With the help of some super-talented ACX creators, we’ve shared some great audiobook production, publishing, and marketing advice in 2020. Today, we’re closing out the year with a look at some of our favorite posts and videos.
Award-Worthy Advice from Indie Voices These rockstar indie creators represented the ACX community at the Audio Publisher Association’s Audie Awards this year. Get to know them and go behind the scenes of their award-winning work—then get inspired to create your own award-winning production in 2021.
Performance Masterclass ft. Khristine Hvam & Ryan Bess Winnick [VIDEO] There’s a lot to learn when it comes to audiobook performance, and the best actors never stop improving their craft. Here’s your chance to be a fly on the wall during a coaching session that covers pacing your performance, setting the scene, and understanding how physicality and preparation can enhance your narration.
Raise Your Voice: Narrator Erin Mallon Takes on Authorship Ever wondered what it’s like to be a Renaissance woman in publishing? Look no further than this Q&A with multi-hyphenate Erin Mallon, an actor-turned-narrator-turned-writer whose genre-bending work takes audio storytelling to the next level (think: meta comedic audio play).
Time Well Spent 2020 brought new challenges in time management and working from home. While it’s too early to know what 2021 will bring, we’re confident that entrepreneur Sarina Bowen’s tips on setting goals, developing good habits, and being consistent and will set you up for success.
Expanding Your Range: The Making of an Audiobook Musical [VIDEO] Now’s the perfect time to resolve to break new ground with your audiobook productions in 2021. Get inspired to try something new by learning how the cast of an audiobook musical put it all together, from the initial idea to the final edit.
Hannibal Hills: Lessons from the First Three Years Part Iand Part II It’s never too late to launch your career in audiobook production. Take it from Audible Approved Producer Hannibal Hills, who went from self-starter to self-mastery in 3 years. In this article, he shares practical advice for sharpening your skills, building your brand, and telling the stories that are true to you.
Love Is in the Airwaves Here’s to gal-mances everywhere! Follow along as New York Times best-selling romance authors Vi Keeland and Penelope Ward gush about each other’s audiobooks and share their process for casting and communicating with narrators, especially for dual narration and duet narration projects.
We can’t wait to see where your audiobook career will take you in 2021.
It’s a tale as old as time—author meets narrator, narrator reads story, a few editing and mastering techniques later and behold! An audiobook is born. Sometimes, though, the audiobook journey includes a number of twists and turns before the narrator even steps into the booth. Here to tell a tale of one such story brought to audio for the first time is David Niall Wilson, mastermind behind Crossroad Press, a publishing house founded to bring forgotten or undiscovered out-of-print gems into the limelight.
As a publisher and author, I find that sometimes between the marketing, the writing, the craft, and the sheer volume of energy that is expended just living your life, you need a few moments to remind yourself that there’s more out there. Some stories find their way to just the right situation that allows them to reach a level that no one vision or voice alone could have created. That’s where this story begins—with a novel titled Case White by Thomas Sullivan. Over a period of many years, I fought to bring it to publication. I’ve been privileged to bring many of Sully’s novels back into print, but Case White is different. It’s an original, and I believe it’s his finest work.
It began as an eBook, then a print edition, and when the time was finally right to bring it to audio, I simply put it up for auditions on ACX. Even now, this incredible story has barely begun to find its way into the hands of readers, so I wasn’t sure who would be interested in taking a very long royalty share project with a less-than-stellar sales record. I was not prepared for one of the most talented voices I have worked with to come to me, ready (in his words) to “fight for this book.” The material covers the time leading up to the Third Reich, and the way madness can take control of a nation, and the narrator who took the project is Joshua Saxon, whose own family fled the Russian pogroms in the early 1900s and immigrated to the United States in the mid-20th Century to avoid the persecution that would inevitably claim millions of lives.
The synchronicity of this book finding its way to Joshua and linking him to his own past would have been enough to make a great story, but in this case, it’s only the beginning.
