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Nink: Audio Books for Indie Authors

This article by Nicole Evelina is from the December 2020 edition of Nink, the monthly newsletter of Novelists, Inc.  (NINC). Nink, which is packed each month with informative articles for career novelists, is a benefit of NINC membership. 

Audio books are the fastest growing type of book in the publishing industry in the United States—and the rest of the world isn’t far behind. According to American Library Magazine, in 2019 audiobook sales increased by 16% and accounted for more than $1.2 billion in revenue, outselling ebooks for the first time by several million dollars. This means strong potential revenue for authors, so if you’ve been considering getting in on the trend, now is the time.

Before we get into the steps involved in making an audio book by working with a professional narrator (voicing your own audio books was covered in the October 2020 issue of Nink), a few caveats:

  • This article will focus on how indie and hybrid authors can create audio books. If you are traditionally published, your publisher will have a process for the sale of audio rights and will handle the creation of the audio book.
  • Getting audio books made is extremely expensive, so bear that in mind when you make your decision. The cost is based on the rate your narrator charges (which varies from person to person and is higher for Screen Actors’ Guild members) and the length of your book. This means if you write long books, you’re looking at an investment of several thousand dollars, so it’s a good idea to consider whether or not you’re going to make that money back.

Where to begin: pick a distributor
It may seem odd to begin with the distribution process, but you have to know who you are working with before you create your audio book. Authors have more choices than ever before, some of whom still make physical CDs. Here we’ll discuss the three most popular digital-only options:

1. ACX –ACX used to be the only game in town, but they have since been surpassed by Findaway Voices. Using ACX usually means granting it exclusive distribution rights (which means your book will only be available on Audible, Amazon and iTunes) for which you get full royalties (40%) If you want to go wide, ACX pays 20% royalties. It also offers a Bounty Program for referrals of first-time Audible customers, which is where you will make the most money.

ACX offers an option to pay your narrator through royalty share, in which you pay nothing upfront and instead your narrator gets a percentage of your profits. (Most professional narrators will not take this option and require a flat fee.)

ACX requires a seven-year contract, you can’t distribute to Overdrive and other library programs through ACX, and you have no control over your book’s price, nor can you put it on sale. (A friend tells me that if you’re stuck in an ACX contract like I am, you can get out of it by emailing them. I’m going to try it.)

For more information on audio rights, and how some authors have approached Audible directly, see the September 2019 issue of Nink.

2. Findaway Voices –Developed as an alternative to ACX, the two biggest selling points are more distribution points than ACX (around 45 at last count, including Overdrive, Walmart, Nook Audio and international channels) and full price control. This means you can put your book on sale anytime you want. Findaway Voices reserves the right to change your price later if it chooses but you still get royalties based on your original list price (just like what happens when Amazon decides to put your book on sale.) Speaking of sales, the company also partnered with Bookbub’s Chirp program, which is not only free, but regarded by many as the best audio book promotion tool currently available. To use Findaway Voices, you must be non-exclusive with ACX. While you’ll make 20% less on sales there, Findaway has more venues to help make up for it and you make 80% on those. Findaway allows for full audio book production paid up front (Audioworks) and Voices Share, where the author pays 50% of production up front, shares 20% of earned royalties with the narrator and offers exclusivity with a buyout option. More information on the later can be found here.

They also don’t offer a bounty program and their giveaway codes only work through Author’s Direct, not Audible.

3. Working directly with a studio – I did this with the audio book for my romantic comedy Been Searching for You because I wanted to work with a specific narrator and she only worked with Deyan Studios in Los Angeles. If you choose this option, you can still use ACX/Findaway for distribution or go with another company like Author’s Republic.

Auditioning narrators
Once distribution is determined, your next step is to audition voice talent. Most companies offer a database with samples you can listen to for free (you have to begin a project with Findaway before you can access its database). You can also search by gender, voice age, accent, and other criteria that may be important to you. When you set up your audition sample (a passage from your book that all narrators will read for you), note which accents are needed for your book and if you can, choose a sample that includes those so you can hear how they will voice them.

When you’ve settled on your first choice, you will make an offer. You may negotiate or come to an agreement immediately. Be sure to write back to each person you auditioned, even if you don’t choose them, so they aren’t left in limbo. Plus, it’s good business and polite.

