Tag Archives: ACX

Now on ACX: Royalty Share Plus with SAG-AFTRA Contributions

Great news, everybody: actors can now accept Royalty Share Plus deals with SAG-AFTRA Health and Retirement contributions on ACX!

What This Means for Actors

SAG-AFTRA actors now have the opportunity to accept more audiobook projects on ACX, and actors hoping to join the union have another pathway to membership. With Royalty Share Plus, actors get paid a per-finished-hour rate that can help cover production costs and receive royalties on every sale, splitting royalty earnings 50-50 with the audiobook’s Rights Holder.

Actors will be able to contribute to the SAG-AFTRA Health and AFTRA Retirement funds directly through qualifying Royalty Share Plus projects. Get started by adding your SAG-AFTRA ID to your ACX account. Then, ensure your union contribution will be made for qualifying Royalty Share Plus deals by clicking “Accept with SAG-AFTRA H&R.”

Royalty Share Plus projects must offer a minimum rate of $100 per-finished-hour to qualify. You can review the Health and Retirement Contribution Conditions for SAG-AFTRA Actors for complete terms and conditions.

What This Means for Rights Holders

This update makes it easier to recruit top talent for your next audiobook production. To hire a SAG-AFTRA actor for a Royalty Share Plus project, you must offer a minimum per-finished-hour rate of $100. When your chosen actor accepts with SAG-AFTRA, you simply pay them through their designated Paymaster, then royalties for your audiobook are split 50-50 with the actor as usual.

We can’t wait to hear the new audiobooks that come to life through Royalty Share Plus!

Click here to learn more about SAG-AFTRA and ACX

Time Well Spent: Author Sarina Bowen

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.

An Update to Audio Analysis

Earlier this year, ACX launched the Audio Analysis tool for Production Manager, a new feature that allows Producers and DIY Authors to upload audio files and receive immediate feedback in a report identifying seven of the most common production issues—all before submitting the project to Quality Assurance.

We hope you’ve been exploring the new feature and are finding it to be a helpful tool in your production process. Now that you’ve had a little time to get comfortable with Audio Analysis, we’re making an adjustment to the ACX submission process: starting today, some accounts will see the new experience, and by May 4, all titles will be required to resolve any issues identified by Audio Analysis before they are able to submit for review.

Need help making corrections? The Audio Analysis tool provides a full report on all your audio files, with details on the issues that need addressing, and links to specific ACX Submission Guidelines and Reference Guides that can help you address them. And as always, if you need more guidance or assistance in getting your files QA-ready, the ACX blog and YouTube channel are at your disposal with further resources on recording, editing, mastering, and more.

Award-Worthy Advice from Indie Voices

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!

Save the Date—ACX University is Back October 28th!

Sharpen your pencils and get ready to hit the books: October 28th, ACX University is back at 5:30PM ET for its seventh year and it’s all about the pros: pro tips, pro experts, and the biggest pro of all—it’s free! We can’t think of any cons.

Our 2019 curriculum is a masterclass in taking your audiobook business to the next level, so expect plenty of advanced techniques and insider tips from the industry’s best. Get to the head of the class by marking your calendars with this handy calendar reminder and catching up on past episodes here.

Want a sneak peak at this year’s classes? Check out acxuniversity.com to catch a glimpse of our instructors and see what’s on the agenda for this season. We hope to see you in class!

A Portrait of the Artist

Listen here, ACX Producer—when’s the last time you updated that profile page of yours? Here on the blog, we can often be found extolling the importance of investing in your home studio, honing your editing and mastering skills, and publicizing your work on social media platforms. But we’d be remiss if we didn’t highlight the value of your professional presence on ACX—your Producer profile! A curated, well-maintained profile will not only make it easier for Rights Holders to find you on ACX, it can help you stand out from the crowd and command the attention of authors and publishers on the hunt for talent like yours.

So, what are the elements of a successful profile? We’ve written a guide to giving your profile the makeover it deserves and sprinkled it with examples from some excellent Audible Approved Producers. Refer to the highlighted areas in the image below as you read along at home.

Prod Profile_01

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Profile Image

A complete, professional-looking ACX profile should include an image, first and foremost (1). Many Producers choose a professional headshot or a picture of themselves having fun in the studio. Not all voiceover artists wish to provide a headshot, however; many feel that their physical appearance sets an expectation incongruent with the variety of vocal performance they’re able to deliver, and would prefer to let their voice speak for itself. In that case, we recommend a graphic or logo developed to represent your brand—Fiverr can be a great place to source one of these—or a picture of your studio without you in it.

