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Subscription boxes have become insanely popular. Now, you can find a monthly subscription box for just about any hobby or interest, whether that’s , crafting with the kids, , or finding your next favorite book.

I searched for the best monthly book subscription boxes in a variety of genres and age ranges to compile this list. To make the cut, each box had to score an average of at least 4.5 stars and have a minimum of 50 customer reviews to ensure consistently high quality.

If you’ve been looking for the best subscription box for children’s books, young adult, romance, fantasy, self-care, and more, here’s my breakdown of the top book subscription boxes on  (in no particular order).

**This article contains affiliate links. However, I am not directly affiliated with any of the companies creating these boxes. If you place an order and experience issues, please contact the company’s customer service for assistance. For more information about how affiliate links are used on this website, please read the .

Table of ContentsIntroverts Retreat (Adult + Self-Care)

Give the gift of self-care with a thoughtful subscription box to increase joy, relieve stress, and find a better you.

created a self-care subscription box for a relaxing night in. It contains a new paperback novel, a bookmark, an 8 oz soy candle, 1 lb of bath salt, one 4 oz bar of handmade scented soap, and a sweet treat. You have the option to select your book from a list of options. Or, if you prefer a surprise, the company will choose the novel for you based on your preferred genre(s). You can select from general fiction, mystery/thriller, romance, or science fiction/fantasy.

Introverts Retreat was named USA Today‘s Readers Choice Best Book Subscriptions for 2021 and 2022, and it also won Cratejoy’s Best of 2020 and 2021. It currently holds a 4.5 rating with more than 275 customer reviews. A warm, candle-lit bath with a good book and a sweet treat every month? Yes, please!

Unplugged Book Box (Adult/YA + Self-Care)

Get lost in the best sci-fi and fantasy books with a monthly subscription

Customers say they’ve tried multiple book subscription boxes but keep coming back to because it’s the best bang for your buck with high-quality gifts delivered every month. This box is available for either young adult or adult fiction and comes with a ton of goodies, including:

3-5 exclusive self-care products (i.e. candles, tea, coffee, other drinks, lotions, bath/shower products, etc.)2-3 usable novelty products to help you unwind (i.e. journals, mugs, games, blankets, writing/journaling prompts, cooking utensils, etc.)1 new book release per month, including author exclusives (i.e. signed novels, bookplates, author letters, etc.) and occasionally some author swag!

The Unplugged Book Box supports small, women-owned businesses and artists. It was originally created by a psychology/literature expert and teacher with the goal of supporting mental health and encouraging reading. This box holds a 5-star average rating with over 225 reviews. In addition to loving the quality of the boxes every month, customers also rave about the exceptional customer service team behind this subscription.

Chocolate and Book Box (Adult/YA)

Satisfy your sweet tooth with your very own monthly chocolate box!

Cozy up with a monthly book subscription box that includes a beautifully wrapped and ribboned new book, a hot drink, and gourmet chocolate that is handmade, award-winning, and/or bestselling. You can mark any allergies or dietary requirements on a list so the company knows what they are able to send you. For book genres, you select from thriller, scif-fi/fantasy, romance/chick-lit, hidden gem, award-winning, surprise, or young adult categories.

This subscription is based in the UK, but they do deliver to the US. holds an impressive 5-star average rating with 135+ reviews from happy customers. One bit of caution: this might not be the best choice if you live somewhere hot. Some reviewers have noted that the chocolate melted during transit!

Once Upon a Book Club (Adult/YA)

Dive into your next favorite book with a book subscription box that includes a fiction novel, literary bonus items, self-care goods, and even more.

Once Upon a Book Club is available in an or a . This fun book subscription box makes reading an interactive experience by including 3-5 wrapped gifts that are labeled with page numbers. You can’t open the gifts until you reach certain parts of the story! The box also includes a 5×7 quote print, discussion questions, read-along dates for a live discussion, and more.

Once Upon a Book Club received the Top Rated 2022 award from Cratejoy. It holds a steady 4.5 rating with over 500 customer reviews.

The Book Drop (Indie Bookstore Picks)

Dive into your next favorite book with a book subscription box that includes a fiction novel, literary bonus items, self-care goods, and even more.

brings an independent bookstore to you every month. This environmentally conscious company ships from a little shop in Fenwick Island, Delaware where your monthly book is hand-wrapped in tissue and lovingly packed with a handwritten gift note.

The company says, “We know you can purchase bestsellers and Top 10 books from those big box stores & websites so we don’t send anything you’ll easily find unless you’re in an independent bookstore.� The books often come with a letter from the author.

If you want to support a woman-owned indie bookstore that holds a strong 5-star average rating with 300 customer reviews, this is a great book subscription box to check out!

Reveal Book Box (Romance)

Curl up with your favorite romance novels with these monthly book subscriptions

Do you like to collect autographed books? Do you love romance? Then this book subscription box was made for you!

doesn’t come with swag or extra goodies� but it DOES deliver a signed romance book to you every single month. Many of the books come from New York Times and USA Today bestselling authors, while others might introduce you to amazing new writers. When ordering your box, you have the option to select romance subgenres/tropes you love to make sure you enjoy your monthly selection.

This budget-friendly book subscription box holds a steady 5-star average rating with 150+ reviews from happy customers who enjoy getting autographed romance books with no frills.

Success Crate (Self-Care & Entrepreneurship)

Be your own boss with a monthly subscription box geared towards entrepreneurs, leadership, and boosting productivity.

If you prefer self-care and entrepreneurial books over fictional reads, you’ll want to check out . This kit includes a helpful guidebook, a journal to track your progress, a New York Times bestselling book selection based on the monthly theme, and 3-4 extra items such as office supplies, stationary, tech gadgets, etc. The subscription box also comes with an exclusive USB every month containing ebooks, workbooks, and seminars.

Success Crate is designed to help you become successful while also learning to take care of yourself in the process. No surprise, this insanely helpful and valuable box holds a 5-star average rating with 95 reviews.

Scribbler (Writers)

Shop our most unique subscription boxes for the coolest gifts and fun monthly surprises.

is a book subscription box geared toward writers working on their own books. Each monthly box includes teaching materials from a bestselling author, a novel with an autographed bookplate, 3-4 writing gifts (i.e. notebooks, pens, snacks, etc.), an exclusive writing contest, and the opportunity to participate in a live group chat with editors and/or literary agents.

The box is designed for fiction novelists, but other writers such as playwrights, poets, etc. could still benefit from the themes, tips, and resources in each box. Scribbler holds a steady 4.5 average rating with more than 165 customer reviews. It also won Top Rated 2022 from Cratejoy.

Bookroo (Kids & Tweens)

Keep storytime fun with a monthly kid’s book subscription box.

is an excellent choice for kids and tweens. (They also have a .) More than 235 parents, gift-givers, and guardians have given this kids book subscription box a 5-star average rating.

You can tailor your book selection based on age range, and then you’ll receive two books in every box you receive. The company’s goal is to make kids excited about reading by combining the excitement of receiving a fun new package every month with the discovery of treasured new stories to read as kids build their own home library over time.

Bookroo has a 100% money back guarantee if you’re ever unsatisfied with your order. The company is a preferred Cratejoy seller, and Parent Magazine listed it as a Top 10 Subscription Service in 2017.

Peace & Pages (Adult/YA + Beauty)

Get new makeup, skincare, and more with a monthly beauty subscription box

was designed for reading and relaxing while supporting small shops across America. Each book is carefully researched before selection to ensure it has positive online reviews from readers. Only books with a publication date within the last three years are considered. You can select which genre(s) you like from a list of options, including YA and Christian fiction.

Peace & Pages offers two subscription options to fit your needs and budget. The Basic option includes a book, a full-sized bath/body product, and an aromatherapy item. The Deluxe version includes all of those, plus a special gift item and a snack or drink. The goodies in each version are sourced from small businesses. They’re unique and usually handmade.

This book and self-care subscription box boasts a 5-star average rating with more than 130 reviews. Peace & Pages sells out fast, so you might need to keep checking if you want to secure a subscription.

Bookishly’s Tea/Coffee & Vintage Book Club

Shop the best monthly food and beverage subscription boxes below.

Bookishly offers a fun and . The books are genuinely vintage, so they show some signs of love from past owners. The luxury tea is carefully selected and tested from Jenier World of Teas, while the coffee is locally roasted and ground in the UK. Boxes usually come with extra paper goods such as bookmarks or stationary.

These Bookishly subscription boxes hold a 4.5 average rating with almost 60 reviews and more than 4,200 sales. If you’re looking for brand-new books, this subscription box isn’t the one for you. But if you appreciate the charm of giving secondhand books a new home while sampling blends of tea or coffee, then Bookishly is right up your alley!

Owl Post Books (YA Fantasy)

Discover your new favorite young adult books with these monthly boxes

is an award-winning subscription that has been featured in several publications, including Buzzfeed, Town & Country, and Book Riot. They were also named Best of the Best in Austin, TX and Best of Cratejoy. Owl Post Books holds a 5-star average rating with 150 reviews.

This subscription comes in two options. The YA Fantasy Imagination Box includes three brand-new hardcover books. The budget-friendly mini box version has only one hardcover. Shipping is free, and the boxes are curated by an educator with more than 15 years under their belt. If you love YA fantasy, Owl Post Books will deliver.

Little Bookish Wardrobe (Kids)

Shop the best monthly subscription boxes for kids to give them a gift that keeps giving!

This one is such a fun idea for kids! Each box comes with a new book to read and a unique costume piece that matches the theme and/or characters from the book. The monthly subscription box also includes interactive games, hands-on crafts, challenge cards, and accessories.

No surprise, this creative box has a 5-star average rating with over 110 reviews from happy parents.

What do you think of this list? Which monthly book subscription box are you most excited to try? Let me know in the comments!

The post first appeared on .

Updated for 2022

‘Tis the season of gift giving! It’s also the season of snuggling up under a cozy blanket with a mug of hot chocolate and a good book while fat, lazy snowflakes drift down from gray skies on the other side of your frosted windows.

Have you already made your holiday shopping list? Need some inspiration for someone on your list who loves reading and/or writing?

If you’re trying to brainstorm gift ideas for a bookworm in your life, the good news is we’re pretty easy to shop for! Here are some ideas that readers and writers are sure to love (in no particular order).

Table of Contents

This article contains affiliate links. To learn more about how these types of links are used on this website, read .

from: Cratejoy

Diehard readers are falling in love with , and it’s easy to see why! Not only do they get new books regularly, but they boxes usually come with extra book-themed goodies like tea, coffee, bookmarks, collectible cards, and other items.

