman Productions. Since then, I’ve produced or published over 200 audiobooks, won an Audie, been nominated for 3 Audies, created original audiobooks with large casts, and earned Earphones and SOVAS awards. It’s been a pretty wild ride. 

How did you find ACX? 

I found ACX pretty early on when it first started. There was a competition for a book I really wanted to record that I’d heard about. I didn’t get the book (it went to a famous actor) but it did get me to jump into producing audiobooks from home instead of always going into a studio.

The Brink: Stories was Tanya’s first ACX project as a publisher and 2017 Audie winner for Best Short Story Collection

How has your career grown since first coming to ACX? 

When I started ACX, I was primarily a performer. Now I perform, produce, publish, and create original content. It’s a really satisfying career where I have a lot of creative input and control. Plus, audiobooks are now my sole source of income. That’s a pretty great gift. 

Are you a full-time narrator? 

I am. I’ve been recording audiobooks now for about 20 years, and have been recording from home for about 10. 

What’s your favorite thing about being an independent narrator? 

I can create my own schedule, control my workflow, work from home, and choose projects that really resonate with me. It’s a dream job come true.

What was your big “I made it” moment? 

The first audiobook I published through ACX was The Brink: Stories by Austin Bunn. When they read our name at the Audies for Best Short Story Collection, I know that I’d arrived as a publisher and producer. This gave me the courage to create and produce original content including short story collections and also Nevertheless We Persisted and Nevertheless We Persisted: Me Too, collections of poetry and prose that talk about getting through the hard stuff. These books involved hundreds of writers, narrators, artists, composers, musicians, and a wonderful production team. We were nominated for Audies for both productions, proving that small companies with big ideas and a community working together can have real impact on the industry. I’m so proud of those productions. 

What’s the most important thing you’ve learned about the industry since getting started?  

Tanya’s first original content production, Nevertheless We Persisted, was nominated for an Audie and inspired a sequel

You need to be self-motivated and a real entrepreneur in this career. Don’t wait for people to give you work. Create it.

If you could narrate any book ever, what would it be? 

Ooooooh! I love this question! I would love to narrate The Accidental Tourist by Anne Tyler, The Virgin Suicides by Jeffrey Eugenides, and anything by Shirley Jackson or Stephen King. 

What do you aspire to next? 

I’d love to work on some more original content. I have a lot of connections with the writing community and the audiobook community, and it’s a wonderful thing to bring these two worlds together. 

You can find Tanya Eby on her website, Facebook, or on Twitter and Instagram @BlunderWomanPro. Return to the blog next week for more stories of ACX creators making their mark on the world of audio.

Celebrating 10 Years of Storytellers: Author Aleron Kong

It’s ACX’s 10th anniversary this spring, and we’re marking the occasion by sharing the stories of amazing independent creators that make this a milestone worth celebrating. Start reading this series from the beginning, or read on to hear from our next celebrated storyteller, author Aleron Kong.

How did you become an author?

I started writing for me. I never thought it would go anywhere. It was more of a psychological exercise than anything else. But I had found LitRPG, which is my genre—literature role playing games. It’s only been around in the States for about four years, and I found it around three and a half years ago. And when I found it, it was like, “Where have you been my entire life? Like video games and sci-fi fantasy??” At the time, there were only like four books available in English because it started either in Russia or Korea, so I was bemoaning the fact that there was nothing more to read one day and I was like, “Well, why don’t I just give this a shot?” I wrote six books in 14 months, and then the seventh one – I wrote that a year later and it weighs five pounds. 

You went from being an audiobook skeptic to being a champion for the audio format, with audiobooks outselling print books! What role did ACX play in helping you to make that leap?

I knew nothing about audiobooks before I became an author. I had only listened to one—Lord of the Rings—in my life, and honestly, while it was nice hearing the story, it felt a bit dry. And at the time, that felt right because that was just the accepted “right way” to create an audiobook. The more British the better. Because of that, I thought audiobooks were just a different way to read a book. I didn’t understand yet that audiobooks could be an artform in and of themselves, the same way music videos in the 70s and 80s could transcend the song. Nick [Podehl – narrator of The Land series] was able to elevate my words and worlds in a way I could not do alone. That is the blessing and wonder of working with another talented artist who is willing to share their gift.

I didn’t have a master plan when I started, but the worlds I create are as precious to me as a family member. One you actually like. It was only because of my partnership with Nick Podehl and ACX that I was able to push boundaries and make something incredible. Even including sound effects, something that has become the standard for my genre of LitRPG, was considered a big risk several years ago. It had been done before, but I was told I might alienate half of my listeners, as it wasn’t something they would be used to.

