Into the World of Audio Books: the Release

UPDATE: Having renamed the series from Guardians of the Word to The Broken Seal, I had to not only change the audio book cover to match the ebook, I had to go back to my narrator, Keith McCarthy and ask him to re-record the title page. The process of switching over to the new series title was less difficult with Audible than I expected. In fact, it was quite easy. They gave me detailed instructions on what to do, what to expect, and how quickly the change-over would take place – which was fairly quick.


Your audio book is complete! You’ve fine-tuned and approved the book for release and then … you wait. You wait a while, or maybe it only seemed that way.

It took about 2 weeks for the CHOSEN audio book files to move through ACX’s approval process. There are technical standards of quality that they check out and make sure are up to snuff. If you’re recording your audio book yourself, make sure you’re familiar with those standards and can meet them.

That’s one reason I chose to hire a producer who already had all that necessary knowledge and equipment. If you don’t have the background, you’ll have to learn it. If you don’t have the equipment and programs you need to create a quality audio book recording, you’ll have to buy it and you have to have a space to record that’s more or less sound-proofed. Where I live now – in a cottage a block off the waterfront – I have gulls outside my windows. The wind blows constantly. I have cats too who don’t understand ‘be quiet’. Cars, mowers, boats, and the neighbors wind chimes aren’t conducive to producing a quality recording.

Another alternative to creating a recording room in my home, is to hire a studio, which is expensive. Maybe one day I’ll go that route, in a recording studio, particularly when I get to the bigger books that are over 100K words, but that’s a ways down the road.

Today, I have an audio book that I’m very happy with live on Audible, Amazon, and iTunes!

Click the pic to go to Amazon, here for Audible or iTunes

I checked my ACX page a number of times during the two weeks – more than I needed to since they emailed me when the audio book went live. There was one update they didn’t email me about and that was after the book passed their quality check. On my ACX page the status bar changed to ‘headed to retail’ and then I waited some more.

Finally, I got the email – your audio book is now live.

There was some info missing or I couldn’t find it being so excited that the project was now complete and released. ACX didn’t give me (or I couldn’t find where they did) any links to CHOSEN’s sales page, so I had to hunt them down myself. Not hard, exactly, but it would be super convenient if ACX provided direct links. You’ll definitely need them because now that you have a live audio book, you’ll want to tell people where they can get it. (See above!)

On Amazon, this turns out to be the book’s sales page where you can buy the book in digital format. The link to the audio book for Chosen was immediately connected to my sales page. The same thing was true for iTunes, but both do have direct links.

In the same ‘you’re live’ email from ACX, they give you a list of stuff you can do to promote, which includes how to get your promotion codes. It’s recommended that you email ACX for your codes, and ACX gives you a link to the proper email account to do that. I thought it would take a few more days for them to respond but they got right back to me the same day with 20 codes that you can use with Amazon or Audible, but not iTunes.

Also in the email with the promo advice was an incentive to help get people to sign up for a free trial with Audible. Authors and producers get a nice bonus if you get someone to sign up and then buy/click your audio book first. (The audio book is free as a special offer for signing up!) They also send you detailed instructions on how to make a direct link to your audio book with the sign up free trial offer. Here’s that link:

So if you’re interested in getting into Audio Books, click there. If you’re already a member of Audible, hit me up here and I’ll get you a code!

A word again about the cover. You can’t use your Amazon or iTunes book cover because the dimensions are different.




















As you can see the Audible cover is wider, and you’ll have to alter your book cover either yourself or with your designer. They won’t approve your audio book with a stretched cover. Good thing, because it would look terrible!

Lastly, you can also take a listen to the first several chapters of CHOSEN right here on Keith’s YouTube channel. Check it out!




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Into the World of Audio Books: Fine Tuning

We’re almost there! The book production is complete. All the corrected chapters are uploaded. There are a few final steps before approval.