Most boxes have options for how frequently they arrive (usually every 1, 3, 6, or 12 months). Many boxes can also be a one-time purchase so you can give the box as a gift and let the reader decide if they’d like to sign up for a subscription on their own later.

Some great book subscription boxes to check out:

Tea & Vintage Book Club Coffee & Vintage Book Club (Adult Edition) (Young Adult Edition) Kids Monthly Book Club (Best of 2021 winner)

Check out for more!

Booklovers are often candle lovers, too. There’s something magical about reading with the soft, flickering glow of a candle wafting subtle fragrance throughout the room.

My go-to candle company is, of course, , which makes 100% vegan soy candles without dyes, parabens, phthalates, or other toxins. Another bonus: the company’s Dark Lit Collection is “inspired by the dark and mysteriously alluring characters and themes found within literature’s greatest novels.�

If you need more reasons why this is an awesome company:

� Support a small, USA business

� $1 from every website order is donated to

� Support an indie author! I had the pleasure of partnering with Old Soul Artisan to release the based on my sci-fan series the .

±Ê²õ²õ³Ùâ€� read my , the founder of Old Soul Artisan

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Writing prompts can help to break a creator out of writer’s block, but that’s not all. Prompts are also great for finding inspiration, honing writing skills, coming up with blog post ideas, developing characters, studying techniques, and more.

Check out for tons of plot ideas; poetry exercises; dialogue, character, and setting prompts; master plots from classic fiction and mythology; journaling prompts; and more.

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If you weren’t already aware of this, I’ll cue you in on a little secret� almost every writer I know LOVES ! Some writers (like me) actually use them. Other writers enjoy collecting them but can’t bring themselves to mark them up because they’re just too pretty.

(There is absolutely no shame in buying two journals� one to gift, and one to keep for yourself!)

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While you can buy a pack of flimsy bookmarks in a variety of patterns for just a few bucks, I personally prefer gifting a more unique , metal, or another durable material that will last longer and stand up to daily wear and tear. This is a great gift if you’re on a budget and looking for a small stocking stuffer.

You can find customizable bookmark gifts to make it personal. For readers who use anything on hand to mark their place—scraps of paper, leaves, receipts, et cetera—this will be a fancy step up! For readers who dog-ear their pages (cringe) . . . perhaps you can convince them to come to the light side. If not, at least you tried!

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Readers prefer a nice, quiet environment to dive into a story without interruptions. Whether listening to music or an audiobook, a pair of noise-canceling (or ) is a great way to tune out distractions and fully immerse yourself in a book.

! (Obviously)

Can’t have a holiday list for bookworms without books being on the list! But rather than buy the latest bestseller, consider supporting an indie author. See if there are any local authors in your area. You might find a gem you didn’t even know to look for, and there’s a good chance you could snag an autographed copy for an extra special gift if you shop local.

Looking for a new supernatural fantasy series? Check out the award-winning .

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Some people love print books; others are all about the e-readers. There are certainly pros and cons, and the debate between bibliophiles about which is better can get intense. Ebooks aren’t my thing, but I understand the appeal of having your entire library condensed in one place for easy travel and access.

While is definitely the most popular, don’t forget about , , and other smaller brands.

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Digital devices emit blue light. Unfortunately, studies have shown that too much blue light exposure can . This includes short-term problems such as headaches, dry eyes, fatigue, and eye strain. It also has the potential for more serious long-term effects such as disrupting your circadian rhythm, damaging retinal cells, causing vision problems like age-related macular degeneration, contributing to cataracts, and increasing your risk for eye cancer.

Writers who primarily work on a laptop and/or tablet spend a LOT of time staring at a screen. So do readers who consume a lot of ebooks. A pair of blue light glasses are a great gift! I can personally attest that I noticed a reduction in the number of headaches I got when working in an office and staring at a computer screen for 8+ hours a day. is my all-time favorite pair of blue light glasses. Since I wear contacts, I don’t use prescription lenses. You can get these blue light glasses with or without magnification.

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I mentioned snuggling up with a book and a mug of hot chocolate, right? Tea works, too! You really can’t go wrong with a that has a quirky quote or bookish phrase. It’s a simple present that will likely get a lot of use throughout the whole year.

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Speaking of mugs, a makes the perfect accompanying gift. Samplers provide a variety of flavors to try. If you’re going with a loose-leaf option, you might consider including a as well, just in case the recipient doesn’t have one.

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A cold, snowy night . . . candles burning . . . steam rising from a mug of tea . . . a soft blanket . . . low music . . . a new book to read . . . am I setting the scene? are a small gift or stocking stuffer that can be the cherry on top (or the whipped cream on the hot chocolate!) for a perfect night in.

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Writing and procrastination tend to go hand in hand. Even the most organized writers can still struggle with it. A is a practical gift that can help the recipient organize tasks, meet deadlines, jot down writing goals, boost productivity, and stay on track.

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You might be surprised by how much book-related merchandise you can find online! If you know someone’s favorite novel or series, chances are you can find them something special that’s based off the book.

From clothing, to blankets, to bags, and much more, you might just discover the perfect gift to bring a smile to a bookworm’s face! It’s always fun to wear your favorite merch and converse with fellow readers who recognize a book title or symbol and are eager to discuss the common novel you’ve both enjoyed.

±Ê²õ²õ³Ùâ€� to shop book merch and accessories about reading, writing, and my fantasy series.

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If you haven’t tried . . . it just might change your life! Your fingers and hand will thank you if you’re the type of reader who binges for hours on end. This is an inexpensive gift, so there’s no reason not to buy two and pocket one for yourself! Or buy a bunch and use them as stocking stuffers or office gifts.

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This gift is especially great for cooks who need to prop up a recipe book in the kitchen, but it also works well with other types of books, tablets, e-readers, and even sheet music. The featured folds up to save space when not in use. Functional and practical!

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Raise your hand if you got in trouble for reading under the covers with a flashlight when you were a kid! If you know someone who never outgrew that habit (not judging), a subtle book light for after-dark reading makes a great gift.

I recommend the , which shines light onto both pages so you aren’t A) constantly having to shift a single light back and forth or B) straining your eyes trying to see the edges of the pages with a single light in the middle.

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When in doubt, you can’t go wrong with a gift card. Whether it’s a generic one like that would cover books, merchandise, or anything else the heart desires, or a more book-specific card such as , , or , you won’t have to worry about accidentally picking out the wrong book.

I hope this list of ideas helps spark some inspiration with your holiday shopping!

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I’m in the middle of publishing my third novel, and I thought I’d take a moment to explain everything aspiring indie authors need to know about ISBNs while I’m in the process of uploading the metadata for Blood of the Enemy.

In this article, I’ll break down what an ISBN stands for, how it’s used, why it’s important, how much it costs, and how to purchase and register with Bowker (with screenshots).

Table of ContentsWhat Does ISBN Stand For?

ISBN is an acronym for International Standard Book Number. Pre-2007, ISBNs were a . Post-2007, they’re thirteen digits long.

Depending on the format, the ISBN is usually broken up by dashes. For example, the ISBN for is 978-1-7325998-3-3.

What Is an ISBN?

An ISBN is a commercial book identifier that publishers, distributors, libraries, bookstores, retailers, and other professionals use to access the metadata for your novel. It’s essential for finding titles and placing orders.

In other words, having an International Standard Book Number assigned to your novel is important if you’re an indie author. Without it, retailers won’t be able to find your book.

Do Self-Published Authors Need to Buy an ISBN?

Although your book usually requires at least one ISBN, that doesn’t necessarily mean you need to buy one.

Let me explain.

Many self-publishing companies give you the option to use a free ISBN. I have personal experience with , , and ; all three of these reputable self-publishing companies have free ISBNs available for their authors to use.

But there’s a catch. Actually, there are a couple.

First, if you use their free ISBN, the self-publishing company (not you) will be listed under the publishing imprint. Essentially, this means that . That ISBN is tied directly to the self-publishing company.

For some indie authors, this isn’t a big deal. For others (like me) who like to maintain creative control over their work, it can be a deal breaker.

Second, the free ISBNs provided by self-publishing companies cannot be transferred if you ever decide to move your title to a different platform. This might not seem like something to be concerned about, but it does happen. I originally started with B&N Press and then, due to , I switched to IngramSpark. I hadn’t planned on transferring my titles, but the need did arise.

If you’re okay with letting your distributor hold the publishing imprint over your work and you don’t plan on ever transferring your title, then you don’t need to buy an ISBN. You can use the free one provided by the self-publishing company of your choice.

If you want to keep creative control and have the flexibility to someday transfer your title if needed, then you should invest in buying your own ISBNs.

Note: if you are publishing an ebook exclusively on Kindle, you don’t need an ISBN. Amazon will use an ASIN (Amazon Standard Identification Number) instead. Print books and/or ebooks that will be available on other platforms do need an ISBN.

How Much Does an ISBN Cost?

is the official ISBN agency for the United States. Before I dive into the cost of purchasing ISBNs, I need to clarify an important point. Every format of your book will need its own ISBN. If you are publishing a hardcover, paperback, and ebook, you will need three ISBNs (unless, as I mentioned above, the only ebook you plan to distribute is on Kindle).

Also, if you plan to use different self-publishing platforms, each format on EACH PLATFORM will need its own ISBN. The only exception (to the best of my knowledge) is if you take advantage of the that allows you to use both in tandem.

Here’s a good example to illustrate what I mean. As I mentioned, I originally started with B&N Press. However, their distribution model limits titles to only Barnes & Noble’s network. I didn’t fully understand how ISBNs worked at the time, and so I attempted to use both IngramSpark & B&N Press at the same time so I could expand my distribution network. It didn’t work because the two platforms couldn’t share the same ISBNs.

My option was to either transfer my hardcover, paperback, and ebook over to IngramSpark (thereby removing it from B&N Press’s system), or to use three more ISBNs (totaling six with B&N Press having three and IngramSpark having three). Transferring was my best option. Unfortunately, I accidentally burned two of my ISBNs before I realized my blunder. Once you use an ISBN, you can’t reassign it to a different title.

This information is important to know because it’s a lot cheaper per ISBN if you purchase a bundle instead of one at a time. If you expect to release additional formats or publish more books in the future, buying a bundle of ten ISBNs will drop the price of each ISBN from $125 to only $29.50 apiece. Since ISBNs don’t expire, you can hold onto them until you need them.

Below is a screenshot of Bowker’s ISBN pricing breakdown as of November 5th, 2022:

Screenshot taken from Bowker’s website on 10/25/22How to Purchase an ISBN from Bowker

Bowker’s website is fairly easy to navigate. First, you’ll want to create an account.