Book one of Aleron’s popular series The Land, narrated by Nick Podehl

The people at ACX have created a model that provides the opportunity and support a motivated person requires to reach great heights.  Rather than try to convince me of the “right way” to do things, the feedback I got was that if I wanted to take a chance, ACX would help as much as they could. The connections I’ve made with ACX have played a huge role in my success. Whether it be advice, internal support, marketing, or hard work, it has been a joy to have a partner in connecting with my fans.

What was your big “I made it” moment?

It’s an interesting question. I have hit several big milestones because of my awesome fans—The Land saga is a WSJ bestseller, has sold over a million copies, has more than 100,000 five-star reviews, and became Audible’s Customer Favorite of the year, reaching the Top 5 on both Audible and Amazon.

But with all of that, I remember sitting on a panel with Jim Butcher—I introduced myself, sharing all of those facts, and the fact that I was a physician, and I got applause from the crowd. Then I handed the microphone to Jim. He said, “I’m Jim Butcher,” dropped the mic, and the crowd went wild like Aerosmith just rocked the Garden, lol.

So basically, I feel very happy with what I’ve achieved, but I know I still have miles to go before I sleep.

What important connections have you made on ACX?

I have met many amazing people, and Debra in the ACX call center would be towards the top of the list. Not only is she amazingly helpful, I always end our calls with a smile on my face. It’s nice to have our interactions be friendly as well as professional.

What’s your most essential piece of writing “gear?” What do you have to have around when you’re writing?

From what I hear, I’m very different than most authors. I write anywhere, at anytime, and have no issues devoting three days to perfecting a cookie recipe or hiking instead. My fans do not generally like that I have an active life outside of the books (lol), but the energy I can bring to the page is fueled by the moments of my life that I’m not typing.

Aleron’s latest audio release, God’s Eye, narrated by Luke Daniels

Any particular or weird habits you have while you’re writing?

Too many cookies. Cookies feel like love. Cookies are evil… and I love them.

What’s your favorite thing about being an independent author?

Freedom!

What does being an independent allow you to do that you couldn’t otherwise?

There is no oversight on your words, and you don’t have to delay a launch by 1-2 years like many traditionally published authors.

If you could have anyone in the world narrate a book of yours, who would it be?

Ricky Gervais.

What’s your dog’s name?

Chewbacca.

What do you aspire to do next?

I would love to make the leap to the screen—either big or small, live action or anime. I feel that my story would translate well to nearly any medium.

How do you define success in your career?

I have two definitions: 1) Am I making enough money to live the life that I want to live? 2) Am I making a difference in the world in a way that I am proud of? And the answer to both questions for me is yes.

You can find Aleron on his website, and check out this panel he did for VO Atlanta with narrator Nick Podehl on successful collaboration between authors and narrators. Keep an eye on the blog for the next ACX creator to get the storyteller spotlight!

Celebrating 10 Years of Storytellers: Author Amy Daws

This spring, we’re saying cheers to 10 years of ACX by shining a spotlight on the amazing creators that make this a milestone worth celebrating. Check out the first post in the series if you missed it, or read on to hear from our next celebrated storyteller, author Amy Daws.

How did you become an author?

My first book was a memoir about my struggles through recurrent pregnancy loss. After that, I got the writing itch and took a turn into the world of romance novels.

Are you a full-time author? 

Yes, I have been for nearly four years now.

How did you find/come to ACX? 

I’d heard through various author channels that ACX had a royalty share option for authors and narrators to collaborate, so I didn’t have to invest money in a narrator up front for a format I was unsure I’d be successful in. Splitting the earnings with a narrator felt like a win-win situation!  

Has your career grown since then? 

One hundred percent. I used to only be able to afford narrators willing to do Royalty Share and now I am happy and willing to pay the full per finished hour rate for my narrators of choice. It took some time, but my audio earnings have continued to double every year for the past three years.

What was your big “I made it” moment? 

When I had a book make more in one month than I did for an entire year at my day job, I knew things had changed for me.

Amy’s latest sports romance, Replay, was released in audio earlier this month.

What’s the most important thing you’ve learned about the industry since getting started? 

Growth takes time. Both in the e-books/paperback publishing sector and in audio. You have to build that audience. Make connections. Write a memorable story and hopefully they’ll keep coming back for more.

Why are you so passionate about advocating for audiobook production?

First of all, writing a book is a lot of work. But once you’ve polished your story and made it shine, why wouldn’t you want to milk it for all it’s worth? That’s why audio is so important to me. I’ve already done the hard part—I’ve written the book. Now I need to get it out to all the major channels so readers and listeners can consume it in their preferred medium.

