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.
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 Persistedand 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?
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.
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!