In the case of Been Searching for You, since I had Ashley Clements in mind, knew she’d narrated before, and I was familiar with her work, I contacted her directly. She said yes, but because she doesn’t have her own studio, she works with Deyan Studios in LA. So I talked with them about their services and fees. Once we had a signed agreement, they contacted Ashley and extended an offer and she agreed. In this case, no audition was necessary, but they have a casting service and large pool of talent if that’s something you choose to pay for.

Prepping for recording
The next step after you and your narrator(s) sign on the dotted line is for you to provide them with information that will help them get into character. The most obvious part of this is the script they will read from. This includes any author’s notes or previews of future books you’d like them to read.

You should also provide your narrator with a document containing any words that might have an unusual pronunciation. This can include character names/places/foreign language phrases/unusual words. If you think it might be questioned, tell them how you want it pronounced—better safe than sorry.

You also will provide direction about each character (at least the main ones; how much you care what the secondaries sound like is up to you). There’s no right or wrong way to do this. I give a bit of insight into their minds, motivations and relationships with other characters, then talk about any vocal requirements I have (accents, certain tones/moods). I also give the actor or actress that inspired the character. And in case the narrators want additional insight, I give them the links to my Pinterest board and the playlist for the book.

Many studios offer research services like this for a fee, but I like to do it myself because no one knows the book or its characters better than the author.

The recording process
This will vary depending on which company you use. For ACX, your narrator will submit the first 15 minutes for your approval. At that point, you’ll listen and offer any notes you have, both on general performance and on changes that need to be made (lines read wrong, things that are hard to understand, etc.) Once you both agree the first 15 minutes are fine, your narrator will record the rest of the book.

How you handle edits will depend on the person/company you’re working with. Some narrators upload files in batches so you can listen and give notes as they go, but others give you the whole book at once. Either way, remember that you are the client and you have the right to request any needed changes from places where a line doesn’t match the book to accents/pronunciation, to the speed of the read or swallowing or breathing noises. It’s important that you are happy with the final product.

Distribution and payment
When you chose your distribution/recording parameters (upfront/royalty share), the company (or narrator) should have explained the payment process. It should also have explained how long the contract is for, and how much to buy the work when any royalty share ends.

After payment is confirmed by both parties, companies perform one final quality check and then handle distribution. In October, ACX had a wait of 40-60 days due to the pandemic. Normally it takes about a week for the quality check and another few days for the books to appear on Audible and Amazon. iTunes usually takes significantly longer. Findaway also has a quality check, and it is usually complete in a few days.

Both companies pay you based on sales on a regular schedule.

Passive income
It may take time to earn back the money you spent, but audio book growth and revenue show little sign of slowing down. And the good news is they sit next to your print and ebooks on Amazon (and other retailers if you use Findaway) and you can promote those as well. Remember Chirp and it is also worth noting that Netgalley now offers audio as an option. For a while I made more money on my audio books than I did on print and ebooks combined. I hope you find much success and find that audio is a worthwhile investment for you.

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Nicole Evelina wishes to thank Derek Taylor Kent for his insight on Findaway Voices in this article. 

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Nink ~ World Building for the 21st Century Reader: The death of lyrical prose?

This article by Joanne Grant is from the December 2020 edition of Nink, the monthly newsletter of Novelists, Inc.  (NINC). Nink, which is packed each month with informative articles for career novelists, is a benefit of NINC membership. 

As an acquiring editor, I’ll be honest and say nothing would have me skim-reading over a submission quicker than lengthy descriptions of setting – especially in the very first paragraph of novel. However, passages of lyrical scene-setting prose were once the stalwart of classic novels which are still revered and taught in schools and universities today. So, what has changed, and is it really a complete no-no to include lyrical passages of setting at any point in your novel?

Creating a world in which your reader feels they can step into can make the difference from an okay read to a fantastic read—whereas not enough setting can disorientate the reader and leave them frustrated. It’s a hard balance to make but an important one!

In this article, I will discuss ways to identify how to handle world-building in your novel in a way that will appeal to your reader, as well tips to execute this well.

The 21st Century reader

Recent studies have shown that in the last 20 years, attention spans have dropped significantly. This is in direct correlation to the amount of information that is readily available and always vying for our attention (whether we want it or not!), through our smart phones, for example. It is perhaps of no surprise that this would have an impact on reading habits, trends, and in the way stories are told.

