As I’ve talked with authors about producing audiobooks of their work, I’ve noticed that many are new to the format and ask similar questions. I’ll answer the 10 most common questions I’ve heard about audiobook production in this post.
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Are You Leaving Money on the Table?
Each day an author doesn’t have her books in audio, she’s leaving money on the table.
Links to Help Authors Know Their Rights
Last updated 12/18/20
My fellow narrators and I often contact authors about creating audiobooks of their books. Many times, the author tells me that her publisher has the audio rights, or she isn’t sure who owns them.
Authors could make more money by exercising as many subsidiary rights as possible for each book, especially the audio rights. The audiobook industry is on a 3-year trend of double digit growth that shows no sign of slowing.
If you have your audio rights, you could contract with a narrator or producer to create an audiobook. You also could choose to license your audio rights to a publisher or producer. The trade-off is that you earn more royalties if you retain your rights and contract with a narrator or producer. When you license your rights, your royalty rate is lower because someone else is managing the audiobook production process.
I’m posting this list of links about rights so that more authors can get their books into audio.
Links to Help Narrators Research Rights Holders to Books
Last updated 13 February 2024
I’m not a lawyer, but I have voiced an attorney in multiple audiobooks. Just because an author has passed away or isn’t easily discoverable, or the book is out of print, doesn’t mean you’re free to create the audiobook of her book!
Before you can record an audiobook, you must do due diligence to determine whether the book is in the public domain or still under copyright. When a work is still under copyright, the rights holder is the person or company that owns the audio rights to the book. The rights holder (RH) will receive the royalties from the sale of the audiobook.
If the book is still copyrighted, the RH could retain the audio rights and hire you as an independent contractor to produce the audiobook. You also could license the audio rights and become the rights holder. If you’re interested in this second option, I highly recommend you purchase my webinar with attorney and audiobook producer/director/distributor Jessica Kaye on this topic using the link on my Shop page.
The links on this page will help you understand the copyright laws in the US and UK and do your research to determine whether a book is in the public domain or find the rights holder for books still under copyright. By the way, members of my site NarratorsRoadmap.com have access to an exclusive video where I demonstrate how to use some the sites listed below. I also offer members a number of links not listed here, including some collections of potential public domain books I found on HathiTrust.org.
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The Still Small Voice
If you’ve read my articles about Barry Manilow (here and here), you probably suspect that music is an important part of my life. Did you know that I also play music? I ask your indulgence while I write about music for a few minutes. I promise that I do have a point that relates not only to audiobook narration, but to living the life of your dreams.
Introduction and Exposition
I started piano lessons when I was in second grade. My brother was taking them, and I thought I should do that, too. (By the way, I feel blessed that my parents gave me the gift of a musical education so early in my life.)
In fifth grade, I took up clarinet as part of the school band. I don’t remember deciding I wanted to play the clarinet. I wanted to be in the band, and I think perhaps the band teacher suggested it for me.
While I was in sixth grade, I decided to learn guitar because someone I sort of competed with was playing guitar. Admittedly, competition probably is not a good reason to start anything. I didn’t know then that I don’t have to prove myself to anyone. When the school orchestra needed a string bass player during my seventh grade year, I accepted the challenge and learned to play string bass.
Eighth grade saw me add 2 more instruments to my list: oboe and flute. The band director asked me if I would like to switch from clarinet to oboe. Yes, please! Playing oboe gave me to a chance to stand out. Why be one of 10 or 15 clarinetists when I could be the only oboist?
The flute was different. Rather than playing an instrument because someone else thought I should play it, I wanted to play the flute because it was lovely both in sound and appearance.
One Email That Isn’t a Scam
When you receive an email from a Nigerian prince, you probably think, “This so-called prince is just somebody who wants to take my money.”
Other types of emails may cause the same reaction. Authors are inundated every week with solicitations from marketing and web site gurus, proofers, webinar hosts, and more. It could be easy to become jaded to the constant barrage of offers.
However, one email that isn’t a scam is the one from an audiobook narrator who wants to collaborate with you on producing your audiobook. The reaction to that kind of email should be one of giddy excitement, such as, “This is somebody who wants to MAKE me money! What a prince!”
Although narrators routinely work with audio publishers, we are independent, freelance business owners just like you are. We don’t have agents who deal in audiobook work. Each narrator is on her own for ensuring she has a steady workload.
Until recent years, only about 5% of all books were made into audiobooks. Even though audiobooks are the fastest growing segment of publishing and have had double digit growth for the past 3 years, the overall number of audiobooks is still a relatively low percentage of the number of available books.
Consequently, the majority of authors do not have audiobooks of their titles and may not know how to create one. Narrators frequently do outreach with authors to help them learn about the production process. We speak at authors’ conferences and workshops. Some of us (ahem) write articles to share our knowledge and love of this medium.
We also prospect to line up projects on our own. We look for authors who are prolific in writing and releasing their books and treat their writing as a business. Once we find an author of interest, we research her work to find a book that:
- isn’t already available as an audiobook
- is a good fit for our voice, skills, and interests
- contains content suitable for an audiobook in a genre that is successful in audio
- could be expected to sell well in audio
With the research complete, the narrator will contact the author — usually through email — to inquire about the possibility of creating the audiobook.