To add a twist to this plot, sometimes the reader must find and chase the book. When Case White had wrapped up, Sully, Joshua, and I all moved on to other things, but one day, out of the blue, I received a message: Joshua had discovered that a book he has always loved, published back in the 1960s, had never been made into an audiobook. That book was The Last Temptation of Christ, by Nikos Kazantzakis. The idea seemed crazy. The book was hugely popular, published by a major New York House. If the rights were available at all, I was sure they would be with an agent, or the original publisher, and priced well out of our range. After I got done laughing at the idea of Crossroad Press being able to produce something like that, he let it go.
But I couldn’t. I checked to be certain he was right, and he was. There were many printed editions of the book (it’s still in print), there was a movie adaptation that turned the world on its ear for a while, but there was no audiobook. The currently available trade paperback is a reprinted edition from Simon & Schuster, and it’s been on sale in that same format since 1988. Experience told me that if Simon & Schuster had the rights to the book, the odds of getting to do the audiobook had just toppled off a cliff. More likely I’d give them the idea to do it themselves if I brought it up.
Maybe I just needed a little more faith. During that same period, I was negotiating for rights to some books by author Leslie Alan Horvitz, and corresponding daily with his agent, Cynthia Manson. I happened to mention my “quest” to her, and she happened to have connections at the publishing house, so she said she would check with them and see what she could find.
What she found was that Simon & Schuster did not have the rights to the audio. What they did have was an e-mail address they hadn’t used for a very long time for the author’s heirs, and they shared it with me. Still not hoping for much, I wrote to them, explaining how much Joshua wanted to perform the novel, how our company works, and my desire to bring it to audio. Then I waited. And waited. I was about to shrug and let it go, when I woke up one morning to a long, very cheerful note from Greece: the rights holders were very pleased at the idea of an audiobook! Then came the next bump—the book we need to use for the script was a translation, and the contract stated I had to have permission to use the translation, which I still needed.
The book was translated around 1960, and the translator was listed as P.A. Bien. Initial searches had Google trying to translate the name into French, found other books he’d translated, but no real information on the man himself. Then I found an article that mentioned that his full name was Peter A. Bien. Once again, I had picked up the trail. Peter is a Professor Emeritus at Dartmouth, and still attached to their Creative Writing department. When I found the e-mail address, I was not sure what to find, but again, I wrote my note, made my introductions, and waited.
There was no answer to the e-mail, but there was also a phone number. I called it. Peter was on vacation at his home in the Adirondacks, the message explained. At the end of that message was another phone number.
I wish I had time to explain the wonderful phone call I had with Peter, about Kazantzakis’ works, of which he’d translated several, and about translation in general. He gave his blessing, and even said that Joshua could, if he wished, reach out with any questions on pronunciation. I know that the two talked, and it felt like generations merging. The contract was finalized and signed. Original cover art was commissioned from West Coast artist Steve Smith, who outdid himself, and the production that has just now been completed began.
Chasing the rights to books can be frustrating—the older the book, the more popular, the more editions, the harder it becomes. This one felt like a marathon, but in the end, the journey through the words of Thomas Sullivan, the passion of a narrator to perform the book he’d always dreamed of producing, through agents, other authors, across an ocean and back to the Adirondacks, lead to an unforgettable audiobook.
Now I’m going to find my Indiana Jones hat and set out after the next one. I hope some of you will come along for the ride. Remember—audio is still a fairly young medium, and no matter how unlikely a project may seem, it never hurts to ask.
David Niall Wilson is a prolific author and the founder and CEO of Crossroad Press, a publishing company that specializes in giving out-of-print stories new life through e-book and audiobook publication. The publishing company’s work can be found at crossroadspress.com, and the author’s own work can be found on his website, davidniallwilson.com.
The driven artists in the indie publishing community are used to wearing multiple hats. Then there are the independent artists that are pushing the boundaries of their chosen profession to expand even further, following their creative spark to craft projects that expand their careers and enliven the audio storytelling genre.
Erin Mallon is one such artist – you might recognize this prolific narrator from her work with Lauren Blakely, Amy Daws, or Julia Kent, her recently-released audio play, These Walls Can Talk, or her first foray into novel-writing, Flirtasaurus, on Audible. Erin Mallon joined us recently to talk about her ever-expanding career journey.