Not producing an audiobook is like taking a four-course dinner you worked on for hours and deciding not to serve all four courses to your guests. Someone is certainly going to leave hungry and good food will go to waste. 

The fact that there’s a service like ACX that’s user-friendly enough for someone with no experience in audio production to publish their own audiobook is all the help I need to serve all four courses to my guests!

What important connections have you made on ACX? 

My relationships with my narrators are very special. I’ve been able to meet nearly all of them in person and now we’ve worked together on so many books, it feels like they wrote the story with me. And sweet, kind Debra in ACX customer service has a special place in my heart!

What’s your favorite thing about being an independent author? 

The flexibility of my job is wonderful. I work from home, which I very quickly realized was extremely valuable during a pandemic situation. I love that I get to make my own covers and choose my own release dates. I’m not just an author, I’m an entrepreneur and I can take my career in a variety of directions.

What do you aspire to do next? 

Amy’s bestselling novel Wait With Me has been optioned for film by Passionflix.

The movie/television industry is always a big dream of mine. And with one of my books (Wait With Me) optioned for film by Passionflix, I’m super excited to see what comes of that. I have also been trying to manifest my Harris Brothers series into a TV show. I’ve been telling people that I want it to be picked up by Netflix, HBO, or Showtime and I want it to be like Ted Lasso meets Grey’s Anatomy but with more HEAT! HAHA. It’s good to have dreams!

You can find Amy & all her audiobooks on her website, check out her ACX University episode here, follow @amydawsauthor on Twitter, Instagram, Facebook, and TikTok to join her in the fun. Tune in again next week when the ACX anniversary spotlight shines on another celebrated creator!

Better Together: Aleron Kong & Nick Podehl on Collaboration: Part 2

Last time on the blog, we sat down with best-selling author Aleron Kong and award-winning narrator Nick Podehl to talk collaboration, inspiration, and mutually beneficial working relationships that create top selling audiobooks. The conversation continues in part two of this interview, so catch up on part one if you missed it, or jump back in below!

Scott Jacobi:

Nick, what was it like to work with somebody who’s fairly new to the process, had maybe been burned in his one time previously creating an audiobook, and just helping him through that?

Nick Podehl:

Narrator Nick Podehl

I mean, he definitely made it easy for me because he was not a complete noob—he had been through the process before, but like you said, Scott, he didn’t have the greatest experience the first time. So I definitely felt like it was kind of my responsibility to try to help him understand the process. And I feel like this is the case with all the new authors that I work with, that it’s like, “I’ve been in this rodeo before.” It’s kind of my job to help them figure it out. And so we worked through the process together. Just be patient and be a decent person, and it kind of pays for itself.

Scott Jacobi:

Tell me about that: how does it pay for itself?

Nick Podehl:

It’s just a better experience overall. I’ve gotten to know a lot of the authors that I’ve worked with, I’ve become friends with a lot of them. And you know, not only is that great on a human level, but it’s also great on the repeat business level because they might write a series, sometimes they’ll write more than one series, and if you make the experience awesome for them, they’re probably going to come back to you. So it’s just like any other version of customer service.

Scott Jacobi:

And that’s a great way to think about it because as a producer on ACX, you’re your own entrepreneur—your own sort of independent, full-service entrepreneur—so you are your own customer service department, you are your own accounting department, you’ve got to do all of that.

Nick Podehl:

Right. And also, I mean, authors generally tend to be friends with other authors and they talk to each other. And so Aleron, you’ve told me before that you’ve had friends, other authors say, “Hey, who should I go with?” And you’re like, well, “You should check out Nick.” And I have a feeling that wouldn’t have been the case if I would have been a complete jerk and just said, “Here’s your book, give me my money.”

Aleron Kong:

Mmhm. Nothing like, “you should go throw eggs at Nick’s house.”

Scott Jacobi:

You two touched a little bit on collaborating and the back and forth during the production earlier in the panel, but I’m curious, Aleron, how much are you bringing to the table in terms of the performance or the way the characters sound? Is it more you saying, “Okay, Nick, this character sounds like this actor,” or is it more you saying, “Nick, do something with this character, I think he’s kind of an older guy and maybe he’s annoying a lot of the time,” but where does that meet in the middle?

Author Aleron Kong

Aleron Kong:

For the first book it was very much like I had this vision, I wanted it to be like this, and there’s a reason for this, and there’s a sort of a connotation that I want brought across. But as time has gone on, I’ve been heavily influenced by hearing Nick’s voice in my mind as I write the characters, so I’m almost being guided. Because they had, I don’t know, 80% life­—now, now they’ve got 90% life because I’m hearing them differently.