Bio

There are two places for you to biographize yourself on your ACX profile: the one-line blurb that appears beneath your name, and the “About” section (2). The first is a great place to offer a zippy little intro that grabs the searcher’s attention. Draw some inspiration from these great one-liners:

  • Confident, Intellectual, Charismatic—The Darkly Sophisticated British Storyteller. (Hannibal Hills)
  • Bright. Vivacious. (Suzanne Barbetta)
  • A smooth blend of professional sound with a personal touch! Bringing stories to life for over 15 years as a narrator and voiceover talent. (Heather Costa)

Then, there’s space under the “About” tab to add a longer bio (3). This is a place to give a comprehensive overview of how you got started, how long you’ve been narrating/producing, why you love it, what sorts of characters/projects you’re drawn to, your vocal range, repertoire, and any special skills you possess. For example, Kyle Tait highlights his extensive experience as a sports announcer. Listing this type of skill might seem irrelevant to audiobook production, but it can capture the attention of the author of a sports biography that wants to be confident their narrator is up to tackling the specific jargon and style of their book. Consider your unique skills and knowledge outside the world of audiobooks, and include anything that makes you stand out!

Prod Profile_02

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Samples

We know it’s tempting to include samples of the great work you’ve done in short form VO, but compelling as they may be, they aren’t especially relevant to Rights Holders looking to hire you for an audiobook project. For your ACX Profile, it’s best to include audiobook samples (4). If you’re new to audiobooks and don’t have many (or any) productions under your belt, head over to Project Gutenberg and choose an appropriate piece from the 60,000 free public domain books on their site. Remember, you can always link to your website from your profile and include your other VO work there.

Next, be judicious when it comes to the number of samples on your profile: too few and your experience and range won’t be apparent, too many, and authors may find themselves overwhelmed and moving on before they give you a good listen. Choose just 5-7 of your best samples that showcase great production values, your range as a performer, and a variety of genres, character types, and dialects. Hannibal Hills and Suzanne Barbetta use their “Sample” sections to great effect, including samples from a wide variety of genres so prospective authors can hear their range as a performer and don’t have to imagine whether they’re up to the task. Pro Tip: you’ll notice these producers have named the samples according to the genres and/or vocal styles they represent. The author or publisher perusing your profile may be completely unfamiliar with the book titles listed in your repertoire, so help them out a little by describing the vocal skills and characteristics on display in each sample.

Credits

Think of this section (5) as your IMDB page on ACX—this is your space to list not only the audiobooks you’ve recorded, but the movies, television shows, theater productions, commercials, radio programs, or video games you or your voice has appeared in (yes, here we encourage you to include relevant non-audiobook work). We also find that successful Producers include related experience, education, and training, be it a master’s degree in theater or a vocal performance workshop they took. Many producers, such as Kyle Tait, also choose to list the gear they use in their home studio setup here so that authors know they have the tools to produce a great audiobook, whereas Suzanne Barbetta features her experience as a paralegal under “Special Skills” to impart her knowledge of legal terminology. Heather Costa lists all of her available audiobook titles under “Credits,” which not every Producer chooses to do, but the list is impressive and the effect is clear—you can tell at a glance she has plenty of experience and has been re-hired by several authors to narrate multiple titles in their catalog.

Prod Profile_03

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Awards and Recognition

This is no place for humility, folks—this section (6) is your chance to brag a little! Show off your accomplishments and tell ‘em what the critics are saying—include any awards you’ve won or been nominated for, include ratings and reviews from listeners on Audible (like Hannibal Hills has done) or from authors who have been happy with your performance and delivery of the project, such as in Heather Costa’s profile. Most consumers don’t make an online purchase without reading the reviews first, so why should we assume shopping for an audiobook narrator should be any different?

Now that you know the ins and outs of a shining producer profile, don’t let it get dusty! Keep it current and up to date with your achievements, new releases, and professional development. Your producer profile is more than just your resume on ACX—there’s a good chance you won’t meet the authors you work with in person, and won’t have contact with them until they make the offer to produce their book, so think of your profile page as your resumé, audition, and interview, all rolled into one. Someone wise once said you only get one chance to make a first impression, so you’d better make it an impressive one, don’t you think?

