Karen@KarenCommins.com
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Karen Commins

Atlanta Audiobook Share-rator™

"A Vacation For Your Ears"

20 Things Learned in Last 20 Years

 

Happy 20th anniversary to me!

I launched my voiceover business 20 years ago.

Since my last post was about using my journal, it’s only appropriate that this one goes back to where it all began, my first entry in my first book.

 

Saturday 8/28/1999 9:25pm

I’m spending my evening copying the CD of my first voice-over demo with the plan to mail a few to agents on Monday. How I got to this point and where I go from here will be the subject of this journal.

Friday 9/3/99 10:15pm

On Wednesday, September 1, 1999, I mailed 3 CDs to [3 Atlanta VO agents]. It was such a huge step, and I felt a tremendous sense of accomplishment and excitement to have pushed the dream out to people who could do something about it!

The past 20 years have been a remarkable evolutionary journey, to say the least! As I was reflecting on all that I’ve seen, read, written, voiced, and otherwise done in that time, I decided a blog post of 20 things I’ve learned would be a great way to celebrate this milestone!

So here’s the list, in no particular order. By the way, you’ll find more private journal entries sprinkled throughout these articles!

[Read more…]

Stop Complaining About Noise

In a recent Inc. Magazine article titled 7 Ways Successful People Have Better Mindsets, this quote practically leaped off the screen at me:

The biggest problem is thinking of problems as problems. Successful people know that when you focus on problems you have more problems, but when you focus on possibilities you have more opportunities.

It’s true. Our thoughts and words have tremendous creative power in shaping our lives. In fact, in one of my first blog posts 10 years ago, I wrote that nothing is more powerful on this planet than the words you think and speak. Everything that exists now was first a thought in a person’s mind. Speaking the thought out loud gives it creative power.

Wayne Dyer used to say, “What you think about expands”, and “You can’t get enough of what you don’t want.” When we’re repeatedly talking about something with energy and emotion, we’re actually telling the Universe, “please send me more of this.”

That’s great when we’re enthusiastically and excitedly talking about our latest audiobook contract or marketing plans. However, the same principle is at work when we’re animatedly griping about the leaf-blowers in the neighborhood.

An army of leaf blowers is coming soon to your neighborhood!

I can’t count the times when I’ve read posts from audiobook narrators in Facebook groups in which they whine about the external noise from the neighbors cutting their grass, planes flying overhead, nearby construction projects, or any other thing that interrupts their recording sessions. The people bemoaning these (first-world) problems seem to expect empathy from everyone else. If challenged, the complainer would say he’s merely venting off steam with people who understand the situation.

I never respond to those types of posts. If I did, I’d say, “Quit your bellyaching, and DO something about your recording space! It’s not up to the world to be quiet in order for you to have a cocoon of silence for recording.”

Before anyone gets offended at my harsh statement, let me add that I have walked in the naysayer’s shoes. In order to solve my multiple issues with an extremely noisy environment, I replaced all of the windows in my house and custom-built an additional room on my house with soundproofing techniques.

More importantly, I don’t respond because constant complaining really goes much deeper and has a more pronounced effect than most people realize.

Have you ever noticed that, when you’re sick and you tell and re-tell the story about all of your symptoms to everybody you know, you feel worse with each telling?

When I used to gripe about people yakking loudly on their cell phones or children screaming in restaurants, it seemed more and more of them would show up around me. OF COURSE THEY DID! I repeatedly focused my attention and poured lots of negative emotion in my comments about how much those situations annoyed me! I had an epiphany one day when I realized I had been saying, “We are a magnet for obnoxious children” — literally summoning the very condition I wanted to avoid!

I’ve learned — not that I’m always successful at it — that I have to keep my attention focused on WHAT I WANT, not what I don’t want.

The loud children and cell phone talkers in public are still around, but my reaction to them has changed. When I find myself getting annoyed by them or other irritants, I speak out loud affirmations like, “I am focusing my attention on what I want, which is a pleasant, enjoyable dinner.” Almost immediately, the environment — or at least my perception of it — shifts for the better.

Frequent grumbling doesn’t just steal your joy (and that of others around you) in the moment. You can be setting yourself up for an unfulfilled life.

I’ll leave you with these profound thoughts from Elizabeth Gilbert’s book Big Magic: Creative Living Beyond Fear: 

Quit your complaining. It’s not the world’s fault that you wanted to be an artist. It’s not the world’s job to enjoy the films you make, and it’s certainly not the world’s obligation to pay for your dreams. Nobody wants to hear it. Steal a camera if you must, but stop whining and get back to work….

…most important, you’re scaring away inspiration. Every time you express a complaint about how difficult and tiresome it is to be creative, inspiration takes another step away from you, offended. It’s almost like inspiration puts up its hands and says, “Hey, sorry, buddy! I didn’t realize my presence was such a drag. I’ll take my business elsewhere.