When you’re ready to purchase one or more ISBNs, simply navigate to the Register and Copyright Your Book tab in the top left corner. In the dropdown, select Buy ISBNs.

From there, it’s as simple as selecting which package you want and adding it to your cart, then checking out to complete your order.

Note: you do NOT need to purchase a barcode. I don’t know why this isn’t clearly communicated; I made the rookie mistake of purchasing barcodes with my first title, only to realize later that I’d wasted my money.

For more information on this, check out my earlier post:

How to Register Your Book with Bowker

Now that you’ve created an account and purchased your ISBN(s), you can access them by going to My Account and selecting My Identifiers in the drop-down menu. This will bring you to your complete list of assigned and unassigned ISBNs.

As you can see in the screenshot of my ISBN dashboard below, you have the option of cloning an assigned title. Doing this will save you some work if you’re using the same title, synopsis, etc. but adding a different format of your book into the database.

When you assign a title, Bowker will guide you through four pages of data to input:

Title & CoverContributorsFormat & SizeSales & Pricing

These will be pretty self-explanatory as you work through each page, but I’ll break down what you’ll need to know for each category.

Title & Cover

This is where you will upload a jpeg of your book cover. You’ll also need to add your title, subtitle (if applicable), publication date, language (and any translations), copyright year, and (LCCN).

Contributors

Here, you’ll enter your information as the author. You also have a long list of other contributors that you can credit, including editors, narrators, illustrators, cover designers, translators, etc. You can also include additional information here, such as if your work was based on a novel, movie, play, etc. If a person or group had more than one role, you can assign them multiple functions. Don’t upload duplicates of the same name for a separate role.

Format & Size

In this section, you’ll specify the format of your book. If it’s a print format, you have the option to add size details, weight, page number, etc. You must specify at least one genre. There is a second slot if you would like to add an additional genre.

Sales & Pricing

This is where you can list your publishing imprint if you have one. Otherwise, you can list your own name. You’ll also input the publication date, title status, target audience, and price.

Conclusion

Self-publishing can seem daunting the first time! There are a lot of steps involved. But it gets easier each time you do it.

I hope this article has helped to explain ISBNs so you feel confident with that phase of your publishing journey. I didn’t fully understand them when I started publishing my first novel back in 2018. That’s why I write this blog; to help other authors learn from my mistakes and navigate a smoother path.

Best of luck to you!

The post first appeared on .

If you follow me on social media, you might have already seen this announcement early in the morning on October 14th:

I’d like to say that I did a happy dance and toasted the accomplishment� but truth be told, I went to bed. As you can see from the time stamp, I’d basically pulled an all-nighter to finish the last few chapters. Not the first time I’ve done that, and it definitely won’t be the last.

So, now that the line edit is done, what happens next? When will you finally be able to hold Blood of the Enemy in your hands?

First, I will say that I have a target publication date in mind. However, I’m not going to announce it yet. Because we’re entering the holiday season, there’s a good chance of hitting print delays. My goal is to have the hardcover version out before Christmas.

The paperback and ebook will come later. Here’s why:

With , I followed the traditional publishing model and released the hardcover first, then the paperback and ebook later. But with , I was a little more ambitious and decided to launch all three at the same time.

That ended up being too much. The hardcover and paperback are different sizes, so they require different formatting. For , I’m going back to the original formula. The hardcover is coming out first.

Next Steps to Publish Book III

After I (finally) wrapped up the line edit, a lot of pieces went into motion.

I’ve already sent the manuscript off to for an editorial review to use on the inside jacket of the hardcover, as I’ve done with the previous books.

Literary Titan is the same organization that awarded the gold book award to and . Which means the fate of BOTE is officially in their hands now. If they like the manuscript and give it a good rating, Blood of the Enemy will be entered into their competition for an award. If they don’t� it won’t. No pressure.

I also purchased another block of ISBNs from . Each format of each book requires its own ISBN (International Standard Book Number). Still on my to-do list: all of Book III’s information needs to be uploaded into Bowker’s system so the data can be retrieved if someone looks up the ISBN.

The Library of Congress Control Number (LCCN) is a separate number assigned to books. To get that number, I first needed to get the rough formatting down for the hardcover so I’d have a decent estimate of how many pages the book will have. The answer: 519 as of now. Yesterday, I submitted the application for a PCN (Preassigned Control Number). The PCN is for forthcoming books that haven’t been published yet.

Now that those technical pieces are out of the way, my big tasks are to fine-tune the formatting for the interior file and finish the maps that will be published at the front of the book. My Patreon subscribers got a chance to see me .

Once the formatting and maps are done, I’ll upload the files to IngramSpark and order proof copies to make sure everything looks good. I’ve recruited most of my beta readers to help me with that to (hopefully) catch any errors in one round and move straight to distribution.

From there� it’s off to the presses!

Want to go even deeper behind the scenes? Members of my Patreon community get a variety of perks depending on their membership tier, including sneak peeks, deleted scenes, Q&A opportunities, early access, merch, and more. Patrons have already gotten to see Book III’s cover, vote on a character name, and read the first three chapters. Plus, I just introduced a NEW perk for my Alpha subscribers! Members who have been part of my Patreon community for at least three months will have a place or minor character named after them in a future book! (Note: this perk is currently in a trial phase.)

As an indie author, I don’t have the financial support of a publishing house. Subscriptions help me cover the costs to get Book III over the finish line and into readers� hands. about how donations and subscriptions support my business.

The post first appeared on .

A few weeks ago, I found myself in this situation for the first time. Although I’ve discussed doing a commissioned tattoo in the past, this was the first time having someone seek an existing piece of artwork.

First, let me say that it’s an incredibly flattering feeling to know that someone loves my art enough to want it permanently inked on their body. It’s a great honor!

Second, I appreciate the client reaching out to me rather than simply taking my image off the internet. Not only is that the best way to respect and support an artist, but it’s also the correct step needed to legally tattoo someone else’s art on your body.

But for me, this request was brand-new territory. I had to do some online digging and explore how other artists responded to this situation.

The experience gave me some valuable insights into copyright, mutual respect between tattoo artists and visual artists, tattoo passes, and price ranges. In this article, I’ll share what I learned and how I applied my discoveries to my own art.

Table of ContentsCommissions & Exclusivity

With commissioned art, the client and the artist should be on the same page upfront as far as copyright and usage go. Whether or not the artist forfeits their claim to copyright needs to be in the contract so both parties are aware of who will own the copyright before they proceed. That will determine if the artist can sell prints of the artwork after creating it for the client.

If someone is requesting to have an existing art piece inked as a tattoo, chances are they aren’t seeking exclusivity. Which is good, because the piece requested happened to be my most popular drawing, “The Raven.�

I sell matted prints, canvas prints, notecards, postcards, keychains, and now of this charcoal drawing, not to mention it’s still of Michigan City, IN. This piece isn’t one in which I’m willing to relinquish my copyright.

Can I Use Someone’s Art as a Tattoo?

The short answer is yes.

The long answer is there are several factors to consider.

You can NOT use someone’s art without their explicit permission, even if you found the image online and are unable to locate the original artist. Tattooing someone else’s art without their permission is copyright infringement. If you can’t find the artist, it’s better to be safe than sorry and seek out a different piece of art for your next tattoo.

Many tattoo artists are wary of the potential for copyright issues. This concern adds another shade of gray when answering this question, because while you can technically tattoo art with the artist’s permission, the final say will come from your tattoo artist.

Some tattoo artists will use only their own original work. They have a strict policy against using artwork from other artists because it could open the door to a copyright infringement lawsuit if the client failed to get permission first (or lied about getting it).

If you want to use an artist’s work for your tattoo, the first step is to contact the artist. If they grant permission or direct you to purchase a tattoo pass to buy the rights to their work, your next step is to contact your tattoo artist to check their policy on outside artwork. Both artists must give the green light.

I’m an Artist. Is My Artwork Copyrighted?

Yes, it is. Your art is copyrighted as long as it is your own original work, regardless of artistic skill. Note that an idea for artwork cannot be copyrighted—the art must be in a tangible form in order to qualify for copyright.

, “You have a copyright in your artwork as soon as it has been created and fixed in a tangible object. It does not need to be registered with the copyright office or have a copyright notice attached to receive copyright protection. A copyright lasts for the life of the artist, plus 70 years after the artist’s death.�

Although your artwork is technically copyrighted after its creation, you might want to consider making it official through the to establish a legal record. If you intend to sue someone for copyright infringement, you must register before you can go through the legal process. Registering for copyright prior to an infringement can also entitle you to statutory damages and covered legal fees in the event of a lawsuit.

In my case, I rarely part with my originals. I sell prints instead, partially because my primary focus is on my books series and I can’t produce art at a high enough volume to keep many originals in stock, and partially because it’s an extra layer of protection for me. If there’s ever an issue of authenticating who owns the rights to my work, I have the original on hand to prove my case.

What Is a Tattoo Pass?

A tattoo pass is an official agreement that grants permission to reproduce an artist’s work on your body. Some artists choose to offer tattoo passes for free or ask for a donation in return. Most serious artists, however, charge a fee, especially if the art took a long time to create.

Purchasing a tattoo pass (or giving a donation if the tattoo pass is free) is a great way to support your favorite artist(s). Remember that art takes time, practice, training, talent, and skill. Exposure is always great, but artists can’t pay the bills if they give away all of their work for free “for the exposure.�

If you love a piece of art enough to tattoo it on your body, then hopefully you appreciate the artist enough to respect and support them by requesting a tattoo pass instead of stealing their work� which would be copyright infringement.

What Information Should Be Included in a Tattoo Pass?

As I considered how to price my tattoo pass, I realized that in my case, I needed two separate price points because I dabble in different types of art. I created one , which is considerably more detailed and time-consuming to create.

I then created a second, lower-cost , which includes emojis, symbols, and graphics from the .

DIGITAL TATTOO PASS

For both tattoo passes, I included the following information:

Price

After searching online, I found that most artists charge between $25 and $60 for their tattoo passes. You may, like me, decide to offer different price points depending on the types of art that you do.

Consider how much time you spend on each piece, as that should be factored into your pricing table. For example, are you selling the right to use a simple line drawing, or a highly detailed sketch? Also, you may or may not want to charge shipping if you are mailing materials (I opted not to).

Art Print (Optional)

I decided to include a 5×7 print of the artwork as part of my tattoo pass. This way, the client can have a framed copy of the artwork if they want to display it. This is a nice bonus to include along with a digital download of the art.

