Reading your own audiobook: is it a good idea?

I’ve been reading a piece in this quarter’s ‘The Author‘ from the splendid Society of Authors, about the frustrations of listening to a reader making a poor job of recording your book, and being powerless to intervene. And anheadphones-with-microphone-on-white-backgr-clip-artother piece from Alice Jolly about the merits of the partnership arrangement with a ‘crowd-funding’ publisher, as exemplified in her experience of ‘Unbound’. Both are mainly about the relationship between the author, the book and the publisher.unbound

One of the benefits of self-publishing is that the author is never pushed away from important decisions about her book and expected to leave to others the question of cover, design, print run, other formats, promotion – all the things that so radically affect the link between writer and reader.

Very early on I considered who should abridge and read my books for the audiobook version. There were cost implications of course: doing it myself would save a lot of money. But the decision to trust myself wasn’t just about money. Abridging is tricky and requires a feel for the overall story, and who knows these books as well as the person who wrote them? Successful reading too necessitates a feel for the text and the context, accents, nuances of the characters and the plot, and here again the author – if she knows her setting as well as she should – is best placed to do justice to the words. If you have a teaching background, as I do, you’ve spent many years using your voice to engage an audience, and the skills don’t fade, even if you’re talking only to the microphone.

So I found a local recording studio and am doing everything necessary to prepare and read my own books. It’s hard and time-consuming, but I’m learning a great deal about the flow of the text from reading it out loud. And it’s restoring my faith in my own capacity to tell a good tale, after the thankless task of trying yet again to interest an agent. Have a look at an earlier post to hear my agonising about that.I’m asking again – do I need an agent?

If you can afford it, and if like me you have the power to make your own decisions, consider doing your own audiobook. Very instructive!

Here’s to the Society of Authors

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I love the Society of Authors, for all sorts of reasons. For a start, they let me join, which for an independently published author is a real bonus, as most of the writers’ groups won’t let me join regardless of how many real, well-produced and well-written novels I sell. Second, they provide a source of professional information for any writing or publishing query I might have. Third, they organise useful events, and are trying hard to spread these beyond the capital. Fourth, the monthly journal ‘The Author’ always provides ideas, questions and provocations to make me think about both writing and publishing and keeps me in touch with the inside of the book world that is still relatively unfamiliar turf for me.

This month’s edition of ‘The Author’ contains an article by Louise Doughty entitled ‘The Horror of Being Published’. I have tried without success to get ‘traditionally’ published, which was the form Louise was referring to, but reading the piece rang bells for me, even though my form of publication is on a much smaller scale than hers. Almost all writers, except the handful of global names, have to jostle for shelf space with others and are routinely rejected by people browsing for a book to read. When you’ve spent a year with nothing else on your mind except the research, writing and production of a book it’s hard to realise that this effort may be of no interest to others.

Louise is a highly respected writer, who chairs book prize panels: I’m just a humble supplicant in those very few competitions for long form fiction that permit independently-published entries. One of the few is a local Cumbria-based competition of long standing. Every year I send off the required four copies of my previous year’s publication, and every year until now they have received no mention whatsoever. Fair enough, maybe they’re just no good, although their sales and my readers seem to indicate otherwise. This year my novel ‘Cruel Tide’ was ‘shortlisted’. It got a favourable mention from one of the three judges, but as I collected my ‘certificate’ the Chair of the panel told me with a smile that he and the third judge on the panel ‘don’t like novels’. I’d suspected so, but was surprised to hear him say it. Hey ho. It’s my choice whether to bother entering next year.

‘Just keep writing’ says my partner. And I will.

Incidentally, Louise Doughty was one of the first tutors I encountered when I decided at 60 that I wanted to write fiction. She was a very accomplished teacher and I’m grateful for everything I learned from her and Tobias Hill on that Arvon course in 2008.