Erin, you’re known for your work as a narrator of romantic comedies, but we heard you have two exciting new projects to add to your resume – a play and a novel, both written by you! Can you tell us a little about both of these?
Sure! The first project is These Walls Can Talk, a six-character comedic audio play about intimacy and communication in marriage. And get this – the play is set in… the romance audiobook industry! I will tell you, it was a very “meta” experience. The next project is my romantic comedy novel which released on July 15th called Flirtasaurus. It follows Calliope, a young, determined paleontologist and her budding relationship with Ralph, the sexy astronomer who works in the planetarium at the Philadelphia natural history museum where she is interning. Absurd, dino-driven humor abounds!
Have you always been a writer or was it something you got a feel for as a narrator?
I have been writing for the theater for about ten years now – I actually wrote my first play and narrated my first audiobook the very same year! So I’ve been working both careers simultaneously all this time. Flirtasaurus is my first foray into writing a novel though. It’s been a wild ride taking what I’ve learned from creating my own comedic plays and narrating other authors’ great romantic comedies, then sort of bringing it all together in writing my own book.
Has your work as a narrator influenced/informed your writing?
It has to, right? I started out performing on stage, so once I started writing plays I think I’ve always come to it from an actor’s perspective. When I’m on a roll, it feels a lot like playing all of the characters on the page. It’s always been really important to me that the actors who work on my plays feel energized and motivated by the story, the characters, the words, the comedy – so that every night they can’t wait to get in front of an audience and let that energy and excitement bounce.
Also, I’ve narrated almost 500 books at this point, and I’d say about 75% of those have been in the romance genre. It’s been such an inspiration over the years seeing and experiencing how awesome authors put their work out into the world and pondering how I might adapt my theatrical style and put my own voice out there in novel form.
You chose to record These Walls Can Talk as an audio play – was that your plan from the beginning?
No, it actually wasn’t initially intended as an audio play! I wrote These Walls Can Talk back in February through a project I co-produce in NYC called The Brooklyn Generator – an “engine” for creating plays in under 30 days. I always intended it to be performed live onstage (and I hope it still will be), but we had only one public reading in midtown before Covid hit and shut our theaters down. In an effort to bring some laughs to people in quarantine at home, I teamed up with some of my romance narrator friends to do a zoom reading of the play and streamed it on Aural Fixation, an amazing Facebook group for lovers of romance audio. The reaction from the audience was really encouraging and folks kept asking when they would be getting the Audible version, so we made it happen!
Let’s turn to Flirtasaurus, your first novel. Was it daunting to start such a large new project like that? How did you know you could do it?
I think I was pretty much equal parts confident and doubtful when I started this process. After writing so many plays, I knew I could tell a story and I felt that I was strong with dialogue – after all, that’s what plays are – but I had some doubts about how to weave a story over the course of six to eight hours (plays usually clock in around two hours or less). Whenever I felt stuck or insecure though, I returned to my processes as a playwright and that always got me back on track. Slowly but surely, I found my natural style of storytelling in this new-to-me format. I think it’s always a bit daunting when you’re standing at the beginning of a creative project, full of ideas but staring a whole bunch of blank pages. That feeling keeps many of us from even starting, because we think we’re supposed to know what to do at every moment. I don’t think that’s how creativity works, though. You just have to show up every day and play. If you can make a commitment to doing that, word by word, page by page, the story starts to take over and tell you what needs to happen, instead of the other way around.
You chose to narrate the audiobook yourself. Why did you go that way instead of hiring a narrator, and how was it reading your own words?
When I started writing plays, I thought I would be writing roles specifically for myself, but that actually never happened. With this though, I felt like I wrote it so naturally in my own voice that I knew I wanted to give it a shot! Plus, my five-year-old son has made me a bit of an amateur dino-expert, so I knew I could get all the crazy dinosaur name pronunciations right without any additional research.