The Case for Audio

Last week, we discussed how to market your audiobook to listeners who haven’t heard your work. In today’s post, we’re addressing your other target audience: fans of your books who aren’t yet audio listeners. These might be devoted followers or those who have only read one title, but either way, you want to get them listening. But how? Well, the first step might be to find out what’s stopping them.

My first recommendation is to grab the low hanging fruit – your fans who just haven’t given audio a try. Maybe they no longer have the time to sit down and read. Maybe they’re already reading so much of your work that they simply don’t have any more time to read. These fans might be your easiest audience to convince, because one of the best arguments for audiobooks is that you can listen to them when you don’t have time to read. For this audience, you can play up the classic audiobook promotion angle: listen while you drive, listen while you walk, or clean, or garden, craft, exercise, cook, whatever! Your biggest fans may be quick converts once they realize they can consume even more of your work than they thought.

Cheerful girl wearing sweater standingBut what about the holdouts, the ones who say they’ve tried but just can’t get into audiobooks? Readers, I happen to be in a perfect position to help you, because—believe it or not—I was one of those holdouts. Gasp!! I know. I’m a devoted literary nerd, a lifelong ravenous consumer of books, and a longtime fan of storytelling radio programs and podcasts, but I was very slow to come around to audiobooks. I tried one or two, but it just wasn’t the same as reading. The irony? The thing that ultimately made me love audiobooks was the realization that listening isn’t the same as reading—it’s listening. It’s an entirely different way to get lost in a story. Once I started thinking of audiobooks as oral storytelling or audio drama (like a radio play) it suddenly made sense to me. Now, I’m an avid listener, but I approach my listening choices very differently from how I approach my reading choices. A great narrator is particularly important to me, because I’m looking for an extra dimension in my audio—I want theater, I want drama, I want voice acting! This is something important to keep in mind when you’re casting your audiobook, as well as when you’re marketing it. Make sure to highlight what your narrator  adds to the story that the reader won’t get in the print version, because that could well be the thing that drives a listener to pick up your audiobook.

What about those that say they don’t listen to audiobooks because their attention wanders? I get it. Extended listening was a challenge for me, too, and as I was writing this post, I was surprised to learn how many of my audiobook-listening colleagues were holdouts because they too had trouble focusing. Many said they were finally able to enjoy audiobooks when they realized they could listen at 1.5x or 2x speed; others said that keeping their hands busy by playing a game on their phone, or knitting, or painting, made it much easier for them to focus on the story they were listening to. One listener said she now uses it as time to do something creative and fun, playing with modeling clay or coloring while she listens. Another long-time audiobook hold-out told me he listens while he’s driving or exercising, and that a good book will even motivate him to go to the gym so he can keep listening. I love going for long walks, so a good audiobook has become a welcome park companion for me, as an alternative to a stream of shorter podcasts. I can focus if I’m walking at the same time, and the long walk gives me time to get lost in the story. These are all great suggestions for your fans. The key is to highlight ways that your audiobook can enhance the other things they have to do or already enjoy doing.

Lovely young girl wearing winter clothes standingThe last thought I want to leave you with is that listening is a skill, just like reading. We all had to learn to read once, and we know how to hear, sure, but many of us are out of practice actively listening. Acknowledge this fact, and encourage your audiobook holdouts to give it a shot—it takes practice, but ultimately I’ve found that getting lost in good audio storytelling has been worth it. A well-acted, well-produced audiobook is a medium all its own, adding a new dimension to the story that wasn’t there in print. Offer some of the above tips to your on-the-fence fans, share audio samples to pique their interest, and use your referral links to grab bounties on top of earning royalties. You can even offer a promo code on occasion—challenge your fans to give listening a shot for one free book. They’ve got nothing to lose, and you’ve got fans to gain.

How to Win Fans and Influence Listeners

In the world of audiobook marketing, there are two demographics of untapped listeners you’re trying to reach: audiobook fans who don’t yet listen to your books, and fans of your books who don’t yet listen to audio. Today, in part one of our two-part series, we’re focusing on that first demographic.