Scott Jacobi:

And so, Nick, what’s your end of that? Getting what Aleron brings to the table, are you happy to work all that in? Do you have a lot of your own ideas that you’re kind of pitching back to him?

Nick Podehl:

I think that for me, it’s more that I enjoy that collaboration when he says, “Hey, these characters sound like this—here’s this video clip.”

Scott Jacobi:

And that makes it super easy, when you can reference a video or an audio clip.

Nick Podehl:

It does, it does. It gives you something to work off of, if you can emulate some of that. Now, obviously, I’m not going to be able to give a carbon copy of Nick Offerman.

Aleron Kong:

I mean, it’s a sore spot.

Nick Podehl:

It is. That was one of those things that we worked through. We were able to get it to a point where you were happy with how it sounded and it was something that I could do. To be able to get these clips and be like, “Hey, why don’t you give this clip a try—listen to that, see how he gets these words, see how he delivers that.”

Scott Jacobi:

Does the collaborative aspect also come up, in terms of character motivations and the emotional wave of a certain scene? Is that something that you just bring to the table with your acting ability? Or has there ever been a time where it’s like, “Oh, you did this scene as this sad character, but really it’s more, they’re just annoyed…?”

Aleron Kong:

The Chaos Seeds series on Audible

Inflection things rarely come up with these. I will say for my own books, I write comedies. I write comedies that have dragons and wizards in them, but I also touch lightly, but consistently, on societal issues that are going on right now.

There are scenes where I’m writing it because I want people to have a visceral reaction, whether it be positive or negative. I want them to react. I don’t believe in preaching to people, but I do believe in exposing people to things and letting them come to their own conclusions. Some of those things get really uncomfortable. My last book touched on sexual assault because it’s something that happens all the time, and we don’t like talking about it, and that’s the problem. I had a conversation with Nick where I’m like, “hey man, I love you and I love what you do, but I know that this is a really difficult scene, so if you’re not comfortable reading this, just let me know and we’ll figure something else out.”

That’s the kind of thing that will come up sometimes. I try to weave that in in a way that doesn’t take people to a horrible place, but at the same time, doesn’t hide from it. Nick has to actually read these horrific things that are occasionally happening in the books. I imagine that’s not just a nothing experience, but he’s willing to. He’s said, “I’ve talked to other authors that just put this in for some gratuitous nothing, but I see why you’re doing this and that makes it okay for me.”

Scott Jacobi:

I think that makes a lot of sense. So how do you deal with a scene like that and then leave it behind? Taking on that emotional weight, whether it’s a sad scene or a very uncomfortable scene—how do you emote that but not take it with you?

Nick Podehl:

I don’t know how to tell somebody how to do that. Although, you need to figure it out because especially if you want to get into audio books, there’s a lot of it. Like Aleron said, there’s a lot of content that can be really difficult to deal with and you do have to emote that. That’s why when I talk to friends and they want to do what I do, and they’re like, “Oh, you read books all day. That’s kind of cool! It’s easy, right?” I’m like, “I’m exhausted—you try emoting for eight hours every day. Tell me how you feel.”

Scott Jacobi:

You touched on material that’s really difficult or really challenging to deal with as a person. Have you ever had to turn down a project because the material did not line up with you personally? Not with Aleron, but how do you handle a situation like that?

Nick Podehl:

I’m finally at a point in my career where I can just be straightforward at the beginning and say, “I will not do this kind of material so if your book has this content in it, I can suggest some other narrators for you if you would like, but I will not be able to do it.” Early days, when it was just any work I could get—yeah, I had to wrestle with that. I had to struggle to make my peace with it and say, “all right, I’m going to do this for a season and then put it behind me when I can.”

Scott Jacobi:

Did you ever use a pseudonym for some of the more adult material you were asked to do?

Nick Podehl:

Yes. I would highly recommend that. Especially in my early career, I did a lot of young adult books, and I didn’t want fans of the young adult material to say like, “Hey, Nick did a new book, let’s go check it out!” and it’s… I don’t want eight year old kids listening to that. So yes, I came up with a pseudonym. I think that it’s a really smart move for any narrator. It does give you a little bit more flexibility in the content that you can put out.

Scott Jacobi:

You talked earlier about script prep and how unbelievably important it is to read the book through first. But aside from reading the manuscript, can you tell us what your script prep actually entails? Are you highlighting voices? Are you making Excel spreadsheets? How do you do that?