As soon as the chapters were completed, I started the process of going through the published book, making changes to the text that will match the audio. There aren’t that many and nothing of significant meaning has been changed. Once that’s done, I’ll be announcing that the changes are uploaded and if you’ve already downloaded Chosen from Amazon before, you’ll want to go get the update. This will allow you to get the audio book with whisper-sync and for much less than buying the audio book outright. Once whisper-sync is approved, I’ll let you know about that too. And hopefully, there won’t be any glitches in that system along the way.

Chosen is an 89K word book. It’s a bit over 9 hours long in the audio version. It took a little over a month to record and correct 26 chapters, plus the prologue.

Once all the chapter files were uploaded to ACX, I started at the beginning again and listened to the whole book. I probably could have started doing that earlier to avoid doing it all over the course of two days at the end, but I wanted the entire scope of it at hand. This last step was also to make sure there weren’t any huge, glaring mistakes that might have been overlooked in the course of a month-long charge to get the entire book uploaded.

Don’t skip this step. I discovered that I’d missed a character voice change that neither of us caught in the first wav file or the second mastered ACX file. This goes back to the three baritones I mentioned before. We decided somewhere along the way that one of those voices had to be different and then missed the correction in the first two passes. I only noticed because this character had been speaking in the chapter preceding that I listened to one after the other and the difference stood out in this final pass. Again, Keith was more than willing to go back and re-record the two passages in the alternate voice for me. It’s easy to get in the thick of things and not remember important details when you embark on a project of this magnitude. This final check is important for that reason.

I had to make changes to the cover because ACX has a different size requirement for their audio book covers than Amazon (or anyone else). It’s much wider than the usual book cover size. Not such an ordeal for me since I create my own book covers, but for those who have to hire someone else for that task, you’ll need to do so here too. You can’t take your Amazon book cover and force it into their size requirement. You’ll end up with a stretched and unprofessional image that ACX will reject. Fair warning.

This is also about the time that you decide if you’d like to have music under the opening and closing credits. Keith found some duty free, creative commons music after asking me what I was looking for. This wasn’t something I’d thought about before, again with the listening vs reading issue, so I had to put some thought into what might represent the tone of the book musically. He picked out 5 samples and I ended up liking every one of them! Another choice to be made! I ended up flipping a coin once I narrowed them down to two. I admit it is pretty fantastic hearing that opening credit playing with my book title and my name with this majestic music in the background.

I also had to pick out the 5 minute sample that Audible wants to play for potential listeners. This was also extremely difficult. You don’t want a sample that spoils anything. You want a sample that’s engaging but won’t be confusing. Do you pick the first 5 minutes of the book, taking it from the top? Do you go in a little deeper? The sample ought to convey genre and the overall tone of the book and at the same time I want to highlight the narrator. It’s just about as difficult as writing the blurb. Hopefully, I chose well.

The end result is an audio book that represents as closely as possible how I would read it myself if that were at all possible (which it isn’t). It combines my creative instincts with that of my producer. This is also his interpretation. It’s a unique and fascinating combination of talents, the written word and the spoken word to create an audio version of this story. The personalities of these characters have been captured to near perfection and that is a very cool thing indeed.

And now we wait. ACX has to approve the quality of the recording and they say that can take some time. Having just checked the site, just this minute, it looks like that approval has happened because the heading has changed to ‘headed to retail’ (at Amazon, Audible and iTunes) so ANY day now, I’ll be back to say IT’S LIVE!

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Into the World of Audio Books: The Production

Onward I say! Here’s part 5 of my informational series on making an audio book. To recap: You’ve prepped – a lot, signed up for ACX, put up an audition, selected your narrator and have the first 15 minutes approved. Special note: Before you approve the first 15 minutes, review the contract and make sure you understand it. Once you hit approve, the contract is locked. If you want out of it after this, there are fees involved. So read the contract before you sign on the dotted line!

You’ve approved the first 15 minutes and your producer is off to the races, reading the chapters of your book and uploading the completed works to ACX for you to listen to. My producer, Keith McCarthy, and I had a slightly different system where he emailed me wav files that weren’t yet mastered. This was to help save him a little bit of time in the final mastering stage. He tried to explain the technical reasons for the request, but most of those went right over my head and I’m of the opinion that whatever helps make things easier for the producer also helps me in the long run. The producer you use may not make that request but if they do, it didn’t really have any detrimental effect on how I listened.