Certificate of Authenticity

This one is important, because respectable tattoo artists have mutual respect for visual artists and are highly unlikely to consider tattooing someone else’s art without clear, explicit permission. Including a certificate of authenticity, especially if it’s customized for the specific art print, helps to establish that the artwork was legally obtained directly from the artist. Also important to include is�

Signed & Personalized Permission Form

Adding this with the certificate of authenticity further solidifies proof for the tattoo artist so they can feel confident that they aren’t committing copyright infringement. The permission form should be personalized with the client’s name and the name of the art piece.

Optional Information to IncludeSpecify that the tattoo pass is good for only use per person, per artwork.Mention that the artwork should not be manipulated from the original (except, perhaps, altering the color scheme if switching between color and grayscale). If the client wants other changes, you might consider offering commission services as an alternative.Politely request that the client partner with a qualified tattoo artist who has the skills to accurately reproduce your work. You don’t want your name attached to a bad tattoo that barely resembles the original.Ask for credit if the client and/or tattoo artist posts any photos of the finished tattoo on their website(s) or social media. You, not the tattoo artist, should always be credited as the original artist. You can also request a direct tag and provide your social media handles.

I hope that helps! Please feel free to share your thoughts in the comments.

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In the middle of navigating a jam-packed fall event season and wrapping up work on Book III, I have some art updates to share!

Table of ContentsPrints Now Available at the Rising Phoenix Gallery

I’m pleased to announce that for the first time, my art prints are available for purchase at a brick-and-mortar gallery location.

Until now, my prints have been exclusive to events and special orders. But earlier this week, I made a special delivery to the in Michigan City, Indiana. Canvas prints and matted prints of my most popular art pieces are now for sale at the gallery!

These prints include:

“A´Ú³Ù±ð°ù³¾²¹³Ù³óâ€� | Black-and-white photograph (featured on the cover of Voices literary journal in 2018)

“B´Ç·Éâ€� | Mechanical pencil on paper

“Dandy Bee� | Mechanical pencil on paper

“N²â³¾±è³ó²¹±ô¾±»å²¹±ðâ€� | Mechanical pencil on paper“Snowy Flightâ€� | Mechanical pencil and white-out pen on paper

â€ÂٴDZô²õ³Ù¾±³¦±ðâ€� | Mechanical pencil and white-out pen on paper

“The Raven� | Charcoal on paper ( on light pole banner in Uptown Arts District of Michigan City � Pine St. and 8th)“Valdenar’s Bow� | Mechanical pencil on paper

The gallery is also stocked with autographed copies of and from my award-winning fantasy series. If you’ve been meaning to pick up a copy and haven’t caught me at an event, you can snag one here!

Other local/regional locations carrying autographed copies of the books:

| Michigan City, IN
| La Porte, IN
| La Porte, IN
| La Porte, IN
| Rockford, IL
| Indianapolis, IN

I can also ship autographed copies if you would like to order directly from me rather than purchasing from an online merchant (in which case, the book would not be autographed). The shipping fee is $5 for media mail.

Upcoming Art Exhibit: “Out of the Shadows�

I’m pleased to announce that some of my artwork will be on display for the gallery’s upcoming exhibit titled “Out of the Shadows.�

The will run from September 30th to October 22nd, 2022. I’ll be joining other featured artists from the area on Friday, September 30th for an artist’s reception at the Rising Phoenix Gallery from 5pm to 7pm. If you’re local, I’d love to see you there!

Image created by Rising Phoenix GalleryNew Product Debut: Glass Cutting Boards

In other news (as if I hadn’t been busy enough already), new products just arrived in time for holiday events!

Earlier this year, I introduced my art prints as puzzles at events, and they were a big hit! Now, I’m also featuring some of my art prints and photographs on glass cutting boards.

The boards measure 11×8 with textured glass across the top of the art print. Although they are technically dishwasher-safe, handwashing is recommended. Plastic feet are included and can be attached if desired.

At this time, while I’m doing this test run to gauge product reception, the glass cutting boards are event-exclusive. You will not find them at the gallery or any stores. However, you can place a special order through me if there’s a print you love and want as a cutting board.

If you’re interested in any kind of special order, whether it’s a cutting board, puzzle, canvas, matted print, or other medium, please contact me on social media or fill out the here on my website.

Want More Updates & Bonus Content? Subscribe on Patreon!

My goal is to create a new art piece every month. Patreon subscribers at the Kálos and Alpha levels have access to those timelapse videos and other behinds-the-scenes content so you can actually watch me create the art from a blank page to the finished piece.

Depending on your membership tier, you can also get additional perks such as deleted scenes from the books, sneak peeks at works in progress, event reminders, discounts, free merch, and more.

To become a Patreon subscriber and support my artistic career (and unlock other cool perks), .

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As an aspiring author before I published my first novel in 2018, word count was my archenemy. I can’t tell you how many times I googled:

What is the maximum word count an agent will accept for a debut author?Average word count range for fantasy novelsHow long should a YA book be?How many words in the biggest fantasy book?Word count for The Deathly Hallows

…and many variations of those online searches.

It was stressful. I’d already divided my large manuscript in half, and I didn’t want to lose important worldbuilding details or character development by paring back too much just to fit a quota.

In all likeliness, word count was probably one of the biggest factors contributing to rejection letters or crickets from literary agents when I was querying five years ago.

My first novel, , ended up at about 154,000 words. Based on many, many Google searches, I knew that the industry average for a YA fantasy book was 125k-150k. Realistically, I wasn’t that far off.

But I was a debut author, and that meant I needed to have lower word count expectations. I didn’t have an established fan base, nor did I have a strong platform or marketing plan. Agents are less likely to take a chance on a brand-new author with a hefty book because they don’t know how well the novel will do. Therefore, it’s safer to start with a smaller novel to test the waters.

When I decided to , the word count pressure fell off my shoulders. No more trying to squeeze my extensive fantasy series into a small, agent-approved box for a mass-market rollout. I was free to write big books!

Well� sort of.

I’m not saying to throw word count out the window and publish a thousand-page book for your debut novel. Word count is still important� just not in the way it used to be for me when I was querying.

“Cut the Fluff� Is Still Valid

If you’re a serious writer, you’ve probably heard the phrase “cut the fluff.� Basically, it means “be strategic with your word choice.�

For example, instead of saying, “He ran as fast as he could,� simply say, “He sprinted.� Same action, but more concise.

Too much “fluffy� (extraneous) language can bog down a manuscript until reading becomes tedious.

If you’re reducing your word count by tightening your prose, that’s a good practice. In fact, it should be a natural part of the editing process.

µþ³Ü³Ùâ€�

As with almost everything, I recommend balance. Creative writing isn’t the same as producing a technical manual—which is pretty much what you get when you cut ALL of the fluff and leave the absolute bare bones.

In addition to being an award-winning fantasy author, I’m also a poet with several poems available in the . I like playing with words and finding poetic ways to describe scenes. I strive to find a balance between being concise and being creative. Pretty language is great in moderation. It makes your writing unique.

I remember having a conversation with a fellow author who was working with a small publishing house. Her editor wanted her to cut 30,000 words from her 90k manuscript. THAT’S A THIRD OF HER BOOK!

I was stunned to hear that. I couldn’t fathom taking a knife to such a large chunk of my own manuscript. Removing that much would have eliminated so much character development and worldbuilding. Every scene I had written (and chosen to keep during the editing phases) was intentional, and even if it didn’t necessarily advance the plot, it established critical details about the fictional setting and/or the character(s).

Now, to be fair, I hadn’t read the other author’s manuscript. There may have been a lot of scenes that didn’t advance the story. Still� the thought of cutting 30,000 words from a completed, edited draft makes my head spin!

Word Count DOES Matter for Print Cost

I would passionately argue that a story should be as many words as it needs to be.

Call me stubborn, but I think it’s a disservice to make massive cuts simply for the sake of word count.

Some authors are obsessed with word count. They keep track of how many words they produce each day, sometimes even hourly. They have an exact target in mind and know how close they are to finishing the book based on how many words they’ve typed. That’s fine, if that’s what works for them.

Me� I really don’t pay any attention to word count as I go. The story is what’s important to me. Just as I let my characters speak to me and work through the problems I throw at them in their own way, I also let the story speak to me with its own flow and rhythm. Sometimes, it will twist in an unplanned way based on the most logical reactions of the characters. Sometimes, it takes me in a direction I hadn’t anticipated. I’ll know I’ve reached the end of the story when I get to the natural end, not when I hit a certain word count.

Once I’ve finished the first draft, I dive into the editing phase. My goal is always to tighten up lengthy sentences and cut unnecessary fluff, which inevitably reduces my word count. Your total word count should decrease as you’re editing. That’s normal.

But in reality, the only reason I pay any attention to word count at all anymore is the print cost.

As an indie author, I have my books printed on demand. That means no bulk-order discounts for a 10,000-book print run. It also means that a lot of pages can drastically increase printing cost (based on materials) and shipping cost (based on weight).

It would be much more accurate to say that page count is more important to me now than word count.

I love big books. But big books are expensive to print.

Again� balance.

If the story is well developed but too big, I would rather divide it into multiple books than take a hacksaw to the manuscript and eliminate entire chapters just for the sake of hitting a word count goal.

In the end, you have to decide what’s best for your work. Splitting your manuscript into multiple books would mean more revenue from your series� but only if all of those scenes you want to keep are relevant and deserve to be in the manuscript.

Don’t cut out your voice when cutting the fluff.

Don’t delete critical pieces just to slash your word count.

If you’re stressing about word count, my recommendation is to focus on the story, not the number. Trust your intuition. Be strategic with your words and make sure every scene contributes.

If you listen, your story will let you know how short or long it needs to be.

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Have you been thinking about turning your novel into an audiobook?

It’s a massive endeavor that’s going to cost a lot of money or a lot of time (or both). So, the real question� is an audiobook worth that investment?

Thanks to a generous opportunity and grant from the , I was finally able to four years after the publication of the novel.

It was definitely a learning experience! Now, I’m here sharing those experiences on my blog to help other authors looking to break into the audiobook market. Check out some of my other posts:

If you’re on the fence about whether or not to take the leap and dive into the audiobook market, this article will break down the biggest pros and cons you need to consider.

Table of ContentsAudiobook Pros1. Reach a New Audience

The most obvious reason to look into audiobook production is the opportunity to reach a brand-new audience of fans who prefer to listen to stories rather than read them.