It was actually an incredibly helpful exercise in catching all those pesky final edits and typos before sending the book off for printing. Narrators are great at catching those, because we can’t say it out loud if it’s not quite right on the page. I don’t know that I will always narrate my future books, but for now I’m really loving the process!
How did you go about marketing this audiobook? Did you reach out to any of your author contacts for advice?
I teamed up with the awesome people at Social Butterfly PR, and they’ve done a considerable amount of hand holding. I’ve also been fortunate to have worked with so many amazing indie authors, particularly in the romantic comedy genre, so I’ve had the benefit of observing how they operate for years. Wonderful writers like Lauren Blakely, Amy Daws and Julia Kent have all been really generous with tips and support as I start to make my way.
So what do you think – can we expect more novels and audio plays from you? What’s next?
Yes, absolutely! Flirtasaurus is actually Book One in my Natural History Series, which will consist of three interconnected standalones. I am writing Book Two as we speak. I’m also excited that The Net Will Appear, my two-character play between a 75-year-old man (Emmy-nominated Richard Masur) and a 9-year-old girl (Matilda Lawler from Broadway’s The Ferryman) is streaming on The Alzheimer’s Foundation’s Youtube Channel July 24th. We put together a really beautiful online production that I’m eager to share with people. Next steps for that are figuring out the best way to bring it to the audio format. And there are a lot more plays where that came from, which I’m planning to adapt and bring to earbuds far and wide.
Are you inspired by Erin’s ambition? Have your own ideas about taking your writing or narration career to new heights? Let us know!
One of the greatest challenges of entrepreneurship is self-management. Whether you’re an independently published author or a narrator completing projects in your home studio, you likely don’t have a boss telling you how and when to manage your working hours. There’s no one-size-fits-all solution to productivity when working from home, but the indie creator community has a wealth of collected knowledge on the topic. So, we’ll be checking in with a few productive ACX creators to see how they manage working for themselves.
First up: Sarina Bowen is the author of more than 30 audiobooks and co-host of the Story Bites podcast with producer Tanya Eby. She writes a blog, maintains an avid fan community, and manages a great-looking website and killer marketing strategy to boot. So how does she get it all done? She starts by keeping her creative time separate from her business and family time. Read on to find out how Sarina made consistency the cornerstone of her productivity.
Like so many other independent authors, my life is a juggling act between writing and business. I actually enjoy the business tasks, so when the writing is hard, I sometimes find myself poking at spreadsheets instead of adding words to my manuscript. But that’s not the most productive way for me to work, and I would often end up feeling bad about giving in to distractions.
Then I listened to Deep Work by Cal Newport (totally worth a credit!) and he touched on something that really resonated with me. I’m paraphrasing here, but he said that attention span and willpower are finite resources. As the day goes on, you’re less able to focus and control your impulses. I loved this advice, because it took away my self-judgment during those moments when I feel brain-bombed. Hey, I’m not a failure! I’m just fresh out of attention-span fuel.
Certainly, there are authors who will argue this point. If you always do your best creative work at 2 a.m., that’s groovy, too. But the concept still holds, because it forces you to observe your capacity for focus like a happy little scientist, and then make adjustments where necessary. One author who goes into copious detail about this is Rachel Aaron in her book 2k to 10k. She actually kept a log of the hours she spent writing and how effective they were. The results allowed her to fine-tune her process and schedule.
My personal writing pattern is more tortoise than hare. I average a mere 1200 words a day. That’s four books a year. Not a day goes by that I don’t open up Facebook and see one of my friends reporting that she wrote 4,000, 6,000, 11,000 words that day. You have my sacred promise that I will never ever write eleven thousand words in a day. My brain just doesn’t move at that speed, and that’s okay.
I often tell people that novel-writing is the only kind of marathon that I will ever run. And I run a lot of them. So many, in fact, that my life can feel like a long stint on the treadmill. Even when I’ve finished a book, there’s another one waiting for me. If you want to keep up this kind of pace, you have to find ways to be kind to yourself. My friend Sarah throws herself a party each time she makes it to page 100 on her new manuscript.