As I mentioned earlier, we set up a shared google doc file (well, Keith set it up) with the chapters of my book broken up into sections of about 4 chapters each. He would record each, chapter by chapter, and send me the wav file. I listened to the wav file, ignoring the things that he would normally remove during mastering – pops, odd noises, gaps in the narration, repeats and the like – and request corrections via the google doc comments.

I had already gone through the doc and noted how I wanted something read. I put pronunciations on the doc so he didn’t have to find another file to look them up. I went through the book and in places highlighted words or sections I wanted emphasized. I put notes in on tone and pacing. I read out loud so I would know approximately how it would all sound and if I found myself stumbling over words, I frequently changed them. An audio book is all about diction and flow. I had to take off my visual writer hat and put on an entirely different frame of reference for the audio. I learned a lot about being a better writer in the process.

While I listened, I read along to check for pronunciation, missing or wrong words, and to make sure the passage was read the way I wanted. Missing and wrong words happen. My litmus test on whether or not I asked for a correction was if the addition, subtraction, or different word changed the meaning of the sentence. If it didn’t, I left it and changed the writing (so the whisper-sync thing gets approved). If it did change meaning, I asked for a correction.

Once Keith put the corrections in, he mastered the file and uploaded it to ACX where I downloaded it and listened to it again, but usually only those places that were corrected as a double check before moving on. Depending on the request, there were times when the correction wasn’t quite right either. I had the good luck to work with a narrator who didn’t mind my pickiness and corrected the corrections! Those were fairly few and far between though.

When listening to the mastered file I discovered that there are differences in sound when listening through regular, cheap computer speakers vs online vs through headphones. It’s important to listen with different devices because your audio book listeners will do the same thing. If there are huge differences in tone/volume or any sort of irregularity that’s noticeable, your producer can fix those so don’t hesitate to speak up. I was fortunate again in that my producer was able to make those very nuanced adjustments.

There were also sections of the writing that required special effects to be applied. I wasn’t really sure I wanted any. A reader will apply their own inner effect (or not) to the written word. I wrote the book with that in mind. But listening required a different approach. I didn’t want effects that were too extreme, so it was a challenge to find the right ones that were just enough to be subtle and not annoying. This was again the difference between reading and listening.

For instance: in my book, Chosen, there is quite a lot of telepathic communication. Visually, on the page, it’s fairly easy to tell when that’s happening. Often I said so in the writing, ‘…he said to him’ or even ‘speaking telepathically.’ Some writers use italic for that, but I decided not to because there’s so much of it. Visually, those methods work – using italic, different paragraphs to indicate someone else speaking (with the standard “dialogue here,” punctuation, or directly saying these people are speaking telepathically. But with an audio book, there is no visual, so I needed to come up with a solution to that issue. Keith sent me several examples of what telepathy could sound like and we settled on a fairly subtle, very slight echo that’s just different enough that the listener will immediately understand what’s happening.

At times it was extremely difficult for me to convey what was not quite right about the reading. The tension was missing, the pace was too slow or too fast, a character was yelling when he shouldn’t be. Those were the easy things to note. The way we hear is very different from the way we read. Making those distinctions in tone is sometimes a big challenge. I learned that I had to let go of what I was hearing in my head as I read, vs the audio file I was listening to and allow a slightly different interpretation. Throughout the process, I learned quite a lot about collaborating effectively with another creative that was hugely satisfying and a lot of fun.

It was quite a lot of work too, which is good to know ahead of that happening. Primarily, that was a scheduling issue for me, which thankfully, I was able to push a few projects back to accommodate the project. Again, not everyone is going to have the level of involvement or the amount of work that I did. That was my choice to have that level of collaboration, which ultimately made me very happy with the end result.

Next: Fine tuning!


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