Nick Podehl:

Before I did it all on an iPad, I had a 36 pack of different colored permanent markers, and I’d mark up the script with different colors for each character so that as I’m narrating and I see like, “okay, pink that’s Stephanie, all right. She sounds like this, great.” I don’t have to stop and look up my notes. I go through and mark the crap out of the manuscripts, highlight any word that I am not 100% certain that I know how to pronounce.

Then once that’s all done, I have, as Aleron said, my spreadsheet of characters, as well as words, and I’ll talk to the author about it and say, “all right, let’s go through and let’s hit all these words first.” With any pronunciations that are real words that I just don’t know how to say, we’ll look them up and figure it out. Oxford English Dictionary. Then characters, we’ll go through the same thing. What does this character sound like to you? How about this one? What do these groupings of people sound like? Do they all sound like they’re from the same region? Things like that. Once that’s all done, then I can start recording.

Scott Jacobi:

Once you’re in the thick of things, Nick’s already done his prep, how do you handle suggestions and feedback during recording for fine-tuning the performance? Maybe you talked about this already, but Aleron, what makes you comfortable speaking to Nick in that moment and telling him he needs to change something? Maybe not now, seven books in, but at the beginning, is it just that you’re sure of what your vision is, or is it something Nick’s put on the table?

Aleron Kong:

For me, I’ve never really followed social norms and niceties. I’m always willing to roll the dice. Like, “this could go wrong, but this is something that I care about so I hope that you can take it well, but no, I feel like it’s this other thing.” Also, I’m an insane movie buff so the Easter eggs that I trickle in, it won’t work if you don’t say it in the right way—people aren’t going to pick up on it. I’ve been like that—”you have to put that in, otherwise that’s like a waste of a laugh.” But now, I love when listeners come to me and they’re like, “I can listen to this forever. How did I miss it?” And then everyone jokes around, and it’s a thing that’s part of my community now, and it’s because we took the extra time to make it happen.

Scott Jacobi:

It sounds to me like an example of art driving the commerce, right? It was important for you to have the joke land or the Easter egg be noticed. What that ends up doing is creating a situation in which people are really strung along in the series and they want to keep coming back, they want to keep hearing your narration, they want to keep reading your books. I think that’s fantastic.

So Aleron, in LitRPG, constructed languages are a part of your writing—alien languages words that don’t exist in English. Did you hear them in your head or did you know what the pronunciation would be before Nick sort of forced you to put that out there?

Aleron Kong:

Yeah. I didn’t go to James Cameron level, where he literally invented a new language, but for example, there’s a Sprite race in my series which is heavily influenced by Japanese culture. You’ll hear that in some of the voices, but also, if I want to say something in Sprite, I might just Google, “how do you say this in Japanese?” and chop off a little over here.

Nick Podehl:

One of the things that I feel is important for me to do is to not have a set “I’m the artist, I’m right” mentality. You’ve got to be willing to work with them. You’ve got to be willing to say, “okay, maybe I’m wrong. Let’s try it.” I think that in my experience, with working with some other narrators, they’re not always very quick to say, “okay, let’s try it your way,” and you really need to be willing to do that.

Aleron Kong:

As the author… I agree. That’s the number one thing I would say that makes it a not-painful experience. Everyone that’s an artist, gets in their feelings about what they’ve made. That’s just the way it is. But being able to not have it be painful if somebody disagrees with you, that changes everything. It changes the entirety of it. It’s just that humility, but the author should come at you with humility as well. They shouldn’t just be trying to beat down your door for something. But yeah, it’s so refreshing to work with someone that’s like, “okay, well, let’s give it another shot.” Simple as that.

Scott Jacobi:

I’m just curious, is this sort of together forever? What happens when the series that you’re working on now reaches its conclusion? Let’s say you decide to write a different series, what are your thoughts about continuing to work with Nick, and how does that strike Nick?

Aleron Kong:

I have seven books and they’re all contiguous. I always wanted him to be the voice of that series. But I’m working on other series now, and I get people that write and thank me, like, “Oh my God, I never would have found Nick if it wasn’t for you,” but I get way more people feeling like finding me through him. So for the rest of this series, definitely. For continuity, and because I just love what Nick brings to it. For a new series, I probably would reach out to other narrators, audio performers, that also have an established audience. Because when I’m working with somebody like Nick, I get access to everything that he has done before, and he gets access to the people that have followed me before. And if you can find other people that are not horrible people, that you can actually stand working with, it makes sense to also branch out. And then you’re sharing audiences, and it’s a mutually beneficial kind of thing.

Scott Jacobi:

So Nick, if Aleron wrote a new series and he’d like to expand his repertoire, is that cool with you? Are you sitting there really jealous Saturday nights, all by yourself? How do you make your peace with that?

