Last updated 2/7/21
My email inbox continues to provide fodder for blog articles. Last week, someone sent me this question:
I’ve been asked to record a 200 page audiobook. I’m not in a union or guild. I do have some voiceover experience. What do you recommend I charge?
Original Answer
While the question you asked seems simple, the answer requires more explanation, as found in this blog post and the one from Paul Strikwerda linked within it.
As basic info, you need to know the WORD count, not the page count, of the book you would narrate. You can figure out the finished run-time based on the word count. For instance, Audible uses an average rate of speed of 155 words a minute, or 9300 words per finished hour.
Paul’s article shows you a formula to calculate finished time. My article shows you how to calculate the real time required for editing to produce the book. As Paul points out in his comment to my article, you also need to add time for preliminary research.
You’ll have to consider all of these factors about the time commitment along with your experience, relationship with the client, training, and studio equipment to determine a rate that is fair compensation.
Small publishers only pay $50-100 per finished hour. I would only perform an audiobook at that very low rate if I wanted to build commercial credits.
I hope these thoughts are helpful. Best wishes for your continued success!
New Answer (WARNING: MATH IS INVOLVED!)
Apparently, I overwhelmed this person with good information that would require her to actually do some research because she re-posted her question on a voiceover forum within an hour of receiving my reply.
Here’s the simple mathematical formula for solving this problem:
1. Divide the word count of the book by your rate of speech per hour to get the estimated number of finished hours. If you don’t know your rate of speech, Audible uses 9300 words per hour, or 155 words per minute (WPM), in its calculation for books posted on ACX. Your actual rate of speech and finished time may vary significantly from the estimate due to the complexity of the text and your acting choices.
Some narrators have reported that using 9000 words per hour (or 150 wpm) is a better average rate for more people. If you’ve done some projects where you were given a word count, divide the word count by your finished time to learn your average words-per-minute rate of speech.
If you don’t have the word count available, you can estimate the finished time by following these steps:
Let’s say you a have a 300-page book. To estimate finished time, start a stopwatch as you read 3-5 representative pages aloud as if narrating. Keep going when you have errors, and stop your timer when you’re done.
Divide the time you obtained doing the sample read by the number of pages in the sample to get the average time to read each page. For instance, if it takes you 10 minutes to read 5 pages, your average time per page would be 2 minutes per page. (10 / 5 = 2)
Multiply the total pages in the book by your average reading time per page from your sample read to see the total estimated minutes. (300 * 2 = 600 minutes)
Divide the total number of minutes in the previous step by 60 to get the finished hours. (600 / 60 = 10 finished hours)
Real life examples usually aren’t so tidy with whole numbers. You find it helpful to use a decimal-to-time calculator with your finished hours figure to see the minutes and seconds.
2. Multiply the number of finished hours by 6. This number is a very conservative estimate of the number of real-time hours you and your team will spend in recording, editing, and transmitting your book. For instance, a 10-hour book may require at least 20 and, if you are doing your own editing (which I don’t recommend — instead, outsource it), 60 or more hours of your life from the time you record the first word until the last byte is uploaded or mailed to the client.
The general breakdown of hours for experienced narrators is:
Recording: 2 hours for 1 finished hour
Editing: 3 hours for 1 finished hour
Proofing: 1.2 hours for proofing
Note that preparing to read (pre-reading the book, looking up pronunciations, etc.) is NOT included in this calculation, so you will need to add time for that process.
3. Multiply the real-time hours by the hourly rate of pay you need to survive. Chances are very good that you will come up with a pay rate for this audiobook that is $1000s MORE than your client wishes to pay. You have to decide how to negotiate a rate acceptable to both of you.
Even with this formula in hand, you still will want to research current audiobook rates. Be aware that the SAG/AFTRA union minimum on ACX is $250 per finished hour. which is an all-inclusive rate. If you are producing the retail-ready project, you need to factor in costs for an editor and proofer as you will pay those out of your PFH rate. (Each publisher has negotiated contracts with SAG/AFTRA, and only the ACX rate is publicly available. The narration rate with other publishers varies.) If you want tips for negotiating a higher price, check out my article Cruising for a competitive advantage
Once you know the amount of time you’ll invest in the project and the amount of money you need to get for your time, you’ll know whether to accept an audiobook project.
For instance, I would voice a royalty-share book only if I’m willing to bet that based on from the book’s ratings and reviews that I would earn back my fee over time. Otherwise, I might do a RS book if I were passionate about the topic and had the time available for the project. I’m much more interested in a hybrid arrangement of a PFH payment up-front and a RS contract. On ACX, this type of arrangement is called a Royalty Share Plus contract.
It’s always good to be working and gaining credits if your survival needs are being met.
If you have more thoughts on this topic or questions on other topics related to voiceover, marketing, or just living your best life,, I’d love to get your comments on the blog!