My approach is a little different. I have a sticker chart, just like your average third grader. If I write 1200 words on my work-in-progress, I get a sticker in my planner. It’s hard to admit that I’m a sucker for bits of printed paper with adhesive. Yet it’s shocking how motivating it can be to chase that day’s sticker. Admittedly, I have really great taste in stickers—it’s nice to see an entire month’s worth of chickens or multicolored pencils covering the page. Jerry Seinfeld used the same approach with—gasp—red Xs on a wall calendar. Every day that he wrote a good joke, he’d make an X on that calendar. “Don’t break the chain,” he says of this method. It’s motivating to keep up your own good work, and it’s harder to look at a streak that’s broken.
Consistency is therefore my single biggest secret. If I get that sticker by noon, I feel invincible. The key to this magic is avoiding my email inbox and social media. I’ve lost more work hours to email and Facebook than I care to admit. There are two ways that my inbox harms me: 1) FOMO. Is someone having fun on the internet without me? and 2) the lure of the easier items on the to-do list. It’s simpler to answer an email than to craft beautiful sentences or solve plot problems. But, when I avoid engaging with the world early in the day, I’m much more likely to stay in the zone and focused on my work.
And that early success is powerful. By hitting my goal, I feel relaxed and confident while I move onto other tasks, like looking after my house, my kids, my health. I can turn my attention to tidying up Quickbooks, searching for cover art, or listening to narrator’s samples. I feel good about my life on these days.
On the other hand, if I’m crawling across the word-count finish line at 10 p.m., it’s a little demoralizing. This usually happens because I fail to follow my own system. Maybe I checked my messages when I should have been writing. A single email can blow up whole my day. And by the time I put out the fires, it’s time to cook dinner and the daylight is shot.
Publishing your own work means you’ll have more of those days than an author who lets other people handle all the business challenges. Ultimately, that’s okay with me. This career is a choice, and I embrace the chaos when it comes to my door. But if I embrace it after I hit my word count goal, I’ll feel calm and in control anyway.
That’s how I get it done. With stickers. And science. And a little advice from smart people who have walked the same path.
Give Sarina’s audiobooks a listen on Audible, and take to the comments below to share your own productivity pointers.
The Audies were last night, and there was a strong showing from the ACX community, with several outstanding independent creators receiving nominations for their work. The Audies are the Audio Publishers Association’s annual awards for the best titles in audio publishing, and we have the inside scoop on what made these productions stand out, how they came to life, and why their creators submitted them for the consideration. Read on for inspiration, and let us know at the end if you’ll be submitting your title for next year.
Lauren Blakely – Birthday Suit
What makes Birthday Suit unique?
Birthday Suit is narrated by 12 amazing performers, full-cast style, so it sounds like a book met a radio play. It’s an aural experience, a book experience, and a theatrical experience all at once. The cast sounds great together and you can tell they had fun playing off each other.
Tell us about the vision for this project—how did you bring it to life?
I’m a theater lover, so I’d wanted to produce a full-cast audiobook for some time and Birthday Suit was the perfect story for it because the romance includes an interesting cast of characters that the hero and heroine interact with during a scavenger hunt. I felt each character was unique, with his or her own quirks and traits, and because of that, the story called out for a new audio style. More so, I believe Birthday Suit has a powerful love story at its core—one that plays out over ten years, with all sorts of angst for the hero, which Sebastian York captured brilliantly as his character falls in love with his best friend’s girl.
I worked closely with two talented people who I partner with on most of my audio books—Andi Arndt, who is both my primary heroine narrator and the force of nature behind Lyric Audiobooks, and Tyler Whitlatch at Plunk Productions, who edits and produces all my ACX titles. The project was a true collaborative production, with us bouncing ideas off each other, then assembling the cast and sending them to a studio in New York. Not only is Andi an award-winning narrator, she makes casting call spreadsheets like nobody’s business! And Tyler is vital to all of my books with his terrific ear for detail and his focus on creating a fantastic final product—he was in studio working with the actors during the recording, and he made sure everything sounded amazing in post.