But does this mean readers no longer have the patience for description and world-building in novels? Not entirely, as it all depends on who your target reader is and what reading experience they are looking for – how do they want to feel? Being mindful of who your reader is when crafting your story can help you to world-build in a way they will enjoy. But how can you do this when you are second-guessing the whims of individuals?

Establish the role of setting in your genre

When looking to target your reader, first hone in on the type of book you are writing. There is so much variety in storytelling that thankfully, books are curated for us. Genres, sub-genres, and even broader categories are broken down into themes, tone, etc., all with the view to help readers navigate the bookshelves to select a story and reading experience they are in the mood for.

Read voraciously in the genre you are writing and pay specific attention to the conventions of that genre when it comes to world-building. The way world-building is handled in a category romance will differ from a post-apocalyptic sci-fi or from that in a literary family saga, for example, so notice the style, length and word choice when it comes to creating setting. Also notice:

  • Is it mainly told through narrative description or through character point of view?
  • Is the convention to use backdrop setting (more common in charcter-driven stories) or integral settings?
  • How do the descriptions of setting effect pace?
  • Pay particular attention to how setting is handled in the opening chapter – this is where you will win or lose your reader!

Trends change, so it is important to research current examples of the genre you are writing in – not just the authors who are considered masters in the genre, even if they are still publishing today. Why? Because they are likely selling books based on their unique storytelling style and have a loyal fanbase; they have earned the right to flaunt conventions! Instead, turn your attention to the new and rising stars coming through in your genre of choice.

Now that you have established the current convention and readers’ expectations of how setting is executed in your genre, how do you successfully execute your setting?

Using your setting with purpose

Everything you write (or at least what makes it into your final draft!) must have purpose: by serving the characters, conflicts, plot, and by revealing something new, interesting, and integral to the story. To avoid slipping into descriptive passages your reader skims over, consider the purpose of setting at that point in your novel. Here are some examples where setting can be used to serve a specific purpose beyond simple scene-setting:

  • Giving context and boundaries for your characters and their actions
  • Creating atmosphere and mood, which in turn can influence or reflect character mood
  • Providing foreshadowing of events
  • Creating a theme through symbolism

Whatever the conventions of your genre, it is unlikely that your setting will be “told” entirely through passages of narrative prose which means – yes, you guessed it – the way to execute this in an engaging way is to “show” setting through character action, dialogue and interaction!

As an editor – do I think the art of lyrical prose has gone completely out of fashion? No, not at all. I have read some fantastically engaging books published in recent years that used world-building in a poetic way to amplify or contrast with the themes of the story, or to slow the pace, or to make a wider point on a theme.

But why was I more forgiving of these stories as reader compared to my impatient skim-reading as an acquiring editor? It all comes down to reader expectations. I had the specific conventions of the genre I was acquiring for front of mind, and I knew that lengthy setting descriptions were not what the reader would be looking for.

So, if you find yourself writing a beautiful passage of evocative mood-setting, heavy with symbolism, ask yourself: based on your research is this what your reader wants…or is it exactly what turns them off? And this will help world-build successfully for the 21st Century reader.

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Joanne Grant is an Editorial Coach with over 16 years of editorial expertise working for the global bestselling publisher Harlequin. Joanne has edited hundreds of romance novels over the years and understands how to coach authors of all genres to deliver their best work. If you’re interested in finding out how she can help you achieve your writing goals, get in touch – Joanne loves to chat! For inspiration, tips and offers why not sign up to her newsletter, join her Facebook group Motivation for Writers! or connect on Twitter @JoanneMGrant.

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Nink: You’re Not Broken ~ Be Your Own Writing Champion

This article, written by Denise Agnew is from the November 2020 edition of Nink, the monthly newsletter of Novelists, Inc.  (NINC). Nink, which is packed each month with informative articles for career novelists, is a benefit of NINC membership. 

Writing challenges can convince you that you’re broken. The excitement you once enjoyed creating stories feels as if it has vanished. Since Covid-19 arrived at our doors, many authors have been looking for ways to cope.

If your creativity has diminished or completely disappeared, you may think it will never come back. Take heart. Writer challenges are rarely permanent if an author explores what is happening with their particular situation.