…I have felt this phenomenon in my own life, whenever I start complaining. I have felt the way my self-pity slams the door on inspiration, making the room feel suddenly cold, small, and empty. That being the case, I took this path as a young person: I started telling myself that I enjoyed my work. I proclaimed that I enjoyed every single aspect of my creative endeavors—the agony and the ecstasy, the success and the failure, the joy and the embarrassment, the dry spells and the grind and the stumble and the confusion and the stupidity of it all. I even dared to say this aloud. I told the universe (and anyone who would listen) that I was committed to living a creative life not in order to save the world, not as an act of protest, not to become famous, not to gain entrance to the canon, not to challenge the system, not to show the bastards, not to prove to my family that I was worthy, not as a form of deep therapeutic emotional catharsis . . . but simply because I liked it. So try saying this: “I enjoy my creativity.” And when you say it, be sure to actually mean it.

Photo: Hector Alejandro/Flickr
 

Dual Gender Narrations in Audiobooks

An audiobook listener on Goodreads wrote recently:

“I’m hoping the powers-that-be realize this (and care) and we’ll see more audiobooks being narrated by dual-gender narrators.

And I don’t mean simply dividing up the chapters between a male and female narrator to read…I like the dialogue narrated by the relevant gender.”

I can tell you why most books have a solo narrator: COST.

I produced and co-narrated the 4-book Blue Suede Memphis mystery series (fun, cozy mysteries with romantic elements) where I voiced all of the female parts, and a male actor voiced all of the male parts. While I love the sound of the finished product and agree that having both genders makes the production so much more interesting, it’s a very time-consuming and tedious process to create an audiobook this way.

First, you have to have production rights to even be able to do a multi-voice production. One mid-size publisher told me that we couldn’t use 2 voices on a particular book because they didn’t have the production rights for it. I guess the production rights allow you to make a play or movie from the book’s text and are somehow different than audio rights.

Next, you cast the 2 actors and must coordinate their recording schedules. If I weren’t married to my co-star, the scheduling step alone could have derailed the production. The schedule is less of a consideration when the narrators are reading whole chapters instead of performing dialogue.

Once the schedule is worked out, you turn to the cost of studio time, both for the recording and the editing/mastering. The Big 5 publishers can afford real-time studio hours in big cities for their high-profile, bestselling titles. Everyone else — small and mid-size publishers and indie authors — usually looks to control costs by casting narrators with home studios. Depending on the project, the editing might be done by the publisher, the narrator, or an editor sub-contracted by the narrator.

Normally, my rule of thumb is that it takes 2 hours in real time to record 1 finished hour and 3 hours in real time to proof/edit/master for 1 finished hour. With the books in this series, we spent at least an additional hour on both phases. A book that runs 10 hours with 1 narrator (or 2 or more narrators who read different chapters) therefore might require 50 hours in real time to record and edit. The same book with 2 narrators and interspersed dialogue might require 70 hours of production time.

Studio time isn’t the only cost consideration. I also have the opportunity cost of other projects or promotion that I can’t do when an audiobook requires more time than usual to complete.

In this series, I did all of the narrative portions and the female voices. I left airtime in the dialogue where male characters spoke. As Drew directed me, he mouthed his lines and cued me in for my next sentence.

Then, we switched places; I directed him as we recorded his parts:

  • I cued him by playing my audio in his headphones.
  • I pressed Record in the software.
  • He delivered his lines. Everything true of solo narration is true here, too, as far as re-recording to fix inflection, accent, flubs, etc. In fact, it may be harder to be the 2nd person because you’re kind of coming into the dialogue cold. I think that person has to work harder to connect to the text because they weren’t immersed in the story to that point.
  • I stopped recording before he spoke over my next line.
  • Sometimes we originally left too much time for his parts, sometimes not enough. Sometimes his delivery caused me go back to my part and re-do it to change some nuance.

As a result, editing the dialogue is EXTREMELY time-consuming. When I am narrating all voices, as is customary, I naturally leave the appropriate amount of time between characters. The editor is not constantly adjusting the timing to make the conversations flow smoothly and naturally. In these productions with true M/F dialogue, the editor’s job was even tougher given the timing issues.

Due to the considerable amount of time needed for this kind of production, I’m not too eager to produce another one. Instead, I’m looking for projects with 2-3 1st person POVs (romance or mystery) where each narrator is responsible for entire chapters.

Do you like hearing books with 2 narrators? Do you know of a book for which you’d like to hear a dual narration in the audiobook? Please leave a note in the comments!
 

