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And some quick answers from narrator Tanya Eby I thought I’d answer some common questions I get from
Source: publishersweekly.
I thought I’d answer some common questions I get from new narrators who are just getting started, and a little overwhelmed with What To Do. (In my next article, I’ll cover some common questions from writers who are producing their own audio.)
In Audiobookland, there are no commandments written in stone (we use iPads anyway), and you can create your career path any way you want to. This is a gentle way of saying: Listen to your gut, honor yourself, and do whatever you feel is right.
But…
You’re going to hear a range of answers from people in the industry on this one. Most will say you should have at least 10 titles. Why? Because 10 shows that you’ve been trained. You’ve done enough narration that you get the process and know what goes into it. You shouldn’t have a ton of questions or need casting to train you, and you have a body of work to show your skills and that you’re reliable.
Do you really have to have ten titles? NO. Reach out whenever you’re comfortable, but if you don’t have a body of work, you should be wicked talented or offer something truly unique. This job is COMPETITIVE. You’ll have more of a chance of working if you’re polished and professional in your approach for work.
Yes. You really do. When I was casting and there was a new narrator I was curious about, I went to their website first. It showed me a lot: Did they understand the industry, how was their sound, did they have good samples, are they professional, do I feel like they know what they’re doing and I can trust them with a 9 hour book, and is their contact information available.
(Andrea Emmes has a great series on this on her social media called Castable Cookies. Check out her stuff on https://www.instagram.com/theandreaemmes/)
In short: A separate tab for audiobook work, pictures, your bio and special skills you have, contact information, demos (each separate and no music, labeled by genre), and some kind of branding that shows your personality.
It’s up to you. (I have articles on this.) Know this though: almost everyone who narrates full time has a pseudonym for something and casting is totally okay with that. Some people do it for branding, some because they want their real identity secret. Know that whatever names you’re recording under…they will become a real person, so don’t name yourself Ben Dover because people will actually call you that. Repeatedly. Everywhere.
Many narrators start out taking royalty share, which means you’re paid nothing unless the book sells and then only 20% or so from the 40% royalty authors receive. Try to charge as soon as you can. Bare minimum: $100 per finished hour. Why? Because this is the cost for post-production. I think you should try to get to union minimum if you can which is somewhere between $200 and $257 PFH (not including cost for post-production.)
You don’t have to do anything, but these are a shortcut for improving your skills, hearing your competition, building relationships, and meeting people who can hire you.
Panic mostly. After that, if you can, you join the union to have pension and health. Many people will create an LLC for themselves and invest in a Roth IRA.
Yes. I have articles on this too. Know that it’s really tricky now in the age of AI spamming, so if you reach out, you’ll need to confirm you’re human. It’s a longshot now at best for a cold reach-out. If you met the author somewhere (like a conference), you’ll have a better chance at getting them to respond.
You need something. Lots of new narrators are finding great engagement with short reels. They are getting fans, work from authors, and from publishers. But if you’re uncomfortable with it, don’t do it. You at least need a website. Facebook and LinkedIn are good for audiobook groups. Threads/Instagram are good for connecting with listeners, writers, and possibly casting.
You create an alter to the casting gods, pray to them, and send them things like gift baskets. (Or maybe that’s just my own wish because I love receiving gift baskets.) You get work by getting on rosters, getting auditions, meeting casting, reaching out etc. I have some articles on this and will write more about it soon.
Was this helpful? If so, please give this post a heart and/or a comment, and share with others. It all helps. And if you have more questions, please let Tanya know.
Tanya Eby is a full-time narrator, a part-time writer, and a previous-time casting director. She loves storytelling in all its forms. She’s also trying to raise extra money for her kiddo’s college education.
FOR FURTHER READING:
Usually I write about audiobooks for people already in the business and building their career, but I’ve received this question of “How do I get started in narration” so many times, that I thought I’d write about it. (Established narrators, feel free to share this anytime someone wants to ‘pick your brain’ over coffee.)
I’ve been brainstorming on things to write about and what might be helpful. (There are things I want to talk about that aren’t career-related, and I will.) Do I talk about technique? Approaches? Auditioning? Etiquette?
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