There are many reasons why some people prefer audiobooks over hardcover, paperback, or ebook. For example:

A long commute to and from work every day eliminates free time to read.Tedious manual tasks such as cleaning leaves time available to listen but not to sit down and focus on print.Visual impairment or other disabilities may make reading difficult or impossible.Some people process information better when receiving it orally rather than visually.

Other people simply enjoy audiobooks because, when produced with a talented narrator, the story can reach an entirely new level of entertainment.

When I listened to my audiobook for the first time, I was entranced by the different character voices, dramatic pauses, breathy whispers, and pure emotion conveyed in the story.

I’ll be the first to admit that when I’m reading an exciting passage in a book, I start reading faster and faster. I devour the words without appreciating the voices, tense pauses, and intonations that can build the suspense even more.

Audiobooks solve that problem. You can’t skip ahead or skim over the words. You have to wait for the narrator to deliver the scene the way it was meant to be experienced.

2. Tap Into a Growing Market

Not only are you reaching new fans� you’re also breaking into a market that is exploding.

For the tenth year in a row, the Audio Publishers Association showed a with revenue gains of 25% in 2021, totaling $1.6 billion in sales. The APA’s Consumer Survey indicated that 41% of listeners subscribe to at least one audiobook service.

That growth isn’t predicted to slow down anytime soon. Analysts project in the US audiobook market from now through 2030. If you’re planning to branch out into a new market for your books, it makes sense to focus on one that is experiencing predictably steady growth.

3. Accessibility

I mentioned visual impairment as a reason why some people prefer audiobooks over print formats. It’s not just personal taste or time constraints—audiobooks, text-to-speech, and oral storytelling could very well be the only way some people can enjoy books.

I think accessibility is a huge perk on the audiobook pro list. As a former landscape architect, I worked on teams that prioritized incorporating ADA accessibility into designs so everyone could access, utilize, and enjoy outdoor spaces.

The same applies to books. I want everyone and anyone who is interested in my stories to be able to experience them.

4. Extra Revenue Stream

A few months ago, I wrote a that explored extra revenue stream ideas for indie authors. The sad truth is that unless you’re a bestselling author, book royalties alone probably won’t be enough to pay your publishing costs AND personal bills.

That’s why I advocate for diversification. If you can build multiple streams of passive and active revenue, you’ll position yourself to turn your passions into a sustainable business.

From monetizing your website with affiliate links and PPC ads, to building a subscription platform, to selling your own branded and themed merchandise, diversifying your revenue opportunities will make your income more secure and predictable.

Adding audio to your existing book formats opens the door to another revenue source. Of course, you’ll still have to market the audiobook, but simply adding a pop-up on your website and links in your newsletter would be a good starting point.

5. Higher Royalties

If you’re a veteran of the self-publishing business, you already know that print costs come out of your royalty share. (If you’re new to self-publishing, to learn more about how print costs affect your total royalties.)

This is why ebooks bring in higher royalty percentages—no print costs. In most cases, there aren’t any material costs since consumers are purchasing a digital file. The one odd exception is Amazon (KDP), which for some reason charges a delivery fee for ebooks if the author chooses the 70% royalty option. Here is the :

Delivery Costs are equal to the number of megabytes we determine your Digital Book file contains, multiplied by the Delivery Cost rate listed below.

Amazon.com: US $0.15/MBAmazon.ca: CAD $0.15/MBAmazon.com.br: R$0.30/MBAmazon.co.uk: UK £0.10/MBAmazon.de: �0,12/MBAmazon.fr: �0,12/MBAmazon.es: �0,12/MBAmazon.in: INR �7/MBAmazon.it: �0,12/MBAmazon.nl: �0,12/MBAmazon.co.jp: ¥1/MBAmazon.com.mx: MXN $1/MBAmazon.com.au: AUD $0.15/MB

Audiobooks, like ebooks, are digital files. This means you can count on receiving much higher royalties. Exclusive contracts usually guarantee around 40% royalties in your pocket, while non-exclusive typically range between 25%-40% after factoring out the cut to your aggregator.

(I go into a much deeper breakdown with examples in .)

If you’re able to sell the audiobook yourself, you can pocket even higher royalties. I, for example, . Since this platform doesn’t do any marketing, all the sales come directly from me and I get to keep . The other 30% go to Author’s Direct to support their CX and tech teams in case any customers have issues with their download. With Author’s Direct, I also have a lot of freedom to run my own promotions (and still earn more than I do from third-party retailers).

My print books, for comparison, average between 12%-23% royalties after the print cost has been removed from my share. Based on profit percentage, the audiobook is much higher.

Audiobook Cons1. Production is Expensive

I can honestly say that without the startup funds from the IAC, my audiobook would have been out of reach due to budget constraints. As it was, the project ended up being more expensive than I’d originally estimated.

You can expect to spend turning an average-sized book into an audiobook.

Of course, the total will be variable. Your final cost will depend on the narrator(s) you choose, their rates, the type of contract (PFH, royalty share, hybrid), and post-production costs. The current industry average, according to the project manager who oversaw my audiobook, is $200 PFH (per finished hour). That rate is strictly for narration. If the narrator handles post-production editing, s/he will usually charge a higher PFH. Otherwise, that extra step is delegated to a third-party editor, and it’s a separate PFH rate on top of the narration rate.

(Again, I dive much deeper into this topic in .)

For many indie authors, $5,000+ a big investment that’s out of reach. I recommend looking into grants, sponsors, and other financial opportunities if you don’t have enough saved yet for an audiobook.

2. DIY is Time-Consuming and Requires Equipment

One way to cut costs is to record the audiobook yourself. If you have voiceover experience, this is absolutely a feasible option.

If you don’t� DIY doesn’t usually work out very well.

First, it’s a major time commitment. Can you afford to budget hours upon hours of work recording your audiobook and then editing out the background noises, lip smacks, swallows, mistakes, et cetera?

Second, you need the right space and equipment. Sitting in your living room recording on your iPhone isn’t going to cut it. Do you have a soundproof space? Do you have a good microphone? Do you have editing software? Do you know how to use it?

(If you don’t have a soundproof space in your home, check your local library. Mine has a recording room available to book ahead of time.)

Third, narration is a skill. If you don’t have the training, experience, and talent, odds are slim that your audiobook is going to be good quality. Many listeners instantly scroll past audiobooks that are narrated by the author (unless it makes sense, like an autobiography).

Narrating your own audiobook can quickly become a project where you bite off way more than you can chew. There’s a reason audiobooks are expensive to produce if you’re hiring professionals. You’re paying for time, skill, and experience. If you decide to take that on by yourself, keep in mind that it’s going to be a huge time investment and possibly a monetary investment if you’re lacking equipment.

3. Risks with Amazon and “Audiblegate�

With an audiobook, you don’t have to worry about misprints, shipping problems, material costs, et cetera. Although being a digital file (and therefore earning higher royalties) ended up on the pro list, that doesn’t mean it’s a risk-free investment.

Amazon is the big dog in the audiobook market, but they’ve been known to abuse that position. “� is an ongoing issue that affects authors and rights holders even if they aren’t exclusive with ACX (Amazon’s audiobook company).

Here’s the issue in a nutshell:

Amazon’s reporting is notoriously opaque at best. It’s hard for authors to keep an accurate tab on how many books they’ve sold and how many have been returned. In October 2020, a reporting glitch at ACX revealed that Amazon’s practices were even dirtier than people realized.

Amazon’s “easy exchange� policy allows customers to return or exchange audiobooks at no charge� even if the consumer already listened to and enjoyed the audiobook in its entirety. Customers can still swap it out, no strings attached. But Audible doesn’t absorb the cost of those returned/exchanged purchases. Instead, they dock that cost from the author/narrator/rights holder while keeping 100% of the profits from membership fees.

Some authors claim that they’ve actually owed Amazon money because Audible charged them for the returned audiobooks and their subsequent sales for that month didn’t earn enough to offset those costs!

Multiple groups, including the , , , , , and others have pushed back against Audiblegate. In 2020, the US Author’s Guild hosted a endorsed by over 13,000 international author, narrator, and producer organizations to demand changes in Amazon’s shady practices.

Amazon has made some concessions, but not nearly enough. They agreed to stop deducting royalties for returns made 7+ days after the original purchase (previously, it was 365 days). Audible has also made efforts to improve reporting transparency, allow ACX rights holders to terminate their Audible distribution, and permit ACX-exclusive rights holders to switch to a non-exclusive agreement after the audiobook has been on sale for at least 90 days.

Audiblegate isn’t over yet. This isn’t the first instance of Amazon screwing authors� and it won’t be the last. There’s no question that Amazon holds a near-monopoly over many markets. Authors need their books, ebooks, and audiobooks to be available on this platform if they want to be successful.

But it’s also important to be aware of the risks involved when dealing with Amazon and its production companies (KDP and ACX) before signing any contracts or making exclusivity commitments.

Conclusion: Is an Audiobook Worth It?

If your budget allows audiobook production, the pros do outweigh the cons. I can say from experience that diversification is a good business plan. For some authors, a paperback and ebook are enough. Those two formats cover the main bases.

But I have readers who love to collect autographed hardcovers, so I offer that version as well. My profit margin is a little lower, but people who prefer hardcovers are grateful.

And I have other people who seem interested in the story but say they don’t have time to read. Now, when they ask me if the book is available in audio format, I can tell them yes. I’m thrilled that I can now offer the first book in the series in four formats now instead of three.

Yes, the audiobook was expensive to produce, and it’s way to early to know how quickly I can earn that investment back. But I had financial assistance from a state grant to make it happen, and now I’ve been able to break into a brand-new market and introduce my story to new fans.

It’s the start of a whole new adventure!

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In 2019, I was honored to be one of a select group of artists to be accepted into the 2020 program hosted by the .

Unfortunately, by the end of the year, COVID-19 was changing the world. The IAC decided to delay the 2020 cohort by a full year, so I patiently waited until May 2021 to participate in this life-changing opportunity.

In this article, I’ll talk about what the Indiana Arts Commission does, how their On-Ramp Creative Entrepreneur Accelerator program is positively impacting artists around the state, how it personally affected me as an , and how I used the fellowship to turn my first novel into an audiobook.

Table of ContentsWhat is the Indiana Arts Commission (IAC)?

The IAC is an agency of state government dedicated to creating a vision of “the arts everywhere, every day, for everyone in Indiana.� To accomplish this, the commission focuses on three primary stakeholder groups in Indiana:

ArtistsOrganizationsCommunities

Fifteen commissioners, each appointed by the Governor, serve eight-year terms as they establish the IAC’s goals, policies, grant awards, programs, and its direction for the future. Commissioners represent various areas of Indiana with diverse backgrounds in arts, business experience, and community. They hire an executive director to oversee the agency’s operations and implement strategies.