Nick Podehl:

Very easily. Because just like you said, this is a business, and we are bringing to each other the fan base that we each have. And I think that’s good, because even if you just look at it from a perspective of, he goes to a new narrator and that narrator has a fan base, and they love what Aleron and this other guy do and think, “I want to hear more Aleron Kong. Oh, who’s this Nick guy? Okay. I’ll listen to him.” All of a sudden, if they like what I do, I got a new fan. So it’s mutually beneficial.

Aleron Kong:

I would say that I take my books and whatever very seriously, and Nick’s professionalism has always blown me away with that as well. There’ll be times where he’s like, “Hey man, I was going to work today, but I feel a little scratch, and I feel like it might come across in what I’m making. So I’m just going to take a day off.” Which is also why, again, I think it pays for itself. Because later, listeners are like, “Oh my God, I love what I’m hearing.” I think that, at least on the author’s side, there’s way too much immediate gratification, what’s right in front of my face, what can I get from you right now?

Like, we’re going to be in this industry together for a very long time and your name really, really matters, so you should treat it like gold. And I have no problem with telling everyone I meet about how with Nick, there’s no reservations at all because of his professionalism, because of his talent, because of everything else. If Nick had never read a book before, based on his demo, I would have waited for him.

Scott Jacobi:

Why based on his demo?

Aleron Kong:

Based on his demo, yeah. Not his Facebook profile. I just would have waited. He made me excited to hear the same thing that I’ve read a thousand times. Proofreading sucks. I got excited hearing it again, simple as that. I listened to 50 different people and there was some of them, like “Oh, okay.” Then I heard him and I’m like, “Oh my God, this is all.”

Scott Jacobi:

I think that’s a great note to end on. Thank you so much, Aleron and Nick.

Better Together: Aleron Kong & Nick Podehl on Collaboration: Part 1

The standard ACX equation is words + narration = audiobook. But when is an audiobook more than just the sum of its parts? Aleron Kong and Nick Podehl have teamed up over the course of the author’s eight-book series, Chaos Seeds, to create an audio odyssey that has fans hanging on every narrated word. In 2019 they joined us at the VO Atlanta conference to discuss the audio magic that’s made when authors and narrators collaborate to turn the audiobook into an art form all its own. With VO Atlanta’s Audiobook Academy, their first-ever audiobook-specific virtual conference coming up April 22 – 23, we’re bringing our conversation the blog so everyone can benefit from seeing what wonders true collaboration can yield.

Scott Jacobi: Thank you so much for joining us today at VO Atlanta. I’m joined today by narrator/producer Nick Podehl and author Aleron Kong whose first book together, The Land: Founding, was recently named Audible’s 2018 customer favorite. We’re here today to talk about how narrators and producers through ACX can directly collaborate to create fantastic sounding audiobooks that highlight both their artistic abilities, wow listeners, make money, and just be awesome. Ready to be awesome?

Nick Podehl: Yeah!

Aleron Kong: Whoo!

Scott Jacobi: So let’s start with you, Nick, being that this is a VO-focused event. You have an acting background, but before you got into audiobooks, I understand that you didn’t think you’d be able to do that and make a living with your passion.

Nick Podehl: Mmhm. I was trained in theater in college, but changed my major at the end because all the professionals coming in said that you do theater because you love theater, and it’s got to be the first love of your life—nothing else can come first. And that didn’t jive well with me because I wanted to have a family and I didn’t want to be in a box, you know? So changed my major. After I graduated, I was doing a job that I hated and my mom actually suggested, “Hey, there are these things called audiobooks—we used to listen to them on car rides and stuff. You should do that.” I was like, “Okay, Mom. You’re my biggest fan. You’ve got to say that.” But I thought, “Okay—I hate my job, let’s do it. Let’s put together a demo.” I sent it in, and amazingly enough, they called me in for an audition and I got it.

Then, it was like, “Hey, good! You got a book! You’re probably not going to get another one for awhile. That’s just how this business works. Don’t feel bad.” But I kept with it and then I discovered this platform that was new to me—ACX—after I had done a few titles with some of the major producers and I thought, “Well, okay, this is a great way to work with some more up-and-coming authors and get more consistent projects.” So I gave it a shot—I used the services of some local studios near me and I recorded books there, and after a few of these, I realized like, “okay, this is picking up, like I could actually do this,” so I looked into building a home studio and decided to finally take that plunge. And it’s kind of just been rocking and rolling ever since.

