That sinking feeling - money thrown away or a wise investment?
When I am out shopping in the real world and am tempted by an impulse buy, I take a break - I leave the store and have a walk around, get a coffee and talk to myself very severely! If I haven't convinced myself not to buy whatever it is within half an hour, I go back and take another look - a very critical look and I ask myself some questions:
If I can honestly answer 'YES' to those questions - then I ask myself
But what about shopping online for stuff I need for my business, whether that be equipment, software, coaching, mentoring, support - or membership of an industry related organisation or group? I know that on more than one occasion I have been swept along on a wave of optimism and have pressed the 'buy now' button without a second thought. It's so easy to do - maybe I've succumbed because colleagues are posting on social media about joining this or that amazing organisation; signing up for this fantastic course; taking classes with this wonderful coach; or how simply doing X, Y and Z has transformed their career. Sometimes it's a persuasive sales pitch or an hefty discount 'upgrade to the latest version of 'A' and save $100 dollars ... offer ends on Friday' that convinces me that my life and career can be transformed. Why am I tempted to buy a new mic, or the upgrade to the latest version of my editing software rather than sticking with the tried and tested version that I already have - and which works perfectly well? Why on earth do I find myself being tempted into signing up for this, that and the next thing? Why and how is usually-cautious-me being so easily seduced?
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UK Audiobooks - Competition, Cost & Quality?
According to US figures provided in 2016 by The Audio Publishers' Association over 55 million Americans listened to audiobooks and more than 35,000 audiobooks were published in the States - and those numbers continue to increase. Figures recently released for 2017 indicate that total net sales of audiobooks were worth $757 million US, a rise of 22.7% on the previous year - and I read another report estimating that $900 million US would be spent on audiobook downloads and CD purchases this year (2018). In the US at least it's a growing and profitable industry. Why are things in the UK so different?
Speaking at Frankfurt’s half-day Audiobook Conference, Michele Cobb, executive director of the Audio Publishers Association (APA), highlighted growth in audiobook output and sales in the US (46,000 titles published in 2017 with sales up 23%) and the UK (3,700 titles produced with sales up 16% in 2017). As a percentage of all sales, Cobb said audiobooks were averaging out at around 4% in the major markets, including Germany. In the UK, 36% of audiobook consumers were new to the market in 2017. So - though we're lagging a long way behind - with just 3,700 UK productions as opposed to an amazing 46,000 in the US. But sales are increasing even in the UK and I can't help feeling that we should be feeling more of this audiobook related golden glow should surely be reflected on this side of the pond? UK sales are a long way off the figures in the US, but although there is certainly not anywhere like as much work available for narrators, many UK studios seem to keep pretty busy, but rates for narrators in the UK appear to be static - I am being offered exactly the same rate (or in some cases rather less) as I was being paid four years ago. It seems to me, that the Audiobook industry in the UK has become obsessed by bringing down the costs - but at what cost to the listener? Apac 2018 I have recently returned from a wonderful few days in New York, where, for the second time, I attended The Audio Publishers' Association Conference. APAC, hosted by The Audio Publishers' Association (The APA) and sponsored by Audiofile Magazine, is held at the same time as Book Expo America. APAC is totally centred around Audiobooks and there were over 500 attendees; narrators, tech folk, casting directors, producers and publishers - authors, audiobook reviewers, and listeners as well. There were workshops, panels, and break-out sessions on performance related issues, industry developments and business and marketing strategies - and lots and lots of opportunities to meet fellow professionals in informal settings - at a cafe on edge of the Hudson River, the roof garden of an Irish pub in Manhattan and various other bars, cafes and restaurants. venues - and at the AUDIES Gala, (the audiobook equivalent of the Oscar ceremony) and the now equally important NAUDIES (Not the Audies) where those not nominated, or not able to get a ticket for the gala, socialised and waited for the glittering nominees and their guests to arrive in their finery after the gala was over. For narrators there was also a worksop day of performance related coaching and advice hosted by Johhny Heller held the day before the main conference and a technical workshop examining the technical side of audiobook production hosted by Amanda Rose Smith. The whole thing was loud, enthusiastic, invigorating, exciting, inspirational, surprisingly 'ego-free' - and utterly exhausting - and it was over all too quickly. There were half a dozen other UK based British narrators who also made the journey - as there were last year and in previous years - and we were all genuinely and generously welcomed by everyone involved. Every one of us, no matter what our level of audiobook experience, felt that we belong to a community who values us and acknowledges us as colleagues and friends. It was an extraordinarily heartening experience that all of us will cherish. So looking back with nostalgia at the amazing three days, at the various audiobook related workshops bracketing the main conference day, the numerous social events, the early mornings and late nights, I wonder whether that feeling of camaraderie was just an ephemeral thing that vanished into the clouds as everyone boarded their flight and returned to their padded cells? I don't think so. Despite the many miles that separates people in that vast country - and there were folk flying in from all corners of the US - I believe that the community spirit and contact continues once APAC is long over.