It is easy, when you’re not feeling well and negative thoughts are threatening to keep you down in the dumps and uncreative, to throw your hands up and surrender. It is tempting to wallow and decide it’s just the way it is. Most of us have done this at one time or another, and we don’t always realize that the messages we tell ourselves are half the problem.

My challenge for you is to dig deep and to not buckle under to despair.

Discover what’s really going on

Writing challenges are different for everyone, but there are things you can consider and questions you can ask to discover the origins behind your particular situation.

Overcommitment/setting boundaries

  • Make a list of commitments you have in your life and see if you are shoving aside your writing in favor of doing everything else first. If you discover you’re overloading your plate, make a list of what you might trim or eliminate in order to make more time for creativity. Your sanity is worth it.
  • Are you volunteering in organizations you no longer enjoy? This is a tough one. Often people feel that if they’ve committed to volunteer in an organization, that they have to stick with it no matter what. I have personal experience with joining an organization and sticking with it way after the luster and enjoyment was no longer there. In 2019, I significantly scaled back my commitment when I realized I no longer enjoyed the group the way I had for the last 10 years. It freed a lot of time.
  • Do you feel guilty carving out writing time? Many people are family first, everything else comes second. While this can seem virtuous, there are pitfalls. You’ve heard the old saying that says if momma isn’t happy, no one is. I guarantee if you are dying to write, but have abandoned it because other people are demanding every second of your time, any subsequent dissatisfaction and depression will manifest itself in negative ways. You may give up on your writing dreams. Ask yourself if you are training other people to expect certain things of you. If you don’t carve out writing time, no one else is going to give it to you. Boundaries are important. Are your children remote schooling at home and your spouse also working at home? Are you working another full-time job at home and also trying to shoehorn in writing? If any or all of those things are in force for you right now, you may need to set new boundaries with those around you. If others don’t know that writing is still important to you, they may either encroach on your writing time either by accident or design. Decide now that your writing is important and put it on your schedule. Even if you don’t have as much room to write as you did before, dedicated space on your schedule can keep creativity alive.

Lean out of your comfort zone

  • Are you afraid to create in a different genre or approach your genre at a “riskier” angle? Have you told yourself it might reveal something about you that feels shameful or that other people won’t like? What are you not saying in your writing that you want to say?
  • Own your writing. Writers want to please the reader. Sometimes, though, writers forget that in order to be happy as writers, we have to enjoy what we do the majority of the time. If others disapprove, we have to find it within ourselves not to give their approval weight. Many writers have externalized their writing so much that everything on the outside dictates whether they are creative or not. Eventually this will backfire and the creativity dries up. Be your own champion. That means please yourself first when you write and everyone else second.

Carve out some peace

  • Are you worried about the state of the world? There is no doubt there are worldwide concerns overtaking space in most of our heads. Now is the time to realize that you can’t spend 100 percent of your day allowing those subjects to overwhelm, depress, and deprive you of your creativity. Feeling guilty if you aren’t thinking about writing 100 percent of the day doesn’t serve your creativity or your mental health. Find some time to switch off that outside world and refresh your body and mind creating.

Stay open to new perspectives

  • Our egos can get in the way. We become jaded and even sometimes proud of our cynicism. What this can do, though, is lead us to see our world in narrow parameters. We think we’ve seen it all and therefore we can’t learn anything new. Unwillingness to stretch our minds into new genres, or new ways to refresh our current genre can lead to creativity disappearing.
  • Be willing to listen to new craft techniques and ideas if your creativity is waning or drying up. Consider if a technique might work, and try it. If it doesn’t work for you, all is not lost. Chuck it and move on to the next.
  • On the opposite side, avoid using craft classes as an excuse to never write anything. There are many writers who have spent years taking craft courses and never finished a single manuscript. Recognize when it is time to put those courses to the test by writing and finishing something.
  • Write what you don’t know. One way to branch out in creativity is to decide it is okay to write what you don’t know and research it. If you’ve always wanted to write about a subject or situation you haven’t experienced, go for it. There’s nothing stopping you but the willingness to stay open. Being curious and researching can energize your creativity and excitement for a project.

