Tag Archives: audiobook creation

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

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

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

Nick Podehl: Yeah!

Aleron Kong: Whoo!

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

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

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

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

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Author Aleron Kong

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

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

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

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

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

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

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

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

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

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Narrator Nick Podehl

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Aleron Kong: That was a solid month and a

Nick Podehl: …Half.

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

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

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

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

Aleron Kong: Yes.

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

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

Scott Jacobi: And what is the difference to you?

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

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

Going Beyond the Book with Eric Jason Martin

Eric Jason Martin

Audio: the final frontier. These are the voyages of independent creators. Their mission: to dream up and build strange new worlds. To bring new life to characters and stories from the page—and beyond. To boldly take us where no ear has gone before! Our captain: Eric Jason Martin. Veteran ACX-ers might recognize this Audible Approved Producer from our 2018 post, Doubling Down on Audiobook Success, but not one to be pinned down by labels, this producer/director/narrator has just added another title to his name—author. Martin’s first novel, New Arcadia: Stage One came to audio yesterday, and this multi-cast adventure is full of A-list vocal talent, an original score, and a tasteful soundscape that gives you the feeling if you closed your eyes for a moment, you might just open them in 199X, in the arcade-inspired dystopian world of the story. We were lucky enough to snag a moment of this creative multi-hyphenate’s time to talk sound design, writing and casting his first novel, and the endless possibilities of audio.

What sparked the idea for this project?

Well, I really wanted to write a book! It’s something that I’ve wanted to do for a long time—I’ve written some original audio productions in the last few years, but it was a little scary to consider sitting down and writing an entire novel, something that could sit on a shelf and have a bar code and a Dewey Decimal classification and all that cool stuff. I knew I had to write a GameLit or LitRPG novel to get started. I’ve been a fan of video games since I was little, and I’ve since come to understand their potential both in terms of play, and as a powerful learning tool. Playing Roller Coaster Tycoon back in the day was literally how I got into the business of themed entertainment, so it legitimately helped kick-start my career. These days, I narrate a lot in the GameLit/LitRPG genre, so it’s a world I know very well, and I’ve been thinking about using a “beat ‘em up” game as the subject for a story for a few years—the stories these games told were often about fighting criminals in a big bad city. I was really drawn to the idea of doing something with this world in literature.

What was the process for writing this story like, and how did being a narrator/ producer first influence your writing on this project? Did you already have a vision for the audio when you started?

When it came time to actually write the book, it happened very fast. I had already done a decent amount of work imagining the mechanics of a virtual game world like this, because I had developed another version of this project for audio a couple of years prior. Even though the finished story turned into something very different, it helped to have that base to work from. Once everything shut down last year, it got me thinking of this project in a new way. I started imagining this retro game city as a way to bring people together again in a virtual space—people who have been apart for a long time. So I starting writing over the summer, and it was very helpful to think of it as an audiobook. That “one weird little trick” helped me get over a lot of the fear of writing, because I already knew how to do audiobooks, so suddenly I was working from a place of confidence. Thinking of the project in audio also helped me picture certain performers for each role, performers that I actually wanted to cast in the audiobook version we would be recording. Once you can get that specific about a character or role, it takes something that can be really hard—creating compelling story and dialogue—and it makes it a little easier to do. Having narrated nearly 300 audiobooks, I also a had a clear sense of what would work in audio and what would not. I knew I’d be narrating the book as the main character, and that was another opportunity to revise the text, right there in the studio. If something didn’t sound right to my ear, I would change it as I was recording the narration. It’s usually a big no-no to stray from the recordable script… but if you’re the author, nobody can stop you!

Once it was written, what was the process of casting and recording/producing like?

The audiobook production moved very fast. I’d say from my first email to a performer, to the final mastering, it was about three months. That includes recording 19 performers, two incredible musicians writing a full original soundtrack, and a lean post- production team cutting it all together and adding effects. Again, it was easier having written the roles for specific people. I was nervous and didn’t have any expectations, but I was blown away that everybody agreed to be a part of this. It helped that they were all voice actors, so I figured they had home recording setups that would work, although I had options available in case I needed to get them equipment. Technology is so good these days that having a decent mic and recording in a quiet well-padded closet can get you pretty far. And if you have a quality post-production team, as we did here, you can make it all sound fairly uniform.