Perhaps I am looking through rose-coloured glasses, but I truly felt blessed to be there. I have never come across anything even remotely similar in the UK, though of course there are various organisations that host social events, webinars and workshops geared to the more general voiceover fraternity - Gravy for the Brain and The Voice Over Network for example. There are many voiceover performers belonging to these organisation who also read audiobooks and both VON and GFTB hold the occasional audiobook related event or workshop, but audiobooks are not why either of those organisation exist. There is no equivalent to The APA, no UK based professional organisation whose raison d’être is audiobooks. I know the audiobook industry is significantly smaller over here than it is in the US - but if the articles in the US and UK press are to be believed, it is growing apace. It seems to me therefore that there is a real need for an UK based, professional audiobook-related organisation which welcomes audiobook producers, narrators, editors and engineers. The question as to whether that would be viable is already being asked - Neil Gardner of Ladbroke Audio posted an article on LinkedIn recently asking whether it was time for a Professional Organisation to represent those of use who earn our living from creating audiobooks. I think the time is absolutely right. We are constantly being told that Audiobooks are 'saving' the publishing industry, but few people within the industry are seeing any benefits of this alleged 'boom', in fact for most of us rates are falling. Our Union, Equity, though it has an audio committee, is unable to set audiobook rates, or even to suggest them, and in the competitive world in which we live, cost becomes an overarching consideration for audiobook publishers. We are all. whether producers, voice actors or technical folk therefore increasingly competing on cost rather than on the quality of the product we create and ultimately, surely that is something of an 'own goal' with disastrous results for the industry and the listener. A UK based professional organisation might just be able to steer audiobook production out of the chasm it is in danger of falling into and give us all a sense of professionalism and unity such as appears to exist among our US colleagues who are fortunate in having the APA (and a strong Union) to support them. Podcasts & Webinars |
 | I have never been overly fond of listening to podcasts or tuning in to webinars; I so often find them frustrating and unsatisfactory and usually lose interest and drop out of the session. But why? My antipathy to podcasts and webinars puzzles me because as an avid 'talk radio' listener (BBC Radio 4) : people talking about what interests them, interviews and radio documentaries are what I listen to most. As far as TV is concerned, I watch far more factual programmes than anything else, so why do I frequently find podcasts and webinars, which are essentially an online version of what I enjoy so much on the radio and television, so singularly unsatisfactory? Today it suddenly struck me ... a lightbulb moment! |
Thinking back over podcasts and webinars I have tuned in to (and tuned out of) recently, I realise that in almost every case (though there are a few notable exceptions) the problem is that 'the host' is more interested in themselves than in their guests and spends too much time talking about their own agenda, even sometimes spending considerable time talking about their own careers, what they have achieved, as though they're actually in competition with their guests rather than being there to highlight their guest and their area of expertise. This leaves their poor guests - who are generally interesting people with something to say (and who are the reason that I, and assume most of the listeners have tuned in) sitting there like lemons wondering why they have been invited!
One of the cardinal rules for journalists, interviewers and presenters - it is not about you; it's about your guests.
