What I didn’t learn until recently was that the $100-$200/PFH I had seen offered by many narrators at ACX and therefore thought was reasonable compensation is, according to seasoned professionals who frequently discuss pay issues in a Facebook group for audiobook narrators, woefully inadequate.
AUDIO BOOK PRODUCTION PROFESSIONAL
As uninformed as I may have been, and as lucky as I was to find a narrator who was easy and fun to work with, one element impossible to be blind to was the explosive potential of this recipe: writer/artist protective of original work and its intent + narrator/artist protective of professional ability to deliver a valid interpretation of the original work.Īnd that doesn’t even graze the issue of fair payment. What I learned as part of the production process was that the more an author knows going in, the less potential there is for strain in the author/producer relationship. My “extensive” research involved learning the difference between the PFH (per finished hour) and RS (royalty share) payment systems offered on ACX and browsing voice samples in ACX’s pool of available narrators. This meant I also had no idea how much there was to know. When I entered into that first relationship with an audiobook narrator/producer, I knew absolutely nothing about how an audiobook was made (beyond the obvious “skilled voice actor records a reading of a book”).
His personal history with it, combined with the rise in audiobook popularity, led me to follow Healy’s example and create an audiobook at ACX, Amazon’s audiobook production platform. This was thanks in large part to the recommendation of author friend Ian Thomas Healy, who’d had a positive experience adapting his work for audio. Like many indie authors grateful for new outlets for their work, I was drawn last year to the world of audiobook production. Today’s guest post is by author Kristen Tsetsi, who is a regular contributor to this site through the 5 On series.
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