There are some pretty well-known names in the voice credits for this production – do you have any advice for authors nervous to ask big-name vocal talent to work on their projects?

Yes, be nice! And do everything you can to make it easy for people to say yes. They may not make a fortune doing your project. But if it’s quick, easy, and a lot of fun, and they’ll be with other great people whom they like and respect, that’s a lot harder to say no to. Be clear about the time commitment, make it as small as possible, and be flexible in scheduling, as much as you can.

Now Available on Audible.

This production has some great extra audio elements like an original score and sounds – how do you incorporate elements like that without overwhelming the listener or overshadowing the narration?

We were very careful in how we approached the sound design for this project. We worked with the team at Mumble Media to focus on the multi-cast recordings, as well as the original soundtrack, as the primary tools to communicate the story and scene. The old arcade sounds are a lot of fun, but a little of that goes a very long way in an audiobook format. The action could be exhausting if you heard an unending stream of punching and kicking and yelling. So we let the actors and narrator communicate a lot of the action in the performances, we were very sparing with sound effects, and we supplemented the action in places with the soundtrack to give it additional emotional impact. The great Lloyd Cole created our main theme, and it was such a thrill to be able to work with him, I’m a huge fan of his work. For New Arcadia, he has created a beautiful piece, ambient and propulsive and mysterious. He describes it as “Escape from New York meets Stranger Things, with a hint of Dune.” When we incorporated it into the audiobook, it became the de facto theme of the real world. The few times we leave the game world and go back to reality, you’ll hear different pieces of this theme as you re-emerge, which signals to the listener that we are transitioning to a very different place. Casey Trela is a fantastic composer, very versatile, and expert in the chiptune style of these retro games. He’s created some truly catchy tunes that serve the game story beautifully. He had the added challenge of creating special songs that evoke the world of “199X,” songs that sound like they’d actually be coming from your radio back then. These extra audio elements can really help build a strong sense of environment in an audio-only production where visual cues and backdrops are absent.

What makes this production special and how do you see productions like this one carrying audio storytelling forward?

It’s such a blast to bring great talent together on a production like this. I enjoy the traditional one book / one narrator approach very much (indeed, you can find me in my home studio a few days a week telling stories this way). That said, I think there’s a growing space and increasing demand for multi-cast productions, and we’re all just starting to scratch the surface of what’s possible. Audio is great for many reasons, and one practical one is that the listener’s mind handles most of the big-budget effects and locations in your story. You can communicate complex stories much more quickly and cheaply with sound alone. It’s a very exciting and innovating time in this medium, and it’s a thrill to be a part of it all. When you work as relatively fast and cheaply as you can in audio, you can get a lot more done than you can in other mediums, meaning you can experiment and learn much faster in your craft. I’ve tried a lot of different things in my time creating these stories in audio, and have made some mistakes along the way. But even those mistakes were instructive, and I can see how they led directly to some of my biggest successes. So that’s why I embrace this lean and iterative style of working, and audio is an ideal vessel for that approach. You can do cool stuff in audio fairly easily and quickly, so maybe you should! Each project you take on and complete can become a stepping stone, every single one can teach you something or connect you with someone. And for this project, in many ways, it’s the apotheosis of all of the different things I’ve done up to this point. But it’s not the end, it’s a beginning. There’s lots more to do. I’m excited for you to hear what we’ve put together with New Arcadia: Stage One, AND I’m excited for what comes next.

Eric Jason Martin is a producer, director, voice performer, and author, based in Los Angeles. He is the AudioFile Earphones and Audie Award–winning narrator of over 275 audiobooks. He has developed several original audio productions, including directing the NY Times Bestsellers Kate McKinnon and Emily Lynne’s original series Heads Will Roll, featuring Meryl Streep (Broadway Video/Audible), and Stinker Lets Loose!, starring Jon Hamm (Audible). His production of Mr. New Orleans, starring Westworld’s Louis Herthum, is a 2021 Audie Award nominee.

Raise Your Voice: Narrator Erin Mallon Takes on Authorship

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!

Introducing Enhanced Listener Navigation for Your Audiobook

Today, you may notice an update to how you create audiobooks on ACX: customizable Chapter Names!