Recognize your own power

  • You’ve got great ideas. Somewhere along the way, though, you may have convinced yourself you don’t. For some people, this stems from long-held self-esteem issues. If you think self-esteem issues are getting in the way of your creativity, it might be time to discuss them with a mental health professional who can help you navigate those waters.
  • You’re not alone. Too often writers believe that everyone is creating like gangbusters but they aren’t. Take heart. Most writers who’ve been in this business a long time have encountered bumps along the way. Recognize that writer’s block doesn’t form because you’re a bad writer. Many famous authors have complained about writing difficulties over the course of their careers. You’re in great company.

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Denise A. Agnew is the award-winning author and screenwriter of over 69 novels and several optioned screenplays and television series. She’s written in a variety of genres including horror, romance and historical. Over the years she’s also enjoyed participating in archaeology and archery. Reading is a huge love! She was fortunate enough to live in England and Hawaii and travel throughout the UK and Ireland. Denise is also a producer, paranormal investigator, Certified Creativity Coach, Reiki Master, and evidential medium. She lives in Arizona with her husband and a mini schnauzer. You can find her at www.deniseagnew.com and www.agnewcreativemedium.com.

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Nink: More Ways to Stay Creative

This article, written by Denise Agnew is from the October 2020 edition of Nink, the monthly newsletter of Novelists, Inc.  (NINC). Nink, which is packed each month with informative articles for career novelists, is a benefit of NINC membership. 

Even as a creativity coach, I can have days where I’m not feeling as creative as I would like. This led me to think of other ways I could boost my creativity. Based on what I discovered, I’ve listed more ways you can boost your creativity quotient.

Open up to random thoughts
Writers can sometimes unknowingly stifle their creativity. Remember when you were a kid and someone told you to stop daydreaming? You may be doing something similar to yourself and not realizing it. What if paying closer attention to your random thoughts and fantasies could generate fresh ideas?

We’ve all heard that we have a ton of thoughts pass through our minds each day, much of it useless chatter. As published authors, we often judge both the quality of our ideas and the validity of them. However, as creative people, our imaginations are an integral part of our ability to create story. Many writers who work on building book series have told me they sometimes feel as if they’re on an assembly line churning out the same ole same ole. This adherence to “expected” series parameters can be draining and can strangle creativity. Instead of allowing your imagination to go where it wants, you’re forcing it to go where you think it is supposed to go.

Granted, you can’t stop and write down every single thought or fantasy you have in your head, and you can’t necessarily take your series from the Wild West to outer space (well, maybe you can), but you can harness as many ideas as possible. Are there any story ideas you are dying to write but you’re ignoring them? Do you think the ideas are too far out of the lane you’ve been following for years? Consider how you can write more of what you long to write rather than constantly shoving down your creative desires.

Write down any wild thoughts that come into your head, even if they don’t seem to equate to an actual plot or story line at this time and even if they are completely nonsensical. If you remember your dreams, write them down as well. You never know where these ideas will lead in the future.

Imagine you’re somewhere else
Because of the pandemic, many writers haven’t been on vacation, much less left the house. So let your mind take you.

Find a quiet time where you won’t be disturbed. Put on soothing music. Close your eyes and imagine, in as much detail as possible, a place you long to be. This can be a place you’ve been to before or a new place you would like to visit.

If you want, write down as many details about that vacation fantasy as you can. Go hog wild and enjoy yourself. Why not? Not only is it fun, but you might even get an idea for a story in the process.

Watch more movies and television series
Many people proudly announce that they don’t watch television series or movies. Watching television rots your brain, right? While anything taken to an extreme could have a negative effect, TV and movies can give your brain a mental break. You can also use this time to analyze why you like or don’t like some movies and television programs. This can provide perspective into your own creativity and spark new ideas.

Start with the genre you write. Watch a few movies in that genre. How would you have written the story? If there’s a movie or television series you love, why do you love it? Be completely honest with yourself why you like it (or how you would have done it better). You aren’t showing your innermost thoughts to anyone else. Thinking about why you like or don’t like something can move your creative thinking in a new direction.

In this way, watching a movie or television series is like reading someone else’s book and recognizing why you enjoyed the book or would’ve written it differently. This perspective change can jumpstart the creative part of your brain.

Read screenplays and write screenplays
Writing a screenplay is, in many ways, completely different than writing a novel; it forces you to create differently. When writing a screenplay, a writer relies far more on dialogue and very little on description. It gives your brain a creative workout. How are you going to say, in the dialogue, what you may have left up to description alone?