What gave you the confidence to submit this project for an Audie?
I fell in love with this production from the very first minute I listened to the files. It was everything I’d hoped it would be and more—bright, dynamic voices interacting together. I decided before it even released to submit it, though I never expected the nomination to come in audio drama! That was a terrific surprise!
Stephanie Bentley & Miranda Ray – Lustily Ever After: The Audiobook Musical
What makes Lustily Ever After unique?
We are thrilled to be the first audiobook musical for adults! This multicast narration of a novella-length fictional story includes 20 original songs inspired by 90’s pop music peppered into the book, which heightens the comedy of the romance parody. Characters voice their own dialogue and chapter headings are sung by a trio invoking the R&B group En Vogue.
Tell us about the vision for this project—how did you bring it to life?
I am a full-time audiobook narrator and a longtime musical comedy performer, so the inspiration for this book was truly as organic as it could get. I narrate mostly romance novels and would find myself giggling in the booth over and over at some of the tropes. Suddenly these lyrics just started coming into my head for the classic billionaire character—“the models in my bed don’t keep me warm at night, and no amount I spend can make me feel alright”—I started writing, and pretty soon a whole musical just came tumbling out! The songs were mostly written before I hired Miranda Ray to pen the actual book, so this was very much an audio-first project.
There was so much creative collaboration on this project. Miranda was sending me pages from her theater tour on a cruise ship, I was sending vocals to Aaron Wilson to create the tracks, and I brought in very funny comedians from The Groundlings and Upright Citizens Brigade Theater to voice the other characters in my home studio. This was such a labor of love and every person who touched this project changed and enhanced some part of it and made it into what it is today!
What gave you the confidence to submit this project for an Audie?
I hope more than anything that this nomination will inspire ‘regular people’ like myself to go out there and just create whatever they are dreaming of! This is such an exciting time to be an author and anything truly is possible! I submitted my work for an Audie because I absolutely love it, and I believe that this audiobook musical niche is about to be a huge marketplace in audiobooks.
Tanya Eby & Blunderwoman Productions – Nevertheless We Persisted: Me Too
What makes NWP: Me Too unique?
This is truly a unique audiobook. It was created by survivors of sexual abuse/discrimination and features original essays and poems, as well as original music and art for the cover. When casting, we asked our narration community for people who felt a connection to this topic, and we did crowd funding to underwrite the production so that we could pay all participants in it.
Tell us about the vision for this project—how did you bring it to life?
Blunderwoman looks for unique and important storytelling, and I try to do one passion project each year. I was deeply touched by the #MeToo movement and saw that so many of my loved ones had similar experiences. I wanted to amplify the message that abuse and discrimination still happens—is happening—and to give those stories a chance to be heard. An audiobook seemed to be the natural way to amplify voices—literally—so I created a call for submissions from writers, and narrator and writer Karen White joined me as co-editor for the piece. Friends and fans helped me spread the word about submissions, and we received pieces from all over the world. Narrators recorded poems and stories in their studios, Amanda Rose Smith did post-production and created original music, and singers who recorded tracks in their own studios and sent them in to be mastered. This was truly a sprawling project, and sort of a marvel on what we can accomplish using modern technology.
This project was definitely created with audio in mind—there is something deeply powerful about hearing a story told. In this case, having people speak directly to the listener and say “here is what happened to me.” It’s incredible the impact that audio can have. It connects emotionally with the listener, it can be transformative, and the team who came together to produce this (all 100 of us as writers, singers, artists, and performers) felt connected not only to a project, but also to something bigger: the power in telling a story, of the end of secret keeping, and the empowerment and healing that can come through expressing your truth.
What gave you the confidence to submit this project for an Audie?
I knew no matter what happened, I was going to submit this. While this is not an easy listen, I wanted to give it a chance to be heard by as many people as possible, and I thought the Audies would be a wonderful way of thanking the creators of this project by acknowledging their hard work and commitment to creating something powerful. I’m so honored and pleased that it received a nod as one of the Best Original Works. In my mind, we’ve already won.