Now, when you start a new project on ACX, you’ll be able to quickly and easily list the parts of the book you want included in your audiobook production as soon as you claim your title. Simply enter the Chapter Names in the new Table of Contents setup page as you want them to appear to your listener in their Audible app, using the “Import from Kindle” button (available for select titles), or copy and paste Chapter Names from your manuscript.

Authors, now you can easily present to your Producer which sections they should include when recording your audio edition, as well as making your final audiobook easy to navigate for your listener. Producers, this will make it easier for you to upload the corresponding audio to the Chapter Names you see in Production Manager.

So how do you make the most of this cool new feature?

Take the time to curate your chapter names. Now that listeners can use these chapter headings to navigate your audiobook in the app, you want to make sure your table of contents makes that navigation as easy and intuitive as possible. Designate the sections of your audiobook accurately, indicating specific sections like the introduction, prologue, or epilogue, and name your chapters for easy discovery. If you are able to import your table of contents directly from the Kindle version of your book, take a moment to carefully review the chapter headings to ensure all desired sections are present and that spelling, grammar, and formatting is consistent throughout. See below for example.

Poorly Formatted Chapter Names
Correctly Formatted Chapter Names

Remove sections that aren’t for audio. If you’ve ever wondered what sections of your book should (and shouldn’t!) be narrated for audio, this moment serves as an opportunity to remove any sections from the list that should not be narrated for the audio edition, such as the table of contents or index and other front or back matter. The chapter headings you provide will be automatically populated in the producer’s view of production manager so they can upload the appropriate audio for each section, so be sure your table of contents only includes the sections you want your narrator to record.

Pay attention to formatting. To make your audiobook appear consistent with other titles and to give the listener the best in-app navigation experience, take the time to attend to formatting. Review our formatting guidelines, and check your chapter names for consistency throughout your audiobook. Adhering to industry-standard styles for your chapter headings will give your audiobook a polished, professional appearance in the Audible app.

Optimizing your chapter names for enhanced navigation is a small way you can make a big difference to your listener’s experience, and we hope you’ll take advantage of it to help your audiobook succeed!

This Week in Links: January 2- January 6

FOR RIGHTS HOLDERS:

5 Steps to Set Writing Goals You’ll Actually Achieve– via The Write Practice – Coming up with goals is easy. Coming up with goals that will make you a better writer can be a bit harder.

The Book Marketing Strategy –via Book Marketing Buzz Blog – January sees some of the biggest spikes in sales after people have been given Audible memberships for the holidays. Keep on marketing!

ACX Storytellers: Ryan Winfield – via The ACX Blog – ACX has numerous success stories, Ryan Winfield is one of our favorites. Ryan explains why he decided to retain his audio rights and passed on working with a major publisher to work with ACX.

FOR PRODUCERS:

6 Things you Can Do NOW to Get Started in Voiceover – via Voiceover Herald – It’s easy to procrastinate when you’re not sure how to get started. Avoid that issue with this helpful article to jump start your narration career.

10 Social Media Trends Giving Brands New Ways to Engage in 2017 – via Adweek – Social media is essential to establishing your brand and properly marketing yourself. Find out the best ways to engage with your audience in the New Year.

ACX University Presents: Finding Your Voice Part 1 –The ACX Blog – Before you  dive into audiobook narration, discover your voice so you can find the appropriate projects. Travel back to ACX University 2015 for some starting tips.

This Week in Links: December 12-16

FOR RIGHTS HOLDERS:

How to Conduct a Year-End Review for Your Writing: 25+ Questions to Consider – via TheWriteLife.com –Sometimes it’s important to take inventory of what you’ve done so that you can get a better idea of where you’re going. How was your 2016?

Marketing tip: link your blog posts to Goodreads and Amazon – via CreateSpace.com – A blog is a great way to let your audience know what you’re up to. Making sure it’s linked to the right websites and resources is key to making it successful.

1 Simple Marketing Tip to Boost the Reach of Author Facebook Pages – SelfPublishingAdvice.com – Facebook is a great way to stay in touch with family and friends. It can also be a wonderful resource for promoting and marketing your title.

How the Age of Digital Books is Fostering the Writing and Self-Publishing of Mid-length Books – via SelfPublishingAdvice.com – Is more better? An interesting article about how digital books and publishing are changing the way authors approach shorter, more concise content.

