General Contact Information
I almost exclusively communicate via e-mail (david@thenarrator.co.uk) and via the ACX messaging system when applicable, but I can do Zoom video calls on request.
Please note that the ACX messaging system is their official record, used in case of disputes and for administration of scheduling. Schedule changes and the like can be agreed via email but a copy of the agreed change must be put in the ACX messaging system for it to be official.
Scheduling
I schedule books four to six months in advance – longer if it’s a series – and currently narrate approximately 100,000 words per month (slightly less in summer and December)
Payment
I work under three separate contractual bases – royalty share (ACX only), royalty share plus (ACX only) and price per finished hour (PFH).
My royalty share plus rate is equal to half of my price per finished hour, and an additional fee applies if additional audio processing (minimal sound effects, etc.) will be required.
For new clients, I require 15% of the estimated total cost to be paid on approval of the 15-minute checkpoint. When I deliver the final audiobook (following pick-ups) I invoice for the remainder, which is based on actual finished time and may differ from the estimate.
Please note that my fees are to be paid in GBP(£). The ACX system requires offers to specify a rate in USD($) but the actual rate may differ higher or lower due to currency fluctuations.
Equipment
I record using a Neumann TLM 102 with a Motu M2 interface, using Reaper as my DAW, with iZoTope RX 11 and Sonible Pure for additional plugins.
I also use an Isovox 2.
Production Process
I require the complete, edited manuscript in .doc/.docx format, so that I can prepare the document to be as readable for me as possible
I read the book once in full as a consumer, without taking notes, prior to a full analysis of the text
On the subsequent read-through, I generate a matrix of characters, including which chapters they appear, pronunciations, and as much biographical information as can be gleaned from the text. If you have character bios, please provide them, as they are invaluable.
At this point, I convert the document into PDF and mark it up in Nebo.
I record the 15-minute checkpoint. Many narrators record the first 15 minutes of the book for the checkpoint, but I prefer to record a shorter extract and use the remainder of the checkpoint to provide character voices, check pronunciation, etc.
The Rights Holder (publisher, author, etc.) provides me with feedback on pacing, tone, pronunciations, character voices, etc. This is also the opportunity for either party to pull out of the project if they are concerned.
After checkpoint approval, I record the entire audiobook and accept no further requests for changes other than where I have made errors and re-recording (“pick-ups”) is required. While I read what is written word-for-word, I do correct unmistakable typos during my reading and will request clarification if a typo is suspected but not entirely clear.
I act as my own editor and audio engineer, making corrections, recording pick-ups, and making the audio retail-ready.
I upload the final files to the rights holder for approval and distribution. At this point, I ask the rights holder to also listen to the audiobook if possible and note down in a shared Google Sheets spreadsheet where any corrections are required.
Final Review and Approval
I’ve found that rights holders who are also the book’s author appreciate some additional guidance on this stage:
Please be very clear with the description in your comments about what exactly needs to change
Timestamps need to be as exact as possible - this would be critical if a hypothetical comment was of the 'there is an audible microphone pop you've missed' variety, as the sound would only last fractions of a second.
If we are working through ACX, then you have only ten business days (two weeks plus any statutory holidays in either of our countries, if working internationally) to provide all comments. To aid rights holders in reviewing the audiobook and providing comment, I may provide chapters prior to final delivery date, but I do not view these comments until after the delivery.
If more time is required, I need to be informed in advance (if by email, a copy needs to go via the ACX messaging system) and ACX must be contacted at info@acx.com to inform them. An additional extension beyond the first is also possible but requires my approval and is subject to scheduling.
I carry out revisions as soon as possible, please let me know as soon as possible if there are additional deadlines I am not aware of.
I recommend reading the manuscript while listening to the audio. However, this can flag up false errors where I have corrected a typo, so any deviation from the manuscript should be checked to see whether the error is in the narration or in the text.
If I disagree with a change request, I will tell you why. However, as rights holder your decision is final.
Don’t worry if we miss something. I listen to 70-90 audiobooks a year, and even amongst the highest-rated bestsellers it’s unusual to go a month without spotting a repeated sentence, an obvious pick-up, or another editing foible!
Post-Production Changes
On rare occasions, rights holders wish to make changes to the manuscript after final delivery. I am able to make these changes only if my schedule allows and charge 1.5x my full PFH rate regardless of the type of contract.