A series on audiobook production via ACX and marketing when the book is finished.
I recently presented at a writer’s conference about this, and I was the only author there presenting on ACX. I was limited on time for my class, and there just wasn’t enough time for me to cover everything. So I’m bringing that info to you via my blog and YouTube. I’ll cover everything I didn’t have time for and share the Skype interview with producer/narrator Jason Downs where he answers author’s questions. (In fact, we’ve decided to do a YouTube series on the subject.)
Choosing a producer/narrator:
In this emerging market of audiobooks, marketing is key, and I would say there is a learning curve, because it’s different from marketing books in general. I suspect that’s because this is a slightly different audience. Your first and perhaps your biggest, marketing choice for the audiobook is choosing the right voice. This is also a creative choice. The style of the narrator needs to fit the style of the story. Your choice will make a big difference in the finished product, good or bad.
“The right narrator can bring a story to life in a way that nothing else can, can fully immerse the audience into the story, can make them feel the emotion in the words, and can make the author shine.” Cheri Schmidt
Things to consider:
What point of view did you write the book in? If it’s female first person, then it would be best if you chose a female narrator. Recently, my husband has listened to a few books, and not indie books, where the story is told from a first person male perspective but the narrator is female. It really drives him crazy. This seems like it should be an obvious thing, but apparently it isn’t.
If it’s written in third person, how many male and female characters are there in the story? Looking at these numbers will help you decided if it’s best to go with a male or female narrator. For example, my Fateful Series, which is Paranormal Romance, has a majority of male characters. It is very difficult for a female to perform male voices. Many times they sound like silly caricatures. Plus it’s easier for a male or female reader to add greater variety in voices for characters of the same gender. While the majority of my characters are male, there is one scene where there are 6 females all together. I could tell it was almost a stretch for him to do all of those female voices at once and make sure they don’t all sound alike. He managed it extremely well, but to do that with an entire novel would be a problem.
If you’ve written the book in third person and you have an even number of male or female characters, should you choose a male or female narrator? When in doubt, go with a male narrator, even for romance… Or especially for romance. For Fantasy, Horror, Middle Grade, or Mystery male is usually a better choice every time… This is not the trend. I’ve noticed that many more books are narrated by female readers, and many of them are absolutely amazing! But most male readers have a greater range in their voices and can perform better female characters than females can perform males. I realized this is personal preference, but it’s a major turnoff for me to listen to a woman perform a male character that is supposedly hot. It just does not work. Most women that I know would rather have a male whisper a romance into their ear over a female. And most men that I know wouldn’t want to listen to a woman read an action spy novel to them, or maybe they would… I’m sure there are exceptions, but I personally wouldn’t market a book to the exception.
A few more tips to choosing the right producer:
Should you narrate your own book? If your book is on writing, or a story about your own life, and you know how to produce a quality recording, then yes. Otherwise, I think it’s best to leave the acting and production to the pros.
Choose a soothing voice. This is another reason you should go with a male reader if you can. Female voices tend to grate on the ear. Even so, the male or female voice must be one that readers can listen to for long periods of time. Nothing too harsh, tinny, or high-pitched.
Get outside opinions from friends, family, and fans. In my experience, authors get desperate, thinking they won’t find what they want, so they go with whoever auditions. And authors tend to have bad taste when choosing their own narrator. It’s just a fact you’re going to have to swallow.
Listen to other work done by the narrator you’re considering. And I don’t just mean the samples they have in their profile. Buy one of the audiobooks they’ve done and listen to it. This is the best way to hear what the quality of their work is like. You also might want to contact other authors they’ve worked for to see how her or she was to work with.
Google their name. They’ll Google you before auditioning as they consider whether to work with you or not. This is a great of way of discovering a little bit about the person you’re thinking about trusting your book with.
Don’t forget how much time and effort the producer puts into your book. It takes 5-6 hours worth of hard work to produce 1 recorded hour of finished audio. It also takes a great deal of creative talent. This is not like hiring an editor. Anyone with the skill can edit a book, but not every narrator can bring life to your story in the same way. On ACX you can choose to list your book as either Royalty Share or Paid per Finished Hour. Most authors want to do the Royalty Share so they don’t have to pay the narrator for their work, thinking royalties will cover it later. Sadly, many narrators are getting burned on Royalty Shares. If you want a quality narrator, it would be wise to list the book as Royalty Share OR a Negotiated Hourly Rate. We know the benefits of paying a professional editor to polish off our writing, so why would we then complain about paying a professional artist to produce our audiobook? And even if you manage to get an Audible Stipend like I did for Fateful, pay the producer even more than the $100 dollars per finished hour Audible pays. Happy narrators make for well-produced audiobooks…
However, there are some quality producers out there who are willing to do a Royalty Share even without a stipend. Some of them are just getting into this market and just want to get their name on book titles. I have one friend who didn’t have the money for production and she didn’t earn a stipend from Audible, but she still got auditions and managed to find a really nice and dedicated producer because he liked the genre she was writing and wanted to get his name on more books. (I should also note that she was upfront with him about her ebook sales not being super amazing, so she didn’t think he would make much money. He was willing to do it anyway.) So it isn’t unheard of, and if you do your listing right, it could work out for you too.
Take care in your choice. You’ll be working with this stranger to create a new product…a collaboration of talents.
Up next…my producer and I will answer a question turned in from other authors about how closely we work together during production and marketing via a Skype interview.
(I’ll try to post a new article each week, or perhaps a bit more often so stay tuned!)