FOR PRODUCERS:

Apps for Voice Over Actors – via VoiceOverHerald.com – Need to record an audition on the run? These apps can help your smart phone into a mobile studio.

Are Your Prejudices Hurting Your Voice Overs? – VO Master Class – You know what they say about people who assume… Gary Terzza explains the psychology of assumption when it comes to traditional roles in narration and how they can hinder your performance.

The 5 Elements of a Winning Voice Over Audition – via Michaellangservo.com – Every audition is different and each needs to be approached as such. Check out these helpful suggestions for how to turn auditions into offers.

Video Lessons and Resources – via ACX.com – Sometimes you don’t need to scour the internet for great advice and resources for getting started with #vo work. The ACX website has a wealth of helpful information from video tutorials to Amazon wish list of equipment to help you get started.

This Week in Links: January 4 – 8

For Producers:

10 Things To Ask Yourself Before Pursuing A Career In Voice Overs – via Voice-Over Xtra – A helpful list of important non-acting, non-technical questions for newbies.

10 Tips To Target Your Demo (and Voice Over Business) For Success – via Marc Scott & Anne Ganguzza – “[P]otential customers may have varying degrees of experience in hiring voiceover talent, and the more you can help to educate them in the process, the closer you will be to booking the job!”

The Mega Audio Recorder/Editor Reference List – via Dave Courvoisier – A good resource to bookmark for info on audio recording and editing software.

New Year for a New Business: How to Start a Business in Voiceover – via Victoria DeAnda -Before embarking on a voiceover career, get advice from an actor who’s been there and done that.

For Rights Holders:

What Are the Ingredients of a Successful Marketing Plan? – via Digital Book World – With more people going out of their way to avoid ads, content marketing is the future of book marketing. Learn six key aspects of content marketing success.

10 Author Projections for 2016. Okay, turn it up to 11! – via Bob Mayer – “The key [for 2016] is how the changes in publishing affect the author and how the author needs to factor reality into their business plan.”

On Author “Brands” – via The Bookseller – “[H]ow do you maintain your brand while also delivering a story that feels fresh and enticing? Should this even be a concern for authors?”

Writing Tip: A Little Detail Can Make a Big Impression – via CreateSpace – You’ve probably heard the old adage “show, don’t tell.” Learn how to put it into action.

Best of the Blog: 2015

We’re back to close out 2015 by highlighting some of our best pieces of the year. Some will educate, some will inspire, all should remind you of the awesome opportunity audiobooks present as we look towards 2016.

For Producers:

Mastering Audiobooks with Alex the Audio Scientist – Our resident audio expert brought his “A” game to the blog this year, educating producers on a range of recording and production topics. This post tackles one of the more intimidating aspects of post-production with an illustrated, step by step guide.

ACX University Presents: Finding Your Voice: Part 1 – This May, we hosted our third annual ACX University, which offered 70 producers in-person courses on audiobook production and performance. All of the sessions are available to watch on our YouTube channel, including this performance intensive featuring Audible Studios producers and Audie Award-winning narrator Ellen Archer of Orange Is the New Black.

ACX Storytellers: Anna Parker-Naples – One of our first UK producers shares her inspiring journey from the stage of the Royal Shakespeare Theatre to self-made audiobook success.

Five Things Every Audiobook Beginner Should Know – Voiceover actor and coach Gary Terzza offers a crash course for those new to audiobook acting and producing.

Archive: This Week in Links – Our weekly look at the best audiobook-related links from around the internet provided a range of perspectives, advice, and entertainment. We featured over 150 links for producers, so take a scroll through some of the best the voiceover industry had to offer in 2015.

For Rights Holders:

Market Smarter, Not Harder: The Personal Touch – Author Ryan Winfield dove deep on the ways he invested his time and reinvested his audiobook earnings to forge a personal connection with his listeners that paid off in the form of a loyal fan base.

You Kept Your Audiobook Rights – Now What? – Three top authors discuss the varying benefits of self-publishing your audiobooks or selling the rights to an audio publisher like Audible Studios.

ACX Storytellers: Joanna Penn – The “author entrepreneur” offered an inside look at what a writer who want to narrate their own work need to know to succeed.