Photo: iStockPhoto.com/STEVECOLEcc
Karen,
Good advice. Most of my work is commercial, so audio book advice is very appreciated!
Greetings, Billy! Audiobooks are my focus, so I’m writing more about them. You may want to check out the audiobook category in the archives:
http://www.karencommins.com/audiobooks/
Thanks for stopping by, and best wishes for your continued health, success, and prosperity!
Karen
Good info! thanks Karen!
http://www.trevorjonesvo.com
how long does it take voice a segment of a audio book that is 350 words it is pg 398 &399
Hi, Earl. I can only give you an estimate of the finished time. I can’t tell you how long it would take to record. Your time behind the mic will depend on your experience level and the complexity of the text. Your editing time depends on your experience level.
To find the estimated finished time, you divide the number of words by your rate of words spoken per minute.
If you don’t know your rate, Audible uses 155 words per minute, or 9300 words per hour, to create estimates of finished time.
In this case, 350 words / 155 words per minute = 2.25 minutes.
This calculator converts a decimal number to time. Using it, you can estimate the finished time at 2 minutes 15 seconds.
Using the 6:1 ratio for production, you can estimate that it will require 13 minutes 30 seconds to create this audio file.
Best wishes for your success!
Karen
Earl asked me this follow-up question in an email. I’m adding it to this discussion so it will benefit more people.
Hi Karen, Thanks for sending the method of calc words to how long it takes to voice. I am grateful to be connected with you. I have only done the one segment of 4 audio books. YOUR METHOD helped in the quote I recently sent. Good of you to care about a newbie on audiobooks.
It’s because of my success on the BC Libraries Cooperative on audio book segments that a past potential client decided to accept a quote on his book. It was surprising as it was over a yr ago that he didn’t respond to my info on poss doing his audio book.
I am using your method of determing words to find out how long it will take to voice. He has 29,254 words then i didnvided it by 155 = 188.73 min. Am i doing your method correctly? Realizing when i do the calc & then actually voicing because of editting the reality is it will take longer than the 3 hrs.
The previous segment of books I did not do a lot of editting but made sure all the script was correct basically did it raw. But still a little editting was required at the beginning of the segment & at the end basic cleanup. The more I voiced the easier it got.
Then i was totally surprised that the past client had not gotten his book done yet. Now i have the confidence to do it. it is 10 chapters of 115 pages. I know most voice artists stay away from audiobooks because of their length & I was going to. I want to make sure my quote is good PER RAW HR. ( NARRATION ONLY NO EDITS) The Non-Union rate of the Global Voice Acting Academy is $225 PER HR. $225 X 5HRS. = $1125 i added 2 hrs on for editing.
Does this sound reasonable & is my calc on time correct as closse as poss. I trust my communication makes sense.
Many thanks,
Earl Thomas
My answer to him:
Hi, Earl. You did the calculation correctly to find the estimated finished time, which would be around 3 hours 6 minutes.
However, your ACTUAL time needed to produce 1 finished hour is considerably longer. The industry rule of thumb is 6 hours in real time to create 1 finished hour. This 3-hour book therefore could require 18 hours of work time among recording, editing, proofing, and mastering.
See this link for the time breakdown.
Your quote is good if you outsource the editing to someone who would charge you $50-75 or more per finished hour. Vetted providers are on this list.
If you have more questions, I’m available for 30- and 60-minute consultations from the link on my Shop page.
I hope this info helps. Best wishes for your success!
Karen
Karen thanks ever so much I appreciate your expertise. Would you want to connect on Linkedin as if there is any way I could help you. I would be glad to as I don’t want to make it all about myself. HAPPY NEW YEAR Karen I know you are a success as you give so unselfishly.
Just off to my first networking meeting to promote my new venture as a VO and saw this article which I feel explains the reasoning for my rates very well. So many imagine you just read out the words on a page
Hello, Deryn, and thanks for the note. Since you’re new to VO and possibly to establishing rates, you might also look at this article Cruising for a competitive advantage. In it, I discuss other ways to compete than price and link to a book every freelancer needs to read.
Best wishes for your success!
Karen
What if the runtime legitimately ends up exceeding the estimate (that was based on word count)? Is this automatically adusted up by ACX based on the submitted files, or is it up to the rights holder to adjust the runtime? Or does the rights holder only have to honor the estimated runtime agreed upon in the offer?
Hi, Alice! Thanks for the note.
ACX will automatically add the finished time of all the files to calculate the final run time. If you have a Per Finished Hour (PFH) agreement with the rights holder (RH), the screen also shows the amount due based on your PFH rate times the finished run time shown for the project. Note that the RH pays you outside of ACX, and you need to receive payment before you release the title for QA.