“To create equitable access to the arts for all Indiana residents, the Indiana Arts Commission is committed to intentional and ongoing engagement with all communities in our state. We will listen, engage, and incorporate diverse people and perspectives into all policies, programs, and services. Being consistently mindful and inclusive of the needs, ideas, and cultural history of the people who call Indiana home, we value and embrace their artistic expression and support them as they advance the arts that reflect their values and traditions. We believe in embracing diversity, championing inclusion, practicing equity, and embodying both the geographic and cultural variety that form the fabric of Indiana.�

�

About the On-Ramp Creative Entrepreneur Accelerator Program

The IAC’s On-Ramp Creative Entrepreneur Accelerator program has two key features: an intensive three-day entrepreneurship workshop and a fellowship worth up to $2,000 to put the business lessons from the workshop into action. Many of the costs to attend the workshop, including lodging and most meals, are covered by the state.

Creatives from all over Indiana gather to learn, network, and grow. The professions may include (but are certainly not limited to): artists, authors, sculptors, poets, musicians, dancers, glass blowers, potters, painters, quilters, weavers, videographers, models, actors, metal workers, etc. Any type of creative profession is welcome.

On-Ramp first started in 2018, and it’s quickly growing due to popular demand. After my cohort in 2021, the program expanded to include six teams meeting throughout the state rather a single team gathering in a central location.

Designed by of Minerva Financial Arts, On-Ramp teaches entrepreneurship to creative professionals by focusing on smart business practices, developing a community-engaged artistic approach, encouraging networking, illuminating untapped small business resources, understanding taxes, and exploring critical business concepts such as how to:

Define valueIdentify customers, market niches, and needsCreate a marketing strategyCommunicate with ideal clients and customersIdentify business partners and alliesAccess key resourcesProtect assetsManage, track, and report expensesGenerate revenuePlan for uncertainty

Participants take self-assessment surveys three times to track their overall business knowledge, likeliness to take action, control over their business, and overall growth opportunities.

Source:

Even a year after completing the On-Ramp Creative Entrepreneur Accelerator program, cohorts retain important lessons and feel much more confident in their overall business skills. Artists who participated in the workshop also showed more resilience through the economic pressures of the COVID-19 pandemic than other artists in the United States.

My Personal Experience Going Through On-Ramp

When I connected with the , there was something indescribably amazing about all the creative energy in the room. I’ll be the first to admit that creative people typically have a peculiar wavelength. Connecting with strangers can be hard� especially when we try to open up and talk about our passions.

But there was hardly any hesitation. We were all on the same wavelength and comfortable with each other. Right away, we were sharing dreams, experiences, and tips.

The three-day workshop was packed full of great information. The presenter started by saying that many creatively talented people are great at creating art� but not usually great at approaching their work from a business perspective. To that, most of the students nodded, including me.

The main purpose of the workshop was to help us understand how to value our time and work so we could turn our passions into a sustainable career. There was so much information jam-packed into those three days that it took a few weeks for my brain to really process what all it had learned.

I completed On-Ramp just over a year ago. Since then, here is how my business has changed:

I have a much more thorough understanding of how to register and report sales tax in different states.I created my first budget estimate at the beginning of the year.My expense and revenue reporting is comprehensive and organized. I’d had a spreadsheet in past years, but now I have a more complete breakdown of my sales.I’m actively exploring new ways to engage with my community and teach people about my experiences with self-publishing, On-Ramp, and audiobook production.I’ve booked more in-person events and traveled farther beyond my established radius to reach more people and build my base with a grassroots marketing approach.Thanks to the advice of a fellow artist in my cohort, I started a and am building subscribers to help establish another reoccurring income stream which engaging my closest followers with behind-the-scenes content.I’ve become more efficient with tracking my inventory and keeping backup stock. This is still a work in progress as I scale up my business, but I’m working toward being fully stocked and prepared so I don’t have to turn down last-minute event opportunities solely due to not having enough inventory on hand.I have networking contacts from the cohort if I need advice. I’ve also been in contact with my (SBDC) rep.I created a DBA for my business. I’d already registered my self-publishing company LLC prior to On-Ramp, but I had a chance to speak one-on-one with the instructor at the end of the workshop, and I saw a need to establish On The Cobblestone Road as a DBA tied to my LLC.This year, for the first time, I was able to start taking owner’s draws from my business to pay personal bills.

A memorable part of the On-Ramp experience was the added bonus of a walking tour to learn about the art initiatives in Lafayette. As a Purdue alum, I was surprised that I didn’t know about the strong art community of muralists from around the world coming to Lafayette to share their stunning talent.

How I Used the On-Ramp Fellowship to Invest in My Business

As soon as I learned about the opportunity for a state grant, I knew that I wanted to turn into an audiobook.

From a business standpoint, the audiobook market is growing rapidly. , the Audio Publishers Association’s annual sales survey showed a double-digit increase in audiobook sales for the tenth straight year. APA reported revenue gains of 25% in 2021, totaling $1.6 billion in industry sales for the year. Sci-fi/fantasy was the most popular genre, followed closely by mysteries/thrillers/suspense. Romance had the largest sales boost with a 75% jump in revenue YOY.

From an author’s standpoint, I want to share my stories with as many people as possible. Although I personally prefer print books over any other format, I released my novels as ebooks when they were first published so readers who prefer digital could have access. I also wanted to release an audiobook, but the cost was far outside my budget.

An audiobook increases accessibility. People who have a visual impairment that prevents them from reading print or digital books can now experience stories orally. For busy people who simply don’t have time to sit down and read, they can enjoy an audiobook during their daily commute or while doing other tasks. It breaks down barriers for some, while for others, audio is a personal preference. It truly does change the story when you hear a narrator doing character voices rather than imagining them in your head.

I will admit that, even with the assistance of the On-Ramp fellowship, the cost to produce an audiobook was higher than I anticipated. I ended up investing quite a bit of my own savings on top of the grant to make this project happen� but it DID happen! The audiobook has been released out into the world, and I’m grateful to have partnered with two phenomenally talented narrators who brought my tale to life.

Check out some of the articles I’ve written while documenting my audiobook journey:

The audiobook with my two narratorsAn , including author and narrator bios, the book synopsis, audio samples, and details about the virtual audiobook tour that took place from July 12-18 that I feel other indie authors should know before they get started

Stay tuned� I’ll be sharing more in the near future!

Thank You!

There are days and weeks where I feel like I’m doing so much work but just spinning my wheels and not moving forward.

But looking back on where I was a year ago when I participated in the On-Ramp Creative Entrepreneur Accelerator program, I really have progressed by leaps and bounds!

I can’t speak highly enough about this program. If you’re a creative entrepreneur living and working in Indiana, I absolutely recommend looking into On-Ramp. It will give you the tools, knowledge, and networking connections you need to turn your art into a business.

To the IAC, thank you! It’s such a surreal feeling to release my audiobook to the world, and it wouldn’t have been possible without the On-Ramp fellowship.

The post first appeared on .

It’s hard to believe, but this year, I released my first audiobook!

was first published in 2018. A year later, I started my own self-publishing LLC for my future books. In 2020, I released the series sequel, and both novels received the Literary Titan Gold Book Award a few months apart.

In 2021, I participated in the program sponsored by the . This unique opportunity provided a fellowship to help me cover the costs of finally turning AFH into an audiobook.

±·´Ç·Éâ€� !

If you follow this blog, you’ll know that I often write about . I’ve provided tips for aspiring authors and openly talked about my blunders so others could avoid making those mistakes. With an audiobook behind me now, I’m excited to share what I’ve learned and hopefully continue to help other indie authors looking to expand their stories into the audiobook market.

In this post, I’ll be focusing primarily on my experience with , although I’ll also explore as a comparison since these are the two big players in the audiobook production and distribution industry.

Table of Contents

This is not a sponsored post. All opinions expressed in this article are my own. Although this article may contain affiliate links, from which I earn a small commission from qualifying purchases, I am not directly affiliated with the companies mentioned in this article. Findaway Voices is my audiobook distributor but was not involved with this post in any way.

1. Narrator Contract Options: PFH vs. Royalty Share vs. Hybrid

When I first started researching how to find narrators and distribute an audiobook, I quickly became overwhelmed by all the options. There’s a lot to learn about the process, but hopefully this article will help to clear up some major points.

First, it’s important to understand the types of narrator contracts.

PFH, which stands for “per finished hour,� is the most common agreement, especially for new and independent authors. When a narrator agrees to a straight PFH rate, that means you’re paying them for their finished recorded/edited time, not their studio time. Even if it takes a narrator 100 hours to record your 6-hour audiobook, you’ll be paying for the six finished hours.

PFH works well because it’s a one-time payment for completed work. The narrator has zero risk of losing money if the audiobook doesn’t do well, which is why it’s usually preferred with new authors who don’t have a long track record or massive audience. And the author is paying only for the finished product, so it doesn’t matter if the narrator keeps messing up and needing to rerecord scenes multiple times. What happens on the narrator’s recording time doesn’t influence the final cost.

The royalty share option is an agreement where instead of paying per finished audio hour, the author agrees to split the royalties with the narrator. How this works actually varies depending on the narrator. Some narrators agree to a royalty share until the PFH cost has been paid back, at which point the author is no longer obligated to split the royalties.

Other contracts lock the author into a royalty share agreement for a certain length of time. This can end up being a pro or con for the author depending on the success of the audiobook. If, for example, the royalty share agreement lasts seven years, but the audiobook does better than expected and meets the PFH threshold in five years, the narrator gets to collect extra royalties for the next two years. The author ends up paying more in royalties than they would have if they’d paid the narrator upfront for their work.

Alternatively, if the audiobook doesn’t do well and the PFH isn’t met within those seven years, the narrator is ultimately shorted for their work in the end. It’s extremely rare for a narrator to agree to a royalty share unless the author is a bestseller and has some clout to their name. This arrangement comes with potentially high risks.

A hybrid agreement is a merging of the PFH and royalty share models. Confusingly, it’s often referred to as a royalty share deal even though it’s not actually a straight royalty share. With the hybrid option, the narrator lowers their usual PFH rate in exchange for a small percentage of royalties. The author is still paying for part of the audiobook upfront, but not the full amount.