Business is Booming

ACX Promo Codes are a great tool for connecting with audiobook listeners. But many wonder who to send these codes to. Audiobook reviewers do exist, but they’re not always found in the same places as as book reviewers. Do you give your codes to friends and family? They might not listen, or leave a helpful review, and anyway they’re unlikely to become the kind of paying customers you’re hoping to discover. The best way to turn promo codes into new fans and compelling reviews on Audible is to target experienced listeners, and one way to do that is though services like Audiobook Boom!

static1.squarespace.comAudiobook Boom! connects Rights Holders and Producers with audiobook listeners. Audible Approved Producer Jeffrey Kafer started AB nearly four years ago, and has since built up a database of almost 8,000 bloggers, reviewers, and audiobook fans who receive promo codes, listen to the corresponding audiobook, and leave a review. Interested creators pay Audiobook Boom! a $12 fee for a one-time listing of their title and submit the details of the book in a short blurb.

Audiobook Boom! is free for listeners, who receive an email every Tuesday detailing that week’s crop of available titles. Listeners indicate their interest in specific books and Audiobook Boom takes care of the rest—in a few days creators receive a link to a personalized spreadsheet containing all the listeners interested in their book. Creators can then review listener profiles, choose those who have a history of providing thoughtful reviews, and distribute promo codes directly to them. Listeners can claim an unlimited number of audiobooks, although the site advises that they request no more than they can listen to in a month. Rights Holders may distribute codes to as many listeners as they like.

Jeffrey Kafer - Headshot2

Jeffrey Kafer, owner of Audiobook Boom!

Kafer’s advice on how to get the best boom for your buck? Submit titles of 6 or more listening hours in mainstream, broad-interest genres such as romance, fantasy, sci-fi, or mystery, and make sure to write an interesting book blurb. Creators can submit as many titles at once as they want, but to keep content fresh for listeners they’re asked to promote each title no more than once every 6 months.  Most audiobooks will receive roughly 40-50 requests, and the review rate is about 25%, Kafer says—not all listeners will write a review, but creators still get exposure to a new audience. Word of mouth is important, and Audiobook Boom! is a way to get your work in front of new listeners who may then pass the word along.

The audiobook industry is growing at an exponential rate and there’s an increasingly enormous number of titles for listeners to choose from. Audiobook Boom! offers two ways you can help your content stand out to listeners who are fans of your genre, but haven’t yet found your work: sending promo codes to dedicated audiobook listeners expands your audience and builds word of mouth, and great reviews will catch the eye of listeners.

Stay on the lookout for part two of our series, as we tackle that other pool of listeners-to-be—your readers who haven’t yet discovered the magic of audio.

Negotiate Your Perfect Deal with Royalty Share Plus

Today, we’re excited to introduce a long-requested feature: Royalty Share Plus!

With Royalty Share Plus, authors and publishers can invest in their audiobooks by contributing to the production costs and accessing an even greater community of Producers. This new payment option is an evolution of the Royalty Share concept, allowing ACX RSP_Brick Wall.pngRights Holders to negotiate a per-finished-hour payment for their projects in addition to splitting royalties with their Producer. Once the audiobook production is complete, Rights Holders send the Royalty Share Plus fee to their Producer, and ACX will split your royalties once the audiobook becomes available for sale.

For Producers, this means building a portfolio of steady residual income and paying everyday expenses. Producers tell us this option helps them pay for supporting services like audio engineering, take care of everyday expenses, upgrade their recording equipment, and expedite production to create even better audiobooks. Authors and Publishers can discover talented performers that may not have been previously accessible to take your audiobook production to new heights.

We hope you’ll consider Royalty Share Plus for your next audiobook production. We can’t wait to hear what you do next!

Learn more about Royalty Share Plus and all of your production options on ACX.

Don’t Fear the REAPER

Mike Taddeo of the ACX Audio QA team joins us today to discuss REAPER, a digital audio workstation (DAW) that many audiobook producers find to be a solid, cost-effective solution for audiobook recording, editing, and post-production.

As technology continues to democratize home recording, audiobook producers are presented with more options for processing audio than ever before. While some advanced production platforms cater more to music than narration, other simple editors leave much to be desired when it comes to  post-production. How can you decide which DAW is right for you?

Whether you’re new to narration or looking to up your game, we find Cocko’s REAPER to be a fine balance of the two. Featuring a customizable interface, REAPER allows you to set up a session view to best fit your workflow and find all the tools needed to produce a high-quality audiobook. For more information on using these tools & effects, be sure to check out our recent episode of Q&A with QA titled, Mastering with Effects Processing.