The estimated run time almost always varies from the finished time, sometimes rather dramatically by an hour or more. The estimated time can only account for the number of words. It doesn’t accommodate the complexity of the words or the pauses and pacing needed to performing the text.
I hope this info helps. Best wishes for your success!
Karen
When you say “Finished time,” what is finished? Do most VO artists do more than edit their tracks and do noise reduction? Are we expected to provide music, sound effects, ect? How involved is “Mastering?”
Hi, Robert! Thanks for the note.
In answer to your questions:
1) Finished time refers to the run-time of the completed, retail ready product.
2) Most experienced professional narrators outsource our editing to an editor so we can concentrate on narrating. The editor will adjust pacing, eliminate most mouth and external noises, and proof-listen to the text to note mistakes that must be re-recorded.
3) Music and sound effects are not the responsibility of the narrator. Most audiobooks only have music in the opening and closing credits, if that much. Unless an audiobook is being produced as an audio drama or full cast recording, it usually does not have sound effects.
4) Mastering is the process of making adjustments to the overall recording ensure that the entire book is at a consistent level and is pleasing to the ear.
I’ve started a new site called NarratorsRoadmap.com that will soon have a Knowledge Base with articles on most of these topics. Please check it out and sign up for updates!
Best wishes for your success!
Karen
I have a FB Group site for narrators. We also have authors, editors, publishers, etc. I was told that I am demeaning the entire audiobook narration industry because I do not charge $200-$400 PFH on my profile. I can’t find a manual for narrators that explains this. I have narrated 23 books and sold almost 220 audiobooks. I love narrating. If I like a book, I will accept an offer (sometimes RS, sometimes PFH). I never discuss my rates. I feel that is between me and the RH. However, ACX requires us to post our acceptable rates on our profile. I don’t understand how I could be demeaning the entire industry. I love my work. Love helping authors turn their works into audiobooks. It has never really been about the money for me as I am 70 years t=young and retired. I just love narrating. Any comments or advice for me? should I just quit? thanks. By the way, we have a link to your site at the top of our page. You are very much a respected narrator.
Hi, Laura! Thanks for the good questions. I will answer you frankly and honestly. Please know that I write with the best intentions and mean no disrespect by anything I am about to say. I may not tell you what you want to hear, but I will tell you what you need to know.
Your number of books narrated and sold along with your statement “it has never been about the money for me because I am 70 years old and retired” tells me that you look upon your narration as a hobby that maybe brings in a little extra income.
In contrast, professional audiobook narrators view our work as a BUSINESS. Most professional narrators rely on the income to meet the necessities of life. They continue to invest money in themselves and their business with ongoing training and studio upgrades. Their experience level makes them more in demand, which results in higher rates.
The SAG/AFTRA minimum rate on ACX of $250PFH should be the least any professional narrator will accept.
The industry rule of thumb is that it takes 6.2 hours in real time to produce a single finished hour of an audiobook. A rate of $50PFH for a fully-produced audio would equate to $8.33 per real-time hour. Such a rate is barely above the poverty level for a full-time job and is equivalent to what an unskilled teenager might earn at a fast food restaurant. Audiobook narration requires many more complex skills.
If you accepted $100PFH, the actual payment realized doubles to $16.12 per real hour. If your production ratio is higher and/or you paid an editor/proofer, you sink back toward the poverty level.
It’s fine to be a hobbyist. However, you’re in a commercial marketplace competing against professional narrators. When you accept a lowball PFH rate, you are saying that you don’t put a high value on your work. If you don’t value it, no one else will, either.
What’s more, you teach the price-shopping rights holder not to value the skills of ANY professional narrator. They probably will brag to their friends about the cheap price they paid you. Those RHs will then have lower expectations, making it more difficult for professional narrators to achieve the rate they need to be paid.
RS projects are not inherently bad. You can have multiple valid reasons to take an RS contract. However, you need to research these titles well before accepting one. I’ve just launched a new site called NarratorsRoadmap.com. I encourage you to look through that site, especially the Knowledge Base article titled ACX projects to avoid.
While every freelancer must run their business as they see fit, the goal of any business should be to make money.
I hope these thoughts are useful to you.
Karen
Hi Karen!
Great article and comments! I see you mention rates at $250 PFH for members of SAG/AFTRA. What rate, or rate range, do you think would be appropriate for a new narrator with few to no credits to their name? I agree with your comment about the importance of making sure you place value on your work so, how much experience/credits/good ratings should one have before approaching or going up to the common rates that other professionals use?
Thank you!
Jessica
Hi, Jessica! New narrators shouldn’t offer a discount on their work. I gave the ACX union minimum because that’s the floor for a professional narrator.
I updated the article to clarify that any expenses for an editor and proofer would come out of the finished hour rate on ACX. As you gain experience, you could bump up the rate above the minimum.