Congratulations to all this year’s Audie nominees! Your boundless creativity and drive to create never fail to inspire us. Let us know in the comments what you’re feeling inspired to create, and if you’ll be submitting your 2020 title for next year’s Audies!
It’s been quite a year for the ACX community: ACX creators published over 30,000 audiobooks, aided by the launch of some exciting tools and features, like Royalty Share Plus and Enhanced Promo Codes. Thank you for continuing to elevate the field of independent publishing through your hard work and innovation. In this giving season, we’ve decided to honor the tradition of re-gifting by wrapping up a few of our favorite blog resources from 2019 and presenting them to you to help support your continued excellence. Enjoy… or re-joy!
Now Hear This: Promoting with SoundCloud: Audio samples are your best friend when it comes to marketing your audiobook—they’re a great way to grab a listener’s attention and leave them eager to purchase the audiobook. Check out this article for great ideas on leveraging this free audio platform to put those samples everywhere your audience is, so they’ll be sure to give them a listen.
Bonus: Want more content on low and no-cost social media promotion for your audiobooks? Check out this episode from ACX University.
Amy Daws on Her Authentic Social Media Self: Authenticity is the key to a devoted community of fans, and nobody knows that better than this author and social media maven who uses her own genuine energy, fun content, and regular engagement to keep her fans’ attention between new releases. Learn from her social media strategies and fan the flames in your own fan base.
Bonus: Want to hear more on engaging with your fans? This is the ACX University episode for you.
Lighting the Way: An Author’s Journey into Narration If you’re an indie author, you’re no stranger to doing it all yourself, so chances are you’ve considered narrating your own audiobook. Well, paranormal mystery author Mary Castillo decided to do just that for her series, and you can read her full account of the production process from a writer’s perspective here.
Bonus: Interested in narrating your own book? Learn more about the art of audiobook performance here.
Production Pointers from Audible Approved Producers Whether you’re a narration newbie or a production pro, it never hurts to hear from other independent Producers on how they’re getting the job done. In this Q&A with a few of 2019’s newest Audible Approved Producers (AAPs), you can read about their favorite gear, pre-recording rituals, and at-home studio setups—you might learn a thing or two to add to your own process!
Bonus: Looking for more tips, tricks, and technical advice for audiobook production? Check out this ACX University series from our QA team.
A Portrait of the Artist How do you make a big impression and catch the attention of the authors you want to work with? It all starts with a compelling, professional, comprehensive Producer profile. In this article, we walk you through creating an ACX profile that stands out with examples from some of our favorite AAPs.
Bonus: Looking for more advice on your audiobook production career? This ACX University episode is for you.
Whether you’re new to the blog or seeing these articles for the second time, we hope it renews your drive and enthusiasm for creating great audiobooks, and gives you some good ideas for propelling your passion and your work forward into a successful new year. Feel free to re-gift these to the indie author or producer on your list!
ACX author Joshua Gayou snagged all-star Audible Approved Producer R.C. Bray to narrate his debut novel, Commune: Book One, after he approached R.C. during a Reddit AMA (Ask Me Anything). But before that fateful question, Joshua set himself up for a ‘yes’, putting the right pieces in place to catch lightning in a bottle. Joshua joins us today to share the work that enabled his audiobook achievement.
ACX author Joshua Gayou
Working with Audie Award-winning voice artist R.C. Bray has resulted in the audio version of Commune: Book One outselling both the eBook and print formats of the title, sending it to the #1 position on Audible’s post-apocalyptic genre charts for several weeks. Not too shabby for a debut novel by a completely unheard-of author, no?
I have written at length on why I believe audiobooks are the new place to be in today’s market, but for this article, I wanted to offer some insight into how I managed to have a book produced and performed by R.C. Bray, given my relative obscurity. Sadly, there is no fast and easy answer to this. There is a lot of groundwork to have in place before you ever approach the narrator of your choice. Here’s what I recommend.
1. Be Good
The importance of this concept cannot be overstated. I truly believe R.C. Bray would not have signed on to produce my audiobook if he had not been wowed by my writing. Generally, the steps necessary to become a good writer will vary from person to person, but all involve a great deal of practice.
