The explosive growth in audio book downloading, fueled by the five-hundred-plus personal devices capable of receiving, storing, and playing digital audio files, has enticed many new participants to publish audio-ready, or not. Now, with a miniscule investment in equipment and a story, nearly anyone can read the words onto a CD and upload the file to a Web site, or duplicate it onto recordable CDs for sale. The result might seem like an audio book, but, as I have lately observed in the course of my work, important key ingredients are sometimes missing.

Many elements must come together to make a successful audio book, and by successful I mean the proper execution of each of those elements, not financial success, for without a solid foundation, financial failure of your title is assured. Based upon my recent experience investigating new titles, let us explore a few important but overlooked elements.

Copyright

Copyright notification is a legal issue, and therefore is easily misunderstood. Proper notification of prior rights is crucial if it ever becomes necessary to assert or defend your ownership of a creative work in a court of law.

In publishing audio, there is more to be protected than with a printed book.

As with a book, you must protect the written words, and in an audio book this is accomplished in the same manner, by placing a circle-C followed immediately by the copyright year and legal name of the owner conspicuously on the product. But the circle-C is not sufficient to protect the actual audio production, which might also have different ownership, and a different year than the text. Sound recordings must display a circle-P followed immediately by the copyright year and legal name of its owner. In the event the same entity owns both, and the copyright year is identical, the circle-C and circle-P may stand together.

Such notices should be visible on the outer package, as well as on each disc. It is also advisable to speak the copyright information in its totality somewhere on the recording. This practice is essential for downloads since they are not delivered with accompanying packaging.

While we are discussing legalities, be sure you have a valid contract securing the audio rights, and a specific, written agreement with all vendors performing professional services in the creation of your audio book.

Audio Quality

Professional quality audio isn’t difficult to achieve if you are a professional. Rarely does it happen at your kitchen table. If your budget dictates you record your book yourself, at least listen to professionally recorded books and try to approximate their sound, because they represent the quality your listeners will expect when they purchase your audio book.

Perhaps a local studio or radio station has a quiet booth you can rent for a few hours to make your recording. Ask for a special rate without equipment or engineer if you have your own rig and feel confident with your skills. I cannot over-emphasize the need for a quiet space in which to make your recording. A lone human voice will not mask extraneous sounds that can detract from the listener’s enjoyment.

Editing

If you have recorded your audio book in a quiet space, you may edit it almost anywhere. The acoustics of your editing space will have little, or no bearing on the sound.

Editing is more than just stringing together the good takes. Editing is where you will spend the most time, and where you control the flow and pacing of the story. It is in this process where you will suppress noises, add music or other sound elements, and otherwise polish your production. Editing is an art; art should not be hurried.

It is advisable to excise all clicks, pops, chair squeaks, lip smacks, ragged breaths, stomach growls, and any other noises that could potentially distract the listener. You have asked him to suspend disbelief, and he has agreed, but an unexpected noise, no matter how slight, can interrupt that disbelief. Also, be mindful that many will hear your book through ear buds, which can transmit those annoying sounds directly to the listener’s eardrum with the same clarity as your voice.

Be sure to monitor your editing through professional, high-quality speakers so that you hear the noises that should be eliminated. No, the speakers built into your laptop are not sufficient for this task. If this is all that is available to you, use headphones.

Producer/Director

Professional audio book narrators can usually perform adequately on their own, but rare is the book that isn’t made better by a collaboration. Your ideas about character voices, the use of music or sound effects, or multiple voices may seem right to you, but more experienced ears, and the accompanying wisdom they bring, should be a welcome guide.

A competent producer or director can keep your pacing consistent, instruct you regarding inflection and dialects, correct you when you err, and provide many little worthwhile hints like refrain from consuming sugary drinks while reading, remove any jingly jewelry, and wear soft, noiseless clothing.

A seasoned one might even tell you that you are not the best voice for the project.

Other Issues, Quickly

-If you are releasing Compact Discs in the mp3 format, state it clearly on the outside of your packaging.

-Choose packaging to accommodate your product. Open slots for discs make the consumer wonder if a CD is missing.

-Slow down. It isn’t a race to see how few discs are needed. A comfortable listening rate is 140 to 150 words per minute.

-If you don’t do character voices well, don’t do them at all.

-Use music sparingly. If your listener wanted to listen to music, they wouldn’t be listening to a book.

-Proof-listen, then have a friend proof-listen. Proof-listen again.

-If you are producing physical media, professional art direction is a must.

-Yes, you need a separate ISBN for the audio version.

Conclusion

The gatekeeper is gone, but it was he who had the knowledge necessary to ensure that products admitted to the marketplace conformed to accepted publishing standards of quality and legality. Absent this guardianship, we see improper execution of ill-conceived ideas, which reflects poorly on the new publisher, and on the industry at large.

Fortunately, help is available in the form of audio publishing consultants, freelance producers, and a wealth of voice talent, many equipped with their own studio, who can capture your story and bring your book to life.

Terry Lessig is a writer and veteran audio book producer/publisher. Hear clips from some of his productions here, or visit AudioBookMan on Facebook.

Terry Lessig is a writer and veteran audio book producer/publisher. Hear clips from some of his productions http://audioboo.fm/AudioBookMan, or visit http://www.facebook.com/AudioBookMan on Facebook.

Author Bio: Terry Lessig is a writer and veteran audio book producer/publisher. Hear clips from some of his productions here, or visit AudioBookMan on Facebook.

Category: Writing
Keywords: audio books, audio publishing, audio book producer, audio book downloading, audio book constulting