For example, let’s say a narrator usually charges $200 PFH. A 10-hour audiobook would cost about $2,000 for narration (not counting the post-production work, which I’ll discuss in the next section). If this narrator agreed to a hybrid deal, the narrator might reduce their PFH rate to $150 in exchange for getting 10% of the author’s royalties after the audiobook is published.

Just like the true royalty share, hybrid contracts will vary depending on the narrator and/or producer. The contract may last for a specified amount of time or until the original PFH total is met.

2. How to Estimate Audiobook Production Cost

Audiobooks are not cheap to produce. Not if they’re done professionally, anyway. If you’re planning to break into the audiobook market, expect to make a serious monetary investment.

For many indie authors, an audiobook is simply not in the budget. I was in that position, too. If it weren’t for a state grant, I wouldn’t have had the funds to invest in my first audiobook.

Even with the financial assistance, the audiobook ended up costing more than I had anticipated based on my initial research and grant proposal.

How much does an audiobook cost to make? Here’s the breakdown to help you create a cost estimate:

Expect an experienced audiobook narrator to charge $200+ PFH. In my early research, narrator rates seemed to run between $100 and $250 PFH� but the low end of that range isn’t realistic anymore. $200 PFH seems to have become the industry standard for a professional narrator with experience under their belt. If a narrator is charging much less than that, they’re probably new to the business and looking to build their portfolio. That doesn’t necessarily mean they’re bad, but it’s something to keep in mind if you’re concerned about the quality of your audiobook. For the purpose of creating a more accurate cost estimate, assume a PFH rate of at least $200.On average, a person will narrate about 9,300 words per hour. (This is , Amazon’s audiobook production company.) Theoretically, you can take the total word count of your book and divide it by 9,300 to estimate the audiobook length. However, I will note that this wasn’t very accurate for me. My 154k-word novel ended up being 18 hours and 50 minutes. By ACX’s calculation, it should have been more like 16.5 hours. It all depends on how quickly your narrator reads, how frequently they pause, etc.Depending on your agreement, post-production editing may be a separate pricing factor. This was the case with my audiobook production experience. who each charged their own PFH rate, but they didn’t do the post production themselves. That was a separate rate through the production house, also charged on a PFH basis. (Note: some narrators do their own post-production work or outsource it to a third party on their own. In those cases, they’ll charge a higher PFH rate to cover both the narration and the post production. The union standard is $250 PFH when post production is included.)

So� how much will your audiobook cost? It depends on a range of factors. Findaway Voices estimates that a 50,000-word book would to produce as an audiobook. Audiobookstore.com says that a 12-hour audiobook could end up .

For my audiobook, the cost ended up being closer to Findaway’s estimate than Audiobookstore.com’s. If I hadn’t requested an extra scene to be recorded, I would have come in just over the $5k mark for a book that was approximately 154k words.

Yeah� audiobooks are not cheap! But it all depends on which narrator(s) you choose, how the post-production editing is handled, how long your book is, and other factors.

3. Why DIY Is Usually a Bad Idea

I had essentially come to this conclusion on my own, but when I had my first in-depth conversation with the potential project manager for my audiobook, she strongly agreed that with a few exceptions, recording your own audiobook is a fast road to failure.

From my perspective, I knew from the beginning that I didn’t want to narrate my audiobook because I lacked:

Proper recording equipment (and the capital to invest in it)A reliably quiet space with good acousticsEditing software (and the knowledge to use it effectively)Training and experience to tell the story in an emotional, compelling wayVocal range to handle a large cast of characters with unique voicesA good voice Time

From the project manager’s perspective as an avid audiobook listener, she told me rather bluntly that if she’s browsing audiobooks and sees a fiction story narrated by the author, that’s almost always an immediate hard pass. Authors are great with words, but that rarely translates into oral storytelling without proper training and a lot of experience.

However, she did mention that she’s willing to make an exception to the “don’t DIY it� rule if the audiobook is an autobiography. In that case, it’s almost expected that the author would be the narrator.

Other nonfiction books might be able to slide by� but you’re usually better off leaving audiobook narration to a professional. Listeners can tell when it’s done by an amateur, and it’s a big turn-off.

4. Wide vs. Exclusive Audiobook Distribution

Just as with self-publishing, you’ll have to decide whether you want to go with exclusive or wide distribution.

I’ve talked about this frequently in other posts, but I’m a don’t-put-all-of-your-eggs-in-one-basket kinda author. I like to make my books widely available for consumers on just about any platform.

I also don’t have much trust in Amazon, especially considering the ongoing issue where authors are docked 100% of their royalties for returned audiobooks (even if they’ve been listened to in their entirety) and Amazon pockets that revenue for itself. ACX is notorious for shady reporting to makes it harder for authors to track their sales and see when they’re losing out on Amazon’s “easy exchange� program.

But, if you’re asking whether to go wide or exclusive, you’re probably looking at ACX as your exclusive option.

I get it. Experts project that the U.S. audiobook market will , and there’s no question that Audible controls a majority of that market. If you’re going to target a specific niche, Audible is the place to be. Publishing your audiobook through ACX will also get it onto Amazon and iTunes. That’s three big players dominating the market.

Source:

But a wide distribution option will get you onto those same platforms in addition to others such as Barnes & Noble, Google Play, Baker & Taylor, Kobo, and more� at the sacrifice of earning smaller royalties from Amazon and Audible.

So, which method is best? Here are two critical factors to help you make your decision:

Giveaway Promo Codes

The biggest plus for going exclusive with ACX is the promo codes. When you publish your audiobook exclusively through ACX, you’ll receive 25 promo codes for Audible US and 25 for Audible UK, totaling 50. After achieving at least 100 qualified purchases and 10 redeemed promo codes, you can generate an additional 25 codes. ()

Audible promo codes are available ONLY for ACX-exclusive audiobooks. If you distribute through a different company and/or elect to use the ACX non-exclusive agreement, you can’t get Audible giveaway codes.

Findaway Voices does offer promo codes� just not for Audible.

When you publish through Findaway, you can request 30 giveaway promo codes to use through their Author’s Direct platform, which users can download for free to listen to your audiobook. If you enroll in Voices Plus, you’ll get 100 codes. ()

is Findaway’s exclusivity program. By enrolling, you’re committing to using only Findaway Voices as your distributor. Unlike with the ACX exclusivity agreement, which limits your distribution to only Amazon, Audible, and iTunes, the Voices Plus option gives you access to more than 40 retailers, including library platforms. With such a wide range of retailers, it doesn’t really feel like an exclusivity contract. But it technically is.

Voices Plus also offers its users extra piracy protection. Since they know everywhere your audiobook should be, they’ll handle piracy and DMCA takedown requests on your behalf.

Royalties

The other factor to consider when deciding whether to go wide or exclusive is the royalties. For the sake of this example, let’s say your audiobook is priced at $10.

ACX offers 40% royalties if you agree to exclusivity. If your $10 audiobook sells on iTunes, Amazon, or Audible, you’ll earn $4 per sale.

ACX also offers a non-exclusive option. By choosing this, you would be allowed to add other distributors in addition to ACX so you could reach other platforms. With this method, ACX provides 25% royalties. Your $10 audiobook would bring in $2.50 per sale.

At first glance, Findaway Voices seems like a much better deal with a promised 80% royalty rate. But that doesn’t mean you’re pocketing $8 every time someone buys your audiobook. Findaway Voices is an aggregator, which means its partners also get a cut. What that cut is depends on each individual retailer, so that profit will vary. Your 80% royalty comes from what Findaway Voices receives after the retailer takes out their share.

For most non-Amazon retailers, Findaway Voices receives somewhere between 40% and 50% of the list price after the retailer’s cut. For example, let’s say your $10 audiobook is sold through a Findaway partner that keeps 50% of the profits. That means the retailer gets $5 for the sale, Findaway keeps $1, and you get the remaining $4. All in all, that’s still a pretty good deal as far as royalties go!

However, keep in mind that for Audible, Apple, and Amazon, your audiobook sales will be the non-exclusive 25% rate minus Findaway’s 20% cut.

Priorities

If you’re still on the fence about which distribution model is best for your audiobook, ask yourself these questions:

Do I want my audiobook to be available for libraries? (Wide)Will I direct all of my marketing focus to Amazon, Apple, and Audible? (ACX exclusive)Do I want Audible-specific giveaway promo codes? (ACX exclusive)Do I want higher royalties on smaller (but still relevant) platforms such as B&N, Google, Baker & Taylor, Kobo, etc.? (Wide)Is there a possibility I might want to sell the audiobook myself through Author’s Direct, my own website, or another alternative? (Wide)Is my audience exclusive to Amazon, Audible, and Apple, or can I reach a lot more people by giving listeners extra options to download the audiobook? (Wide)

Hopefully this section helped you make a more informed decision about wide audiobook distribution vs. exclusive.

5. How to Price Your Audiobook

If you decide to go with the ACX exclusivity option, this isn’t something you need to worry about. Why? Because ACX gives you zero control over your audiobook price. They will automatically set the retail price.

However, ACX does provide a standard guide for how they price their audiobooks, which is helpful even if you’re going through a different distributor such as Findaway Voices. Here is ACX’s suggestion based on the length of your audiobook:

Source:

Findaway Voices gives you control to set the retail and library pricing for most sellers. (Important note: if you are distributing to Audible through Findaway, Audible will override your pricing to set it based on their own guidelines.)

I’ll also note that Findaway automatically generated pricing suggestions for me based on my audiobook length and genre� but their numbers fell far short of ACX’s chart. This caught me off guard, especially when my project manager recommended going with Findaway’s price instead of ACX’s. Essentially, that would have meant setting the price of an almost 19-hour audiobook (estimated at being worth $20-$30 by ACX) at the low rate of a 3-to-5-hour audiobook (valued at $10-$15).

This discrepancy didn’t seem right to me, especially after searching online and seeing that other YA fantasy audiobooks at a comparable length seemed to match ACX’s price recommendation.

When I first started publishing, I had also struggled with ebook pricing. There’s really no universal standard. Too high, and people won’t buy. Too low, and readers might assume you’re an amateur and your book isn’t good quality. There’s a sweet spot where you’re charging what your book is worth AND what people are willing to pay for it.

My audiobook was a big investment, and I reasoned that underselling myself wasn’t a good start, especially if there would be promotions on top of the low price point. I ended up going with ACX’s recommendation instead of Findaway’s. Since I have control, I can always go back and drop my price if I notice people aren’t buying.

Another reason I chose to go with the higher retail price � Findaway allows me to sell the audiobook through after a one-time fee. This is essentially my own storefront where I can offer my audiobooks and (which is much higher than any other platform). Author’s Direct provides customer service for audiobook purchases and tech support for their app, and I can control promotional pricing.