Read/listen to lots of books to learn what works well and what doesn’t with regard to telling a story using the written/narrated word.
Do a lot of writing and share your work with people you trust. Most importantly, ask for blunt criticism.
Write with a view toward the audiobook production process. Concern yourself with narrative flow, delivery, and dialogue structure.
2. Find a Way to Distinguish Yourself from the Herd
I know I just told you to be good, but I’m going to reveal the hard truth: good writers are a dime a dozen. You’ve also got to be refreshing. One way I’ve done this for myself has been to consume a great deal of similar media from other creators with a hyper-critical eye. You know that jerk that’s always picking apart movies and TV shows to a surgical degree to discover what’s wrong with them? Yep, that’s me. I’m looking for things that I don’t like, and if the opportunity presents itself, I actively work to avoid those tropes and clichés in my own work.
If you focus on finding some way to make the story an uncommon reader experience, and more importantly, if the result of that focus is exciting to you as the writer, you’re most likely on the right track.
3. Make Sure Your Work Fits the Narrator
The better narrators tend to be very protective of their brand, as they should be. A performer of any type wants a project that will favorably show his or her talents. Be sure to research your dream narrator’s body of work and learn what projects he or she typically likes to pursue. If you’ve written a gritty procedural crime drama and the performer you’re looking at spends most of their time in the fantasy and cyberpunk genres, you may not have the best chance of getting that person on board with your project.
Both R.C. Bray and I enjoy a good apocalypse story; I know this because I’m a fan of his. To set yourself up for success, do your research on both the type of project you’re looking to publish as well as the people you’ll want to work with along the way.
4. Get a Narrator on Board
Up until this point, everything has been under your control. Now you have to convince someone else that your story is worth investing in. No one is going to just dive in to help you make your book, unless they think there’s a payday on the other side of their efforts. Narrators do this for a living, after all.
Audible Approved Producer R.C. Bray
I started by connecting with my favorite narrator via social media. I was a fan of R.C. Bray’s for a few years before I ever signed him for my books. I followed him on Facebook, I interacted with him, and made it a point to let him know that I appreciated and supported his work. This was not for the purpose of schmoozing him to do my books; I hadn’t even written any at the time. But we built a rapport such that, when he hosted a Reddit AMA (and I actually had written a book by this time), I felt comfortable asking him about the steps necessary for a newbie to break into the audiobook business, which he graciously answered in a private email. Unbeknownst to me, he also went and downloaded a copy of my book, and after reading the first chapter, decided that he wanted to produce it.
It was a lucky break, absolutely, but a lucky break that would have never happened had I not done the work outlined above and made it a point to reach out and connect. Work on your craft, study the industry, find ways to connect with those narrators you most enjoy, and interact on a human level. This is the best advice I can offer to help you open up your own doors. Good luck!
Joshua Gayou is the author of the best selling novel Commune: Book One, the first entry in the Commune Series Tetraology. He lives in Southern California with his wife Jennifer and son Anthony. When he isn’t writing, he divides his time between being a senior engineer in the avionics industry, accomplishing tasks around the house as assigned by his wife (The Boss), and goofing off with his kid. Find him on Facebook, Twitter, and his blog
While it may seem like summer just ended, the 2014 December holidays will be here before you know it. With visions of production deadlines dancing alongside sugar plums in your head, here’s the info you’ll need to set yourself up for audiobook success as we near year’s end.
First, note that you’ll need to submit audiobook productions to ACX by December 5th to have the best chance of your title being available for sale by December 31st. What can producers and rights holders do to ensure a smooth production and a speedy trip through ACX’s QA process? Glad you asked!
Submit your final audio in well advance of December 5 so your rights holder has time to listen and request changes if necessary.
If you’ve got audiobook productions that you’re hoping to have on sale for the holiday season, follow these steps, and you’ll be well on your way to achieving your goal. Then, you can focus on lining up projects for January and beyond!
Do you have a tip to help keep audiobook productions on track? Share it in the comments!