Scott Jacobi: Aleron, can you give us a quick background on you and tell us how you came be an author and got into audiobooks, and then why you were publishing through ACX?

This image has an empty alt attribute; its file name is aleron.jpg
Author Aleron Kong

Aleron Kong: I had the opposite story from Nick. I had to hide the fact that I wrote my book from my mother. And when I published it, I told my cousin who told his mother who then told my mother. And she called me and said, “Why are you lying to people? People said that you wrote a book. And I was like, “Oh, I wrote a book.” And she was like, “No, you didn’t.” And I’m like, “No, it’s for sale. It’s a book.” And she goes, “I’m going to look this up.” And then I hear in the background, “There’s another Aleron Kong that wrote a book. I can’t believe this!” She’s like, “Why would you take credit for this person’s work?” But she finally put it together and then she was like, “Well, what did you say about me?” I’m a physician by training, and when I decided to focus solely on writing, my dad said, “Son, are you paying your bills?” and I was like, “Yeah.” And he’s like, “Well, I don’t want to talk about this anymore.” Then my mom said, “So you’re just going to spit on all your ancestors. That’s the plan right now?”

Scott Jacobi: This, I think, could be its own book.

Aleron Kong: I started writing for me. I never thought it would go anywhere. It was more of a psychological exercise than anything else. But I had found LitRPG, which is my genre—literature role playing games. It’s only been around in the States for about four years and I found it around three and a half years ago. And when I found it though, it was like, “Where have you been my entire life? Like video games and sci-fi fantasy??” At the time, were only like four books available because it started either in Russia or Korea. So I was bemoaning the fact that there was nothing more to read one day and I was like, “Well, why don’t I just give this a shot?” I wrote six books in 14 months, and then the seventh one weighs five pounds and I wrote that a year later. It’s been a year since then. And I’ve kind of just started enjoying my life again, so…

Scott Jacobi: And how did you get to the audiobook publishing side of that?

Aleron Kong: I had never really listened to an audiobook before, but I had fans that were like, “I really enjoyed reading your book, but I really love listening to audiobooks.” I was hearing that more and more, so I thought, “Okay, well, let me figure out how to do this.” I found a narrator who did a perfectly reasonable job on my first book, but the feedback I got was, “Oh, I loved your book.” And I’d ask, “Well, what did you think of the production?” And they’d say, “Oh, it was fine.” And these are my babies, so that wasn’t enough. So I started asking my fan base, “who are some narrators you guys like?” And one of the people they mentioned was Nick.

I reached out and he read a demo for me, and I loved it. For the very first time I got excited about audio. And I said, “Look, man, I just want to be very clear—it’s important to me that we have a collaborative effort, we work together, we bounce stuff off each other…” and he’s like, “Look, man, just so you know, it’s important that we have a collaborative effort, that we work together…” and so on. And then he says, “I’m booked for nine months.” And I was like, “I’ll wait for you.”

Scott Jacobi: And so it’s interesting that you both wanted collaboration to be a big part of this. Do you find that with all authors, Nick, or are there some that really are just like, “Here’s my book—go read it and I’ll pay you and then we’re done”?

Nick Podehl: For the most part, my experience with ACX authors is that they’re invested in their book and they want to be a part of it. So generally speaking, yes. They want to be a part of that collaborative effort. I’m sure that there are some who don’t really care. They’ve written the book and their job is done in their eyes. But most of them want to be a part of it to varying degrees. Sometimes it’s just like, “Yeah I’ll help you with some character choices” or “I’ll help you with pronunciations, but really, you know what you’re doing so go do it.”

Scott Jacobi: What is your preferred level of author involvement? At what point does it get to be too much?

This image has an empty alt attribute; its file name is Nick-300x207.png
Narrator Nick Podehl

Nick Podehl: If they’re texting me at three in the morning, it’s too much. I would say that as long as we have ample time before the recording starts we’re good—once the recording process has started and I get some feedback from them on what they’re hearing, we’ll pretty much call it good after that. We do some edits and revisions, and I’m perfectly willing to change things. If they hear something and say, “I really didn’t like what you did with this character,” alright, we’ll do something different.

But this is why, for me, a big part of the process is having them involved as it’s going. I know that a lot of narrators will just do the “I’m going to give you the first 15 minutes and then that’s it until I give you the finished book,” but I don’t think that’s a good idea. Some people are just, “Let’s crank these out guys, come on,” but that’s not how I work. I want to have the author be a part of the process. So I’ll send updates, I’ll send them chapters and say, “Here—if you care to, listen to this. Give me some feedback before we go any further.” Because what I don’t want, because then it really gets into wasting time and money, is to have them come back and say, “I don’t like what you did with the main character. Can you re-record the whole book?”