The good journalist disappears - they introduce their guests, ask the right questions then leave the guest to get on with it. The interviewer is (or should be) the conduit through which the audience gets to know more about the subject and the person that they're interested in. The interviewer (in this case the podcaster or webinar host) is there to gently probe, to ask the right questions and importantly to listen to the answers, and then probe a little. If there is more than one guest, it is the interviewer's role to give each of them an equal voice, to control the ebb and flow of conversation, to throw things into the pot that bring the interview alive.
It is most definitely not the interviewer's role to judge, nor to give an opinion and definitely not to pop in their two penn'orth or their comments - or worse still, to chime in with the dreaded 'Oh yes, that happened to me! I remember when I did .... blah blah blah!' At this point, I (and probably everyone else listening or watching turns off ... literally as well as emotionally! Of course this is not solely the province of webinars and podcasts, it occasionally happens in broadcast interviews as well particularly when the person doing the interviewing is in the same line of work as those they are interviewing when it becomes almost a competition. I can think of several cringe making moments where an interviewer refuses to take the back seat and feels he or she has to 'top' whatever the guest says at every point in the discussion.
It is most definitely not the interviewer's role to judge, nor to give an opinion and definitely not to pop in their two penn'orth or their comments - or worse still, to chime in with the dreaded 'Oh yes, that happened to me! I remember when I did .... blah blah blah!' At this point, I (and probably everyone else listening or watching turns off ... literally as well as emotionally! Of course this is not solely the province of webinars and podcasts, it occasionally happens in broadcast interviews as well particularly when the person doing the interviewing is in the same line of work as those they are interviewing when it becomes almost a competition. I can think of several cringe making moments where an interviewer refuses to take the back seat and feels he or she has to 'top' whatever the guest says at every point in the discussion.
Listening to a discussion where the interviewer is following their own agenda is like having a health related discussion with a hypochondriac - every illness, every ache and pain you've experienced, they've had - not only more often, but more seriously!
This lightbulb moment happened recently as I listened to a fascinating podcast about audiobooks. The hosts were both voice actors - and both record audiobooks - yet throughout this long round table discussion with several luminaries of the audiobook world, narrators, coaches and producers - the hosts never once mentioned themselves, what they were doing or even what their connection was the industry. They asked sensible and professional questions of those round the table, encouraged them without leading them and gave each of them a voice is what became a lively and varied discussion resulting in a thoroughly satisfactory and informative broadcast.
Only at the end of a podcast lasting for over an hour, did I find out that those doing the interview were actually in the same business as those they were interviewing. Their names are Sean Daeley and Paul Stefano and their podcast series, about all things voiceover and audio related, a series which I thoroughly recommend, is called 'The VO Meter - Measuring your Voiceover Progress'
Happy Listening!
Only at the end of a podcast lasting for over an hour, did I find out that those doing the interview were actually in the same business as those they were interviewing. Their names are Sean Daeley and Paul Stefano and their podcast series, about all things voiceover and audio related, a series which I thoroughly recommend, is called 'The VO Meter - Measuring your Voiceover Progress'
Happy Listening!
 | How audio is changing the way we read books - and even how they are written. |
I came across an article in The Independent - and it explains exactly why I love narrating (and listening) to audiobooks.
I actually narrate more than I listen ... I am very picky when it comes to listening and hypercritical - but when I love a narrator's voice and what he or she brings to a book - then I will look for other works they've read and the narrator often leads me to books that I would never have previously considered.
Anyway back to the article ... Theatre of the Mind! Wow.
Click on this link to read it
I actually narrate more than I listen ... I am very picky when it comes to listening and hypercritical - but when I love a narrator's voice and what he or she brings to a book - then I will look for other works they've read and the narrator often leads me to books that I would never have previously considered.
Anyway back to the article ... Theatre of the Mind! Wow.
Click on this link to read it
About me
I've gleaned quite a lot of knowledge over the years, knowledge that might be of interest to others, especially authors, actors and voice actors. Because I read so much, for pleasure and professionally, I also occasionally write reviews of what I read - so they're here too.
My opinions are mine and my views are my own!
My opinions are mine and my views are my own!
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