Creating Your Custom Audible 30-Day Free Trial LinkAuthors (and producers!) can learn how to create a powerful marketing tool for their audiobooks – a custom landing page on Audible.com featuring any of your ACX projects.

ACX Storytellers: Sandra Edwards and Regina Duke – Two ACX authors share their takes on the value of a mentor/mentee relationship, as well as their top tips for audiobook publishing and marketing success.

 

This Year in Links: 2015

Here at ACX, we’re proud of the work you’ve done creating thousands of audiobooks in 2015. We hope the education we’ve shared this year has helped make you a better audiobook producer, publisher, and marketer. Before we look forward to 2016, we’re counting down the top links – based on your clicks – published in our This Week in Links series this year.

For Rights Holders:

5. Where to Find Free Images Online to Use in Blogging & Social Media – via The Write Conversation – Visual marketing content has been shown to be at least two to five times more effective than text alone. Boost your efforts with these free resources.

4. The Twitter Secret – via BadRedheadMedia – Learn how online fan acknowledgement could be secret ingredient in your successful author platform.

3. Six Magic Phrases You Can Use to Sell More Books – via where writers win – Learn key words to use in your “Amazon sales page, your website, your book announcement press release, your e-mail announcement, and other promotional materials that will help you sell more books.”

2. How To Promote Your Self-Published Book On The Cheap – via Book Marketing Tools – New authors may not have the robust marketing budgets of the established players. Use these tactics to jump start your promotions.

1. 25+ Ways To Market Your Audiobook: A Quick Guide – via Kate Tilton – A distillation of our #TalkingACX Twitter chat features a trove of audiobook-specific marketing ideas.

For Producers:

5. Potato Chips Required – Who Would Have Thought? – via Mike Lenz – Can you believe that the fix for common in-booth issues could be so delicious?

4. 3 Things That Define A Successful Audiobook Narrator – via Dane Reid – Veteran Nashville-based audiobook producer Joe Loesch shares the three pillars of his successful career.

3. What is the Best Microphone for Voiceover Work? – via Voice Over Herald – Five solid options for getting professional-quality recordings without breaking the bank.

2. What’s Your Production Process? – via Wayne Farrell – The Audible Approved Producer shares a step by step guide to his production method. A must-read for new narrators.

1. The 7 Most Overlooked Daily Habits of Successful Voice Actors – via Dave Courvoisier – The top spot goes to the veteran “CourVO” and his reminder of the little things that can lead to big successes in the voiceover field.

Get all the best audiobook-related links in your inbox – subscribe to the ACX blog.

This Week in Links: November 30 – December 4

Before we get to this week’s top audiobook links, we’d like to remind you that the deadline to submit audiobooks to ACX for the best chance to be on sale for the holiday season is today, December 4th. Make sure your productions meet our Audio Submission Requirements and submit, review, or approve holiday projects by the end of the day. Then, check out the links below to help make your next audiobook even better!

For Producers:

Audiobook Narrators: How To Tweet Your Way To More Jobs And Audiobook Sales – via Voice-Over Xtra – Thoughts and advice for actors using social media to promote their work and further their careers.

5 Ways Voiceover Work and Family Influence Each Other – via Victoria DeAnda – “Family has a lot to do with how you perform as a voiceover artist. Learning how they affect it can help you control the feelings, emotions, and other factors that come into play as you work.”

The Obstacles Holding Back Your Voice Over Career – Via Gary Terzza – Are you putting up roadblocks to your own career goals?

Don’t Buy New Recording Equipment. Do This Instead. – Via CourVO – Gary’s got a better way to spend your money than on fancy new gear you may not know how to use.

For Rights Holders:

What IS a Target Audience? What You Need to Know – via BadRedheadMedia – “How do we get our target audience (those we are marketing to), to become our actual audience, the ones who buy what we are marketing to them?”

10 Tips for Twitter Success in Publishing – via The Bookseller – An easy to digest list of social media advice.

Why Social Media Should Become Publishers’ New Testing Ground – via BookBusiness – Can the “#instapoet” concept be applied to novels?

Do Writers Need Coaches? – via BookMarketingBuzzBlog – “Imagine if a writer has someone telling them to try harder, do it this way and not that, and high-fives them for a well-written passage?”