If anything happens along the way, like the manuscript needs additional revisions or the reader gets sick, the whole thing collapses like a house of cards. It’s both a creative and a business decision.
We are committed to finding just the right reader, but between the availability issues, production issues, and unrealistic prices, we do the best we can. A good reader charges around $4,000-5,000, sometimes more depending on the length of the project. You have to find the reader, book them sometimes 8-10 months in advance, and make sure everything is 100% ready to go. There will be questions regarding how the books will be converted, who will be cast, and so on.Īudio in general presents some logistic challenges. In fact, we have a Zoom meeting on Monday with literally everyone involved. They are preparing to work on Kate Daniels. It’s not “delayed.” It just doesn’t exist. There is no GA adaptation of SOTH right now. For Kate Daniels, for example, the licensing had to go through the corporate channels at Penguin Random House. If it’s not a self-published book, there is an extra step. For our self-published works, we license the rights to them and they produce it. The Graphic Audio of SOTH is produced by Graphic Audio. We had no choice but to pick a far away enough date for everything to process.
It used to be a few days for processing, then a week, then two weeks. You can see the preorder is up pretty much everywhere, except Audible. She didn’t want to record with a hoarse voice. First, our narrator ran into cold and flu season, and she is a very ethical person who takes her performance seriously. We find the reader, we pay for everything, etc. The SOTH audio is produced by us – Gordon, me, and Nancy Yost Literary Agency – out of our own pocket. While we are on the subject, a huge thank you to Mod R for the awesome quiz in the previous post. Portrait of Mod R the Secret Keeper at work
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