Customizing Your View

The first step in maximizing your efficiency is to set up your session to meet your needs. REAPER’s default settings include a timeline set to bars/beats, and a metronome and grid lines to sync music to a tempo—tools you won’t need for audiobook production—so you can simplify your workspace by hiding these and other unnecessary features from view.

hide grid

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If you are only dealing with a single audio source, you may also want to hide the mixer view so you have more space to zoom in on the wave form when editing your files.

hide mixer

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Commonly Used Tools

REAPER comes stocked with several tools that can help you meet specific ACX Audio Submission Requirements.

Playrate

Increasing the playback rate is a great way to quickly review a recorded script for accuracy to ensure the manuscript matches the recorded audio. This is called audiobook QC, and you’ll perform this step after you edit your raw audio files. In the ‘Rate’ menu, be sure to select: “Preserve pitch in audio items when changing master playrate,” which will prevent your voice from increasing in pitch and sounding like a chipmunk during playback!

playrate

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Nudge

ACX requires each file to have between 0.5 and 1 second of room tone at the beginning, and between 1 and 5 seconds at the end. This spacing clearly signals to the listener that a chapter has ended and gives them a moment to catch their breath when a chapter ends on a dramatic note.

REAPER’s ‘nudge’ tool makes it easy to double-check that your files meet the spacing requirement by  lining up all of your files at the same starting or ending point so you can easily see if there is too much space on either end.

nudge

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While your files are lined up, you can also check for any extraneous noises at the beginning and end of each file. You can also add clean room tone and short fade-ins and fade-outs to all of your files at once.

Normalize

The term “normalize” can mean different things depending on which DAW you’re using, the normalize function automatically increases the level of your audio until it is peaking at 0dB, causing it to digitally distort “in the red” and fail QA review. You can use the SWS extension action item (Xenakios/SWS: Normalize selected takes to dB value…) to input the peak level you’d like your files normalized to—we recommend -3dB (peak) to keep the peak level at the maximum level permitted by ACX.

normalize

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RMS/Peak Analysis

ACX requires audio files to measure between -23dB and -18dB RMS, with a maximum peak level of -3dB, which can sometimes be difficult for the naked eye (and ear) to discern. The SWS Extension includes a reliable Peak and RMS analyzing tool (SWS: Analyze and display item peak and RMS) that can provide a quick reading of your files to ensure your levels meet ACX requirements.

analyze RMS

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Exporting MP3’s

When you’re ready to export your finished audio out of REAPER, there are two options: “render” and “batch file/item converter.” Either function is capable of quickly converting your WAV files to MP3, and each allows you to save an encoder profile. The Render function is typically used to export an audio item as it appears on the timeline. This will be a good choice if you are exporting your files out of REAPER one at a time. The Batch file/item converter allows you to add individual items from your timeline, or select files from a folder on your computer to encode all at once with the same encoding profile. We recommend saving your settings to encode to 192kbps or higher 44.1kHz MP3, Constant Bit Rate (CBR) in keeping with ACX’s requirements.

Plug-ins and FX

When using REAPER as your DAW, we recommend downloading the free compatible plug-in suite SWS Extension as well, which includes all the effects plug-ins you’ll need to produce a top-quality audiobook. . Find yourself using the same effects often? You can save these as favorites, organize your own folders, and save plug-in chains and custom presets to streamline your workflow.

save template

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One of our favorite plug-ins in this extension is ReaEQ, which gives a visual representation of how the audio source is displayed across the frequency spectrum, making it a great tool for learning the art of equalizing. Spend time with the different filter types, cutting and boosting different frequency bands to hear how each affects the quality of your voice.

ReaEQ

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We also love ReaComp, an easy-to-use compression tool that keeps the dynamic range of your recording in check and adds fullness to your production.

Templates

Once you’ve set your project session to fit your personal workflow, you can save your custom settings in a project template so you won’t have to set up your DAW each time you begin a new project, saving you time and ensuring  consistency throughout your productions.

favorites

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Try Before You Buy

Interested in finding out if REAPER is the right DAW for you? You can download a full version of REAPER to use for free for up to 60 days. After the evaluation period, users are required to purchase an individual use license for $60.

Already using REAPER to produce for ACX? Leave a comment to let us know how you customize your setup for audiobook production!