10 Things I Learned About Speaking at a Conference

On Friday, 10 October 2014, I presented the topic “Setting Sail In Audiobooks” at the Georgia Romance Writers’ (GRW) annual Moonlight and Magnolias Conference. Although I gave a polished talk with a fabulous multimedia presentation, the overall experience is not one I want to repeat any time soon.

I’ll be honest — before yesterday, I had never given this sort of presentation. I had done presentations in my government career, of course, so I had no fear of speaking to a group.

I raise the point about this kind of presentation because a more experienced public speaker might have been able to avoid the technical and communications problems I encountered. I therefore thought it might be helpful to share some things that could have gone better to save others from a similar plight.

1. Only go when you are INVITED.

In January of 2014, I sent a message to the Georgia Romance Writers to inquire about speaking to their group about audiobooks at a monthly meeting and/or the annual conference. The conference chairperson responded that I could submit a workshop proposal for the conference. If my proposal was selected, I would have to pay the conference registration fee for attendees.

I responded that I was unwilling to pay registration fees since I wouldn’t be an attendee. My thinking was that I was offering to HELP them for free. I certainly was not going to PAY for the privilege of spending my time, energy, and creativity in developing an engaging and informative talk and then more time at the actual presentation.

In March, after the proposal window had closed, the conference chairperson wrote to me:

Are you still interested in presenting at the Moonlight & Magnolias conference in October? We have an opening in the workshop schedule, and since you’re local and provide a service to authors, we’re willing to waive the registration requirement.

My gut whispered to me that they didn’t want ME. They just wanted someone to FILL A SLOT and were SETTLING for me “since I’m local and provide a service to authors”. I chose to dismiss those thoughts, telling myself they were just my own inner resistance to stepping outside my comfort zone instead of a warning signal. I responded that I would be delighted to accept the slot.

2. Ask for equipment to transmit both the computer video and AUDIO.

I had to submit my equipment requests in June, long before I started creating my slide show. Even though my topic was AUDIObooks and AUDIO is my life, I didn’t think to specifically ask for equipment to transmit my computer AUDIO along with the screen display.

My snazzy slide show included 4 terrific videos that demonstrated key points. As I practiced my speech last week, I suddenly realized that the projector might not transmit the computer’s audio. I wrote to the conference coordinator, who said they only had a projector, and she didn’t think she could get speakers for my computer. She referred me to the hotel contact person to solve the audio problem. I’m guessing that no one at previous GRW conferences has ever had a multimedia show, so no one ever thought of or asked for audio equipment.

The hotel was only providing a microphone and podium. However, it could easily include the additional sound mixer configuration for my computer audio for an additional $130. GRW apparently was unwilling or unable to pay the additional fee.

]I had to solve the audio problem. My choices were:

  • Pay the hotel the $130 to set up the additional equipment.
  • Take an external speaker from home, perhaps even a studio monitor.
  • Remove the videos from the slide show.

I decided to take a Bluetooth speaker. I had to hold my microphone in front of the speaker in order to project its sound throughout the large ballroom.  I’ll have more to say about this solution in subsequent points.

3.  Test and re-test every aspect of your slide show.

My laptop worked well with a Bluetooth speaker that we had purchased from Williams and Sonoma. Unfortunately, I didn’t realize that it must time-out after a certain amount of inactivity. When I got to the 2 videos at the end of my presentation, the Bluetooth speaker wouldn’t play the sound. I might have discovered that fact if I had played all of my videos with the external speaker during my rehearsals.

4.  Ensure that your name and presentation name are the way you want them to appear on the schedule and program.

When I received the conference schedule in September, I just looked for my name to see the date and time of my session. I didn’t notice that my session title was listed as the very bland and vague “Audiobook Presentation” instead of the name I had given it “Setting Sail In Audiobooks”.

 

Of all the presentations, mine was the only one with such a non-descript name. The other presentations retained the names given them by the speakers. Some of the presentation names contained more characters than mine, so my presentation name would have fit in the space provided.

I only noticed this undesirable and unauthorized change on Thursday night before my Friday session. Sure enough, the printed program listed my presentation name as “Audiobook Presentation”. This name probably translated into a lower attendance level for my session.

At least my name was spelled correctly.

My presentation had an intriguing name.
The slides continued the sailing theme.

5.  Visit the room where you’ll present and know how the equipment will be configured at least 1 day before your session.

I did visit the hotel the day before the conference. I stood on the stage at the podium in a ballroom of 25 tables with 10 chairs at each table. I envisioned the room full to capacity of people who were interested in my topic and excited to get my information about using ACX to create audiobooks.

The hotel A/V director told me that GRW had not ordered a screen for Friday. I had to send yet another message to the conference chairperson about the screen. She assured me that they would have a screen for Friday.