When I decided to begin writing screenplays, I first read a few to obtain both an understanding of formatting and to get a general feel of how screenplays sound. (Beware, though. Screenwriting formatting has changed over the years, so modern screenplays have some different rules than screenplays written even a decade ago.) Reading and writing screenplays opens your mind to a different way of experiencing storytelling.

Make memes/graphics
Is there something you want to say? Making a meme in a program such as Canva or Book Brush can be a great way to enhance your social media presence and express yourself creatively. Making graphics requires both visuals and the words you want to say. If I want to take a break from writing, I often make a meme or a graphic for one of my published or soon-to-be-published books or some other random thing I want to express. It’s refreshing. After I’ve made a graphic, I am ready to start writing again.

Do nothing for fifteen minutes
I know what you’re going to say. “Denise, I have a busy life and don’t have 15 minutes to spare.” To that I would say, “Are you sure?”

While sitting in relative quiet outside among nature or inside with some soothing music or even no sound can make some people feel twitchy, it’s about balance. As an experiment, to see if it works for you, try doing absolutely nothing for 15 minutes a day for a least three days and see how you feel. The 15 minutes does not need to be formal meditation. Write down how you felt and if you received any creative ideas during that time. My guess is you will not only get ideas, you might feel physically and mentally refreshed because you’re not pushing so hard all the time.

Connect (even just virtually) with others
This pandemic has kept many of us inside, including missing NINC. Is there a dear friend, writer or not, who you used to sit down with in person and hash over creative issues? If you haven’t talked to them in ages, give them a call or set up a Skype or visual chat session. They’ll love it, you will too, and the creative ideas you generate could be some of the best you’ve ever designed.

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Denise A. Agnew is the award-winning author and screenwriter of over 69 novels and several optioned screenplays and television series. She’s written in a variety of genres including horror, romance and historical. Over the years she’s also enjoyed participating in archaeology and archery. Reading is a huge love! She was fortunate enough to live in England and Hawaii and travel throughout the UK and Ireland. Denise is also a producer, paranormal investigator, Certified Creativity Coach, Reiki Master, and evidential medium. She lives in Arizona with her husband and a mini schnauzer. You can find her at www.deniseagnew.com and www.agnewcreativemedium.com.

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Nink: Getting Started in Audiobook Production

This article by Steven Womack is from the October 2020 edition of Nink, the monthly newsletter of Novelists, Inc.  (NINC). Nink, which is packed each month with informative articles for career novelists, is a benefit of NINC membership. 

When the Nink assistant editor asked me to write an article about DIY Audio Production, my first thought was why me? I’m a total newbie audiobook creator. I’ve produced and narrated a couple of podcasts and one short story that’s a freebie on my website. I’m working on producing audiobook versions of my rights-reverted backlist, but as one of the IT guys at the college where I taught for 25 years once marvelously said: I’m just starting to start.

The more I thought about it, though, the more I felt this might be exactly what this article needs: somebody who can demystify the process for beginners and point aspiring audiobook creators to resources that will be helpful when starting this journey.

So that’s where this is going. If you’re an experienced audiobook producer, feel free to pass this one by. But if you’re looking at the audiobook world and pondering how to get started, read on.

Here’s the best reason for taking the plunge: there’s an incredible demand for content. Jane Friedman, in her newsletter The Hot Sheet, predicts that audiobooks will overtake print by 2023. Even if she’s off just a little bit, this still represents a lucrative revenue stream and I want to wade in it.

When considering jumping into the indie audiobook business (especially self-narrating), there are two things most people find daunting: 1) the technical demands and skills needed and 2) what consumers really look for in an audiobook.

So if you’re looking to produce your own audiobooks, the two biggest anxieties are:

  • Can I handle the technical aspects?
  • Does my voice suck?

Handling the tech

Randy O’Brien is a Nashville-based novelist and a retired radio journalist with over 40 years of experience in broadcast journalism, voice-over acting and audio production. In 2008, he self-produced an audio version of his novel Judge Fogg. He’s also a huge audiobook consumer; he’s been reviewing audiobooks for Audiophile Magazine since 1997.

I asked him about the costs and expertise needed to create a home studio.

“A home studio,” he said, “that 10 years ago would have cost $100,000 can be built today for less than a thousand dollars. What was once a luxury for rich rock n’ rollers is now accessible to even a poor-assed novelist.”