Scott Jacobi: Aleron, I guess all that struck you pretty well, the collaboration that Nick wanted?

Aleron Kong: Oh yeah. He’s awesome when we work together. And we joke around—in the seventh book, I actually wrote characters intentionally meant to be difficult for him. So that was a lot of fun because he’d be like, “well, how do you expect me to do this?” I’m like, “Sounds like your problem.” I thought it was hilarious. And he wouldn’t talk to me for a week and…

Nick Podehl: Then you go and send me an Edible Arrangement…

Scott Jacobi: Have there been any points during your time working together where you did bump heads?

Aleron Kong: I don’t think bumping heads—and it’s definitely streamlined as time’s gone on—but sometimes it’s as simple as, he’ll be like, “Hey, I have this idea. Let me send you this YouTube clip—is this what you were thinking in your head? And I’m like, “Oh, well, it’s actually more like this,” and that’s about the extent of it.

Nick Podehl: Yeah. I mean, we’ve had those character choices where you’ve heard something very specific in your head and then I have to come back with, “That’s great. I can’t do that.”

Aleron Kong: And I’m like, “You will do it.”

Nick Podehl: And then we’ll go back forth and we’ll compromise on something that I can do that he’s happy with.

Scott Jacobi: So it sounds like it’s important for a narrator to first understand what they can and can’t do, and then have the confidence to communicate that to authors. I can imagine for somebody who’s just picking this up—and maybe you experienced this when you were first getting into the business—I could see there being a desire to just do whatever the author wants, or whatever the publisher wants—and it sounds like that’s not really the best mindset?

Nick Podehl: No, because then you run into some pretty sticky situations. If you’re just blasting out auditions for anything you can get, and for some reason an author picks you to read a book where the main character is a Korean lady and you’re a middle-aged white male, that’s maybe not the best choice. So you do have to be cognizant of what your abilities are. I recognize that I have a much higher register in my voice, so I can’t do those really deep, gravelly, low voices. And we talk about that—we talk about it beforehand.

Another thing that I think is a really big sticking point is making sure that you understand the project that you’re getting into—meaning, read it beforehand. Apparently, there are people out there who don’t read a manuscript before they record it, and that makes no sense to me. I don’t know how you can do a cold read and expect it to be really, really good. A lot of the work that we do comes in beforehand. It’s prepped. If you’re doing a 15-second radio voiceover, yeah, go into it cold. That’s fine. You’ll work the kinks out. It’s 15 seconds. But we’re talking…book seven was 47 hours.

Scott Jacobi: How long did that take you to produce altogether?

Aleron Kong: That was a solid month and a

Nick Podehl: …Half.

Aleron Kong: He had no idea it was going to be that long, and I’m like, “So, I have to send you the book in two parts, because they won’t save that big.” He was like, “Ah, Aleron…”

Scott Jacobi: That naturally leads me into my next point—with a book that big, it’s a good thing to get booked on a month and a half’s worth of work all at the same time, but how did you two work out the payment structure?

Aleron Kong: We were just talking about that. Nick gets contacted by a lot of new authors, and they ask them like, “oh, can we do the royalty share?” Because they don’t really want to invest. I’m like, if you want a top quality thing, you have to invest and you pay the man what he needs to get paid for. Nick told me what his hourly was, and I’m like, “You’re worth it.”

Scott Jacobi: So for you, it’s understanding the value of a good narrator.

Aleron Kong: Yes.

Scott Jacobi: And I guess having the faith in your own work, and that you will earn that back.

Aleron Kong: Yeah. And having worked with somebody else the first time, everything was fine, but I definitely differentiate when I’m talking about Nick. There are narrators and then there are audio performers.

Scott Jacobi: And what is the difference to you?

Aleron Kong: Every character didn’t sound the same, that’s one bomb. That’s fun. I think the professionalism as well. Very simply, Nick will read the book. He has an Excel sheet of like, “these are words that you’ve clearly made up, what do you want me to call them?” And then we’ll go through that, and then he’ll talk to me like, “All right, which of these characters are important, and which ones are a little bit less?” Because if you have a nuance, just in the same way like if you’re watching a really good TV show, and you hear a slight inflection in the actors voice, it makes you excited. “Like, “Oh my God, is he going to be a horrible person later??” The same thing comes through in a book, and maybe it’s a red herring, maybe it’s not, but it makes it more enjoyable, and understanding that I think makes for a better experience for everybody.

For more on how these two use teamwork to make the self-publishing dream work, stay tuned to the blog for Part 2 of this interview!