I naively thought that in the ballroom setup, the screen would be ON THE STAGE, behind me at the podium. I didn’t know until I got in the room for my session that the screen was a small thing set off in the far corner with a projector on top of a table! I asked them to move the table and screen closer to me so that I could still use the podium. I didn’t want to hold the mic for the entire session while also bending down to the table to read my presenter notes from my computer.

On Monday, I had asked the conference chairperson what kind of cable connected to the projector. I didn’t get that answer until I walked in the room on Friday.

6.  Plan for all contingencies.

Take all kinds of cables and adapters that you might need. I had both HDMI and VGA cables and adapters so that I was prepared for any projector connection.

Print your presentation notes. Thank heaven I had taken this step because Powerpoint on my Mac never gave me the option for dual monitors. The attendees viewed the slide show, and I referred to my paper notes.

Make sure your printed presentation notes include the latest tweaks. I had changed the order of a couple of notes on Friday morning but didn’t print them. I was a little thrown during the presentation when the sequence was wrong.

7. Learn your moderator’s name and go over logistics and details the day before your session.

If I were a conference chairperson, I’d make sure that:

  • every session speaker knew the name and contact info of the session moderator
  • the moderator would ensure that the speaker had everything she needed and felt welcome
  • the moderator would be on hand to help the speaker get into the room

The GRW conference chairperson sent me no information other than the fact that I would have a moderator. She also said she’d be around to help connect the computer to the projector.

As a person outside of the organization, I expected more consideration and communication than I received. I’m sure it’s a big job to plan a conference, so perhaps the chairperson was overwhelmed by the task. I can see now that I should have been persistent with my questions until I got answers.

I met my moderator about 3:55pm for my 4:00pm session.

8.  Be self-reliant.

I can thank my parents, perhaps especially my mother, for teaching me this lesson early in life.

No one from GRW met me after I arrived at the hotel to help unload my car. I had already planned to get one of the hotel luggage carts to unload my briefcase with computer, a box of postcards for my door prizes, and a gift basket and 4 gift bags for door prizes. Fortunately, the bellman said I could use the cart for the next hour. I actually kept it for 2 hours since I didn’t have time to return it before I started my presentation.

I met my moderator as we were walking in the door. I appreciated her help during the setup, and the conference coordinator did come back and help her move the table and projector. I thought I was going to have to do it.

9.  If you are giving away door prizes, offer raffle tickets as people walk in the door. 

To celebrate my latest audiobook and first romance FOR A GOOD TIME, CALL…, I made 4 gift bags and 1 grand prize gift basket containing some cool swag that ACX and Belle Books generously provided to me along with all of the types of candy mentioned in the book. I had printed postcards and attached stickers to 5 of them. My plan was to pass out the cards at a certain point during the presentation and determine the winners before I ended my talk. I inserted the marked cards throughout my box of postcards.

I was shocked and dismayed when only about 25 people showed up for my presentation.

My moderator passed out my cards at the appointed time. When it came time to determine the winners, no one had a winning card. I was reminded of Michael Scott’s “Golden Ticket” idea in The Office. His hidden golden ticket idea didn’t work out well for him, and my specially-marked postcards didn’t work out well for me. It would have been so much easier and cheaper if I had just handed out raffle tickets to give away my door prizes.

10.  Give your best to the people who came to hear your talk.

The show must go on, so you’ve got to make lemonade….or something like that. Even though the size of my audience was not optimal, I knew that the people who were there came to hear me and wanted to learn about creating audiobooks. I did everything I could to make my presentation outstanding.

Well, I mostly did everything, but I wish I could’ve done something about the Bluetooth speaker so they could hear my last 2 videos. Those videos featured Colin Firth and Steve Martin. Just think — I was sharing a stage with Colin Firth and Steve Martin, but no one in the audience could hear them! 🙂

The people in the ballroom before me didn’t finish on time and wouldn’t leave the room until my moderator ushered them out after 4pm. I was late setting up, which made me even later in starting. I wanted to finish on time so I wouldn’t be rude to the person who was scheduled to speak at 5pm. Perhaps if I hadn’t felt so rushed for time, I might have troubleshot the Bluetooth speaker for a moment.

I really appreciated the attendees’ interest. A few people asked very thoughtful and intelligent questions at the end, and I had a delightful hallway conversation with one author as I was leaving.

I didn’t leave any business cards or my stack of postcards in their goody room. My hand-out in their binder included a copy of my business card and a link to a document I’ve compiled of audiobook resources for authors.

*******************

I spent months researching and collecting ideas for this presentation and weeks in creating the slide show. It would be a shame if all of that time, thought, energy, creativity, and money only benefitted the people who were in the room yesterday. Therefore, I’m going to convert my show to a video and add narration to it.

I may not ever present in person again at GRW, or any other writers’ organization, but I will continue to help authors through my blogs, videos, and forum posts.