The important thing, O’Brien added, is to have a good microphone and a computer with an adequate sound card.

Legendary voice-over actor/coach/audiobook producer and publisher Joe Loesch—whose website and YouTube channel are both invaluable resources—agrees.

“The heart of any studio is, of course, the microphone,” he said. And people think a good microphone costs thousands. I’ve seen $150 microphones that are as good a quality as the $3,600 microphone I have in my studio. What people have to remember is that every microphone is different and every voice is different. Your voice is like your fingerprint—totally unique. The trick is to find just the right combination of voice and microphone that works.”

Both O’Brien and Loesch agree that this means trying out multiple microphones. Retail audio equipment dealers are usually open to this.

The other key component of the audiobook recording process is the editing software and its accompanying learning curve. Even that’s gotten cheaper and simpler over the years.

“High-end software packages like Pro Tools and Adobe Audition are overkill for audiobook production. You don’t need multi-track recording and sophisticated music and sound effects,” Loesch said. “I use a simple program for Macs called Twisted Wave. It costs about $80 and is very intuitive.”

Both O’Brien and Loesch agree that if you’re on a PC, the go-to app is a free shareware program called Audacity. There’s a huge community of developers and users who have taken this app a long way in the last twenty years. There are tons of resources for learning Audacity on YouTube, Lynda.com, and a variety of other places. It’s not hard to find tutorials and help.

I’ve found the Audacity learning curve very manageable. There are a dozens of plug-ins and add-ons that are more than sufficient to get a good product out.

The last big hurdle is your recording space. The physics of sound is way beyond the scope of this article, but the key thing to remember is that sound bounces off flat surfaces. Almost any good microphone is going to pick that up. So just recording in your home office with flat walls is problematic.

The other issue is ambient sound. A car going by outside, the hiss of your HVAC system as it kicks on, the phone ringing or the kids getting in an argument, are all going to cause problems.

To complicate this even further, you don’t want an environment that is too dead. This creates a hollow, empty room sound that doesn’t work well in audio production.

The most innovative solution I’ve seen, and one that I’m using now: a walk-in closet, preferably one without an HVAC vent. Clothes hanging in a walk-in closet are natural sound baffles.

Now here’s the art part

You may wonder if you have the right kind of voice for audiobook narration. Or even worse, like me you may hate the sound of your own recorded voice.

The key thing to remember, Loesch says, is that listeners don’t want to be read to.

“I don’t want you to read me a story,” he said, “I want you to tell me a story. There’s a difference.”

Loesch adds that for anyone interested in really pursuing this industry, it’s extremely helpful to take voice-over classes and acting lessons.

“That’s why they call it voice-over acting,” he maintains.

O’Brien adds that the kind of voice that works depends on the book and the genre. A mystery or suspense thriller will require a different voice from a romance (although gender is pertinent only in that the gender of the audiobook narrator generally should match the gender of the narrator or protagonist in the book).

“What the listener wants is authenticity,” he maintains.

One important thing to remember, both Loesch and O’Brien agree, is that audiobook narration is hard work. A nine-hour audio book requires 30-40 hours of raw recording. You’ll need stamina, breath control, and preparation. You’ll need to stay hydrated and lubricated with whatever works for you.

There are many resources available online if, after reading this, you still want to wade into that stream:

  • Los Angeles-based author and audiobook producer Derek Doepker has a marvelous beginner’s course that I took at a discount after watching one of his webinars.
  • AudibleACX’s YouTube channel has almost 100 videos that cover everything from the beginning technical aspects to the business itself.
  • Aliso Creek has a series of videos on YouTube that cover many aspects of voice-over audio production. Just search for her.

Like any other aspect of the indie book industry, producing audiobooks is a journey. It doesn’t require a lot of money. The investment is almost all sweat equity and time. Doing it right, though, will be very rewarding, not just in terms of that revenue stream, but in finding yet another way to connect with readers.

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Former Novelists, Inc. president Steven Womack is the Edgar and Shamus Award-winning author of the Harry James Denton mystery series, as well as a few other books. A screenwriter as well, he co-wrote a couple of television movies a long time ago. For 25 years, he taught screenwriting in the film program at Watkins College Of Art in Nashville, Tennessee. When the college went out of business in May, Womack ecstatically went back to full-time writing.

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