Audiobooks are the fastest-growing segment in publishing, but how do you make sure your books sound good in audio? How can you improve your writing so listeners come back for more of your books? In this interview, Jules Horne gives some tips for audio-first writing.
In the intro, I mention Underland: A Deep Time Journey by Robert Macfarlane as a great example of a beautiful audiobook, plus my home audio studio setup for any tech recommendations if you want to self-narrate.
Amazon Ads are now available for the UK and German stores through the KDP Dashboard. Plus, William Blake at the Tate – you can always find my photos on Instagram @jfpennauthor. The Camino de Santiago on Books and Travel this week, plus Productivity for Authors is available.
Today's podcast sponsor is Findaway Voices, which gives you access to the world's largest network of audiobook sellers and everything you need to create and sell professional audiobooks. Take back your freedom. Choose your price, choose how you sell, choose how you distribute audio. Check it out at FindawayVoices.com.
Jules Horne is a Scottish playwright, radio dramatist, and fiction writer, as well as writing non-fiction books for authors. Today we're talking about Writing for Audiobooks: Audio-first for Flow and Impact.
You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and full transcript below.
- How our reading and learning behavior is changing because of audio
- The implications that audio have for our writing
- Adapting fiction for audio
- Writing ‘ticks’ to avoid that make hearing the writing monotonous
- Dealing with breath and commas while writing for audio
- The books that don’t work in audio
- On the different sonorous quality of certain words and sounds
- Dealing with an accent if you’re narrating your own work
You can find Jules Horne at Method-Writing.com and on Twitter @method_writing