To encourage audiobook listeners to purchase directly from me instead of another source like Audible (which takes a big cut of my royalties), I can set a sale price on Author’s Direct and still earn more than I would from the full retail price on other platforms. Since Author’s Direct shows the original retail price and the sale price, the discount is clearly visible.

This gives me the advantage of offering my audiobook at 25% off the usual retail price when purchased directly from my storefront, and I still have opportunities to run bigger promotions for holidays and special events. If I’d backed myself into a tight corner by setting my original price so low, I wouldn’t be ale to set these deep discounts.

Consciously going against the advice of Findaway Voices and my project manager was hard� and it’s too soon to tell if I made the right decision on the price point. But ACX has been established for a long time and knows how to price audiobooks, so at least there was sound logic behind my decision. Since I have control over the pricing, I can always go back and adjust it up or down until I find that sweet spot.

6. When In Doubt, Trust Your Gut

This is a really hard lesson. Especially when an industry professional is the one giving you advice.

In this last section, I’m going to be completely open and honest about some of the struggles I faced during the audiobook production. On more than one occasion, I had to trust my instincts and make critical decisions that went against what I was being pressured to do.

As an indie author, I’m used to having nearly total control over my books. I work with a professional editor, but I have the final say over whether or not to accept her suggestions. I design my own covers. I handle the interior formatting for the hardcovers and paperbacks. Except for the ebook formatting, I do almost everything myself.

Forfeiting nearly all of my control over the audiobook was very difficult for me. I had to put complete trust in my narrators and hope that they shared my passion for high quality.

But, to be honest, there were a few instances where I was pressured to make a decision that just didn’t sit right with me. I had to decide whether to listen to my gut or yield to someone else’s judgment.

The first case involved the audiobook cover. According to the project manager, some narrators had declined to audition for my audiobook early in the bidding process because they didn’t like the cover. She passed along the name of her favorite graphic designer and recommended that I invest in a redesign.

I stressed about this decision for several weeks. Until that moment, I’d always been proud of my cover. Designing it myself was a highlight since I often sell my art prints at my events. The book wasn’t just my writing; it was also my art.

Creating my own cover was part of the reason I in the first place. I had envisioned how I wanted the series to look with each book featuring a different character and eye color on the cover. As an indie author, I had the control to bring that vision to life.

The was inspired by the Chronicles of Avilésor series. Purchases support an indie author, small USA company, wolf conservation, and two woman-owned businesses.

But now, an industry expert was pressuring me to change direction, and I started to doubt my past decisions and artistic skills. Was my cover not good enough? It certainly wasn’t the worst cover in the world, but was I metaphorically shooting myself in the foot with an unmarketable audiobook if I didn’t listen to her? Would potential listeners reject it as the narrators had?

Money was also an issue for me. I’ve already talked about how expensive audiobook production cost is. I do most of my own self-publishing work in part because I can save money by doing the cover designs and interior formatting myself. I wasn’t financially in a position to increase my audiobook production cost by paying a graphic designer on top of the narrators and production house.

Still, I humored the project manager and scoped out the designer’s website to see examples of her work while I was deciding what to do. Yes, she was talented. But I noticed that a lot of the covers were very� generic. They were fantasy covers I’ve seen redone again and again and again. A dime a dozen. Pretty, sure. But instantly forgettable.

I’ve said this before, and I’ll say it again � I didn’t write a generic fantasy book. Therefore, I’ve never wanted a generic fantasy cover.

In the end, although it took me a while to come to this stressful decision, I opted to go with my gut and stick with my original cover design.

As an artist, I knew that I would regret giving up the cover to someone else. It may not be the “typical� fantasy cover, but I know people remember it because they tell me so all the time at events. I frequently get unsolicited compliments on the cover (which helps me feel better about the choice I made).

I think it’s likely that the narrators who passed on the audiobook solely because of the cover weren’t right for the project anyway. That doesn’t mean the cover is bad. It accurately reflects my dark, paranormal sci-fan genre. Not every narrator is suited for that kind of book, just as not every reader gravitates toward it, either. Everyone has a different taste.

The timing also didn’t feel right for a redesign. I’d already established the pattern for the series with and . Changing direction for the audiobook would mean redesigning the hardcover, paperback, and ebook covers for both books so they’d all match, plus starting over on Book 3’s cover (which was already nearly finished).

Maybe someday, after the whole series is out, I’ll relaunch the books with a remarketing campaign that includes new covers. But not now. The timing was wrong, and I knew that in my heart. I’m grateful that I didn’t give in to the pressure. Personally, I like how the audiobook cover turned out!

The second issue happened right before the audiobook was released. Unfortunately, despite reaching out multiple times throughout the production, I was not included in the proofing phase of the audiobook.

This came as a surprise to me since I knew other authors who were very involved in their audiobook production and communicated regularly with their narrators if they wanted changes. Because of those authors� experiences, I hadn’t thought to ask about my level of involvement upfront, so I made an incorrect assumption that my experience would be similar. Instead, I ended up being completely in the dark with no idea what the timeline looked like.

Out of the blue, the project manager sent me an email that said the audiobook was finally ready. All I had to do was put in my payment information for direct royalty deposits, then hit publish.

My response: “Can I listen to it first before I publish it?� I hadn’t even heard the audiobook yet!

Let me just say that I was extremely lucky to have picked great narrators. Overall, they did an excellent job, and I’m so grateful that they had the skill and talent to portray my characters so well with hardly any guidance from me (even though I wanted to be more involved and provide input). If I had gone with less qualified narrators, this could have been an absolute disaster.

During my first listen, I heard a handful of relatively minor errors. Some of my fictional words weren’t pronounced correctly, including the name of a former teacher who had passed away (I had named a school after her as a tribute in the story). My own last name was slightly mispronounced in the introduction. A noticeably wrong character voice was used for one sentence of dialogue. I caught a few sparse technical issues as well, such as an accidental s occasionally added onto a word that wasn’t supposed to be plural. Mostly minor. Theoretically, fairly easy to fix without the narrators� involvement in many cases.

But when I asked for revisions, I received stern pushback on everything except fixing my name. “The audiobook is no longer in the proofing phase,� I was told (paraphrasing). “It’s now in the promotional phase. Changes will cost extra and delay the release.�

In which case� maybe the author should have been involved in the production and proofing phases so these issues could have been addressed before the promotional stage? Many of the errors slipped right past an editor because only the author knew the book and worldbuilding well enough to catch them.

The thing is, I’m a perfectionist. If I find typos in my print versions, I always fix them. I can’t tolerate knowingly letting errors slip through.

Getting those changes made to the audiobook was like pulling teeth. I had to be selective about which edits I wanted to go to bat for and which ones were minor enough to let slide. The audiobook establishes worldbuilding pronunciations in a way the print and ebook formats can’t do, so I didn’t feel that an author should be expected to change the lore of their fictional world to match a mispronunciation in the audiobook. Some of the words I’d invented were based off real last names or had etymological significance.

All in all, those were relatively small changes and not the main point of this story. There was one big change I wanted� and I had to decide if it was worth fighting for. My gut said it was.

I’ll admit that I didn’t consider the audiobook format when I was writing A Fallen Hero. Even if I had, I probably wouldn’t have thought about having two narrators. In several chapters, the POV shifts between A.J. and Mia fit together beautifully by sheer dumb luck with the narrators fluidly passing scenes back and forth to build phenomenal tension.

But there was one chapter where A.J. ended up having all of the scenes except one. Because of that, Mia’s short scene in that chapter felt jarring and out of place � almost accidental.

Although A.J. was technically supposed to have the male POV scenes and Mia was supposed to have the female POV scenes, one of the sections in that chapter was ambiguous enough that I could get away with having either narrator do it. I wanted to pay Mia to record A.J.’s one scene so she would have an extra part for better balance and that ideal back-and-forth momentum between the two narrators. I had no problem paying both narrators for their work on that same scene even though only one version would be used.

But I knew my request would cause conflict. I was asking for a whole scene to be recorded from scratch and then edited. There was already a lot of tension at this point since I’d made it clear that I wasn’t happy about not being involved with the proofing� especially since I’d asked about it on more than one occasion but never received a response. As a former landscape architect, I can’t even imagine a client spending thousands of dollars and not being at least somewhat involved through the various project stages to make sure the final result was what they wanted (and paid for).

I hate confrontation. I’m a passive person who absolutely loathes being a “difficult client� and causing issues� but if I was going to fork over $5,000+ for this project, I felt entitled to be satisfied with the final result.

Again, after dwelling on the pros and cons of pushing back when the project manager clearly just wanted to publish and move on, I realized that I would forever be kicking myself for not standing my ground when I had the opportunity. I wasn’t asking for freebies; I was a paying client offering to pay the same PFH rate for the new scene. If I had to be a difficult author, so be it. My gut was telling me not to be intimidated into letting this go when I knew taking the extra step and recording that scene would make the audiobook flow better.

As you can probably guess� my request was met with resistance from the project manager, who wasn’t keen on the extra delay and work.

Luckily for me, my narrator agreed to do the scene once the project manager reached out to her. It all worked out in the end, and it truly did make a positive impact on that chapter� just as I knew it would.

Final Advice

Overall, I had a mixed experience with my first audiobook. It wasn’t all smooth sailing. Without my insanely talented narrators, I’m not sure how it would have turned out.

I’m grateful that I kept my original cover design and didn’t settle for a typical one done by another artist. And I’m happy that I insisted on fixing errors, having my fictional words pronounced correctly, and rerecording that one scene with a different narrator. I endured more anxiety about those issues than I should have, but I listened to my heart and made the decisions that felt right� and the audiobook was better because of it.

My advice is to find a balance between your ego and your gut. Don’t completely tune out a professional’s advice just because they’re telling you something you don’t want to hear. But at the same time, don’t immediately fold every time and default to someone you perceive as having higher authority and more experience. It’s your book. Nobody knows it better than you do. Take their advice with a grain of salt.

You are the client. You need to be happy with the final result. Your audiobook is a big investment, and you shouldn’t be kicking yourself in the end for not having the courage to ask for changes when you had the chance.

I also recommended asking a lot of questions. If something doesn’t make sense, don’t hesitate to ask for clarification! Understand what your narrators need from you. Based on my issues, I HIGHLY recommend being direct and asking how involved you’ll be in the proofing phase before you sign a contract. Know your role and set your expectations. Otherwise, you might get an unpleasant surprise later.

Choose your battles and try to enjoy the adventure. You’ll learn a lot!

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