A new narrator may be lacking experience and/or confidence. However — and this is the key take-away — if s/he is producing quality work that compares to that from more established narrators, s/he should be paid at the same rate.
Being competitive with other narrators means investing in yourself and your business with good equipment, a well-treated recording space, and audiobook-specific coaching. It’s best to hire someone to edit and proof your book.
EVERY BOOK YOU DO remains part of your portfolio. You need to choose your projects wisely and do them well. It takes time to build this business the right way.
Maybe all these factors mean you only get one GOOD book done in a year. One GOOD book is better for your long-term career than 10 mediocre books.
I hope these thoughts are helpful. Best wishes for your success!
Karen
Hi Karen, This is such a helpful blog. The hourly read and work conversions are invaluable. You are very generous and thoughtful with the time and attention you give to each comment.
I am extremely new to narrating audiobooks. So new in fact I have never done one. I have put samples up on my ACX profile and had an author just recently ask me to audition. She is asking my pfh rate. It is a 65,000 word book.
I am completely at a loss for what to expect. I get a bit concerned when you talk about editing and proofing, not just time, but expected quality of finished product. This has stopped me from doing this work in the past. I just don’t want to be blind sided by an expectation after submitting what I think to be a finished product.
My questions are this:
1. What is a fair price for an inexperienced narrator. (I have seen $85-$140 for one completed hour).
2. What is my gold standard for editing and proofing for the final product. Sound quality..other?
3. I am using Garage Band. Would Audacity be better for ease of editing.
4. The author commented on my rate of reading as slower than my audio samples. It is a book on Buddism and she does not want it to come across as somber. The sentence structures are long and there are words that are not in my first language which are very doable with research and pronunciation apps, but they do slow me down. My thought was to narrate at a bit slower pace so that I can smoothly and consistently articulate throughout the entire book. My question here is should I take into consideration the time it might take for me to research and accurately record? It is hard for me to tell how long this will take me and if I should try to pick up my pace. On audible for instance the pace can be increased while listening to a book so recording at a more deliberate pace was my initial thought. Not gonna lie, this is not upbeat material. It is non-fiction and very factual. I think the author is wanting a faster pace so it isn’t slow and boring, which I completely understand and would like to honor.
So many questions here, I realize. Thank you for any advice on this. I appreciate your help.
(Ps I just signed up on https://www.narratorsroadmap.com/ That will keep me busy! Fabulous resources!!)
Many thanks,
Elizabeth
Hi, Elizabeth! Thanks for the note. I’m glad to answer your questions.
As I wrote in this NarratorsRoadmap.com article:
Answers to your questions are below.
1. What is a fair price for an inexperienced narrator. (I have seen $85-$140 for one completed hour).
The audiobook industry doesn’t have a “beginner” rate. The ACX union minimum, which is a professional rate, is $250 per finished hour. If you don’t feel your skills are at a level where you are comfortable charging that rate, you may want to get more training and do more volunteer and royalty share projects to gain experience.
2. What is my gold standard for editing and proofing for the final product. Sound quality..other?
Your finished audiobook should sound as good as any audiobook you’ve heard that was produced by a Big 5 publisher. Listeners expect audio that is free from background noise, gaspy breaths, and other distractions. They expect proper pacing, which includes the pauses between sentences and sections.
The ideal situation is to outsource the editing to an editor. We get paid to NARRATE. We don’t get paid to edit. In addition, if you made a mistake when recording the text, you may not catch the error when editing your own work. A spreadsheet of editors and proofers is linked on the NarratorsRoadmap.com Welcome Center page.
3. I am using Garage Band. Would Audacity be better for ease of editing.
Garage Band is not a suitable DAW for audiobook narration. It is better suited for hobbyist musicians creating short pieces, hence its name. Even Audacity is an improvement over Garage Band, but I would steer you to Studio One, Ocen Audio, Reaper, or Adobe Audition because of their punch-and-roll capabilities.
4. The author commented on my rate of reading as slower than my audio samples.
This one brings up several points:
A) A competent audiobook narration coach could aid your performance choices immeasurably, which will improve your confidence. You’ll find a spreadsheet of coaches linked in the Connections section on the home page of NarratorsRoadmap.com.
B) Non-fiction work often requires substantial pronunciation research. You should either include that time in your rate or negotiate a separate charge for it. Most authors on ACX are not aware of the difficulties in audiobook production and probably would balk at paying a separate charge for research.
C) The author is not the director unless she is paying to direct you in real-time studio hours. That said, the text should dictate the pace. The last question in this AudioFile Magazine interview with Steven Weber has comments about pacing that are relevant here.
I realize some of my answers may sound like “tough love’. Audiobook narration is a very competitive field, and I’d be doing you a disservice to sugar-coat any of my answers.
I hope this info is helpful. Best wishes for your success!
Karen