Jess here. Sarina and I discuss audiobook narration this week and explain how narrators get hired, paid, and dish some inside baseball on audiobook production.

Transcript Below!

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EPISODE TRANSCRIPT

Is it recording? Now it’s recording—yay. Go ahead. This is the part where I stare blankly at the microphone. I don’t remember what I’m supposed to be doing. All right, let’s start over. Awkward pause. I’m going to rustle some papers. Okay, now—one, two, three.

Jess Lahey

Hey, welcome to the Hashtag AmWriting Podcast. I’m your host, Jess Lahey, and this is the podcast about getting all the words done, writing all the things, writing, short things, long things, proposals, queries, poetry, all the things. But today, Jess and Sarina are bringing you the book nerdery stuff, the best stuff. This is The Publishing Nerd Corner. I love this new segment. I’m super excited about it, but first, my name is Jess Lahey. I am the author of The Gift of Failure and The Addiction Inoculation. You can find my journalism out there various places, including The New York Times. And you can find my newsletter at jesslahey.substack.com.

Sarina Bowen

And I’m Sarina Bowen, the author of many contemporary novels. My new one is called Thrown for a Loop, and it drops on November 4, and it also will be published that same day as an audio book.

Jess Lahey

Whoo so...

Sarina Bowen

And that is what...

Jess Lahey

Yeah, we’re going to talk about audiobooks today, because Sarina knows so much about this—because she has to, like, hire her own narrator sometimes and stuff like that. All I know is, I narrated my own audiobook, and it was super fun, and I loved it. But we want to talk about all the aspects of how audiobooks work—all of it. There’s lots of fun stuff to talk about. Where would you like to start, Sarina?

Sarina Bowen

That is a good question. So, most of the time, if you are selling your book to a big publisher, audio rights will be included in your contract, and your publisher is therefore responsible for making the audiobook. You might be consulted about the choice of narrators, and that audio will magically appear finished on your publication date. But if you are a self-published author, then the existence or not of your audiobook is completely under your control. Audio has been the shining star of publishing for the last decade in that it is the growth story. I’m not sure how that has worked the last couple of years, but audio was one of the only areas of traditional publishing that demonstrated double-digit growth for much of the last decade. A lot of that has to do with the popularity and availability of streaming as a way that people listen to these books. Obviously, the technology shift made a huge difference, but so did things like cellular networks that work well and buffer easily. So...

Jess Lahey

Can I add one little, tiny thing? There’s been another reason that I think that audio has done so well, and that’s the acceptance within the education world—thanks to researchers like, for example, Dan Willingham and other people who study the brain and how we process and learn—that audiobooks are reading. From a processing perspective, from a learning perspective, listening to audiobooks is reading, and anyone who is telling you otherwise is not looking at the science. And so, this has been an incredible way—when you look at kids, for example, neurodivergent kids, dyslexic kids, kids who need another way to take in the information. It used to be that audio was like, “Oh no, that’s cheating,” and it is absolutely not cheating. So, I think that acceptance within the education world has been so great. And, you know, yes, it is a small part of the growth, but I do want to put that plug in there.

Sarina Bowen

Yeah. So, the way that, traditionally, audiobooks have been made is that a narrator goes into a booth and reads the book after having prepped it a bit in terms of maybe reading the whole book, maybe reading parts of the book, understanding what they’re going to bring to the table. If it’s fiction, then they’ll be looking to see what are the major voices, because audio narrators change their delivery to indicate voices. And one thing that’s interesting about the trend where we are in audio right now is that it’s very trendy for a nonfiction author to read their own work if they’re comfortable with it. That is widely done in nonfiction.

Jess Lahey

And it was one of my favorite parts of my process. And I have to say, nothing affected me more on an emotional level. I cried at the end of narrating both books. I had to pause at the very end—at the last couple, the last paragraph. It was such a moving experience for me to narrate my own book. And I have to say, it wasn’t a slam dunk that they were going to let me do that. I, you know, I worked really hard to be able to do that, because for some people, that’s just not their bag—it’s not something that comes naturally to them. But it was, for me anyway, my favorite part of the process.

Sarina Bowen

Yeah, so if you had written a novel, though, we wouldn’t be—

Jess Lahey

No.Sarina Bowen—having that same conversation.Jess Lahey

I’m not an actor. I don’t have the chops for that.Sarina Bowen

Well, a lot of authors of novels don’t understand this. It’s not that they don’t understand how their own book should sound and be delivered—it’s that what they don’t understand is that the way that novel audio sounds in 2025 is a specific trend in the way that readers want their books delivered. The books are very much acted. It wasn’t always this way. There were times when audio really sounded more like somebody just reading—and that’s okay. Like, there’s lots of room for style in terms of the way that audio fiction works. But right now, the trend in audio fiction is very much a performance. And one way that you can see this—and it continues to expand as a trend—is the trend toward something called duet audio, which means, for example, in romance, if there’s a male hero and a female heroine—and the way that most of my books work is that if the chapter is in the POV of a man, then the male narrator reads it. But of course, when he comes to a line of dialogue delivered in the heroine’s voice, he softens his tone a bit to indicate that she’s speaking, but he reads the whole chapter.Jess Lahey

They’re always amazing—that’s amazing to me when readers can do that. I mean, Davina Porter is the one that comes to mind—like, in the Outlander books, when she switches whose voice she’s reading. She switches whose voice—it’s down to the accent—and you don’t for a second think, “Oh, that’s the same person reading all of this.” And some of the narrators you use, Sarina, in your books—the same thing. My brain absolutely believes that I’m hearing a female voice versus a male voice. It’s a really incredible talent.

Sarina Bowen

Yeah. In fact, if this is of interest to you, there is a book called Thank You for Listening by Julia Whelan.

Jess LaheyIt’s so good!

Sarina BowenWho is one of the few who’s been very successful as both an author and a narrator, and her book is a little bit of inside baseball about narrators. And it’s a delight.

Jess LaheyIt’s fun. It’s really fun.

Sarina BowenOkay, so what I was just describing, though—where he reads a chapter and then she reads a chapter—we refer to that as dual narration (D-U-A-L). But there’s a new trend called duet, whereby in the same book, he would read the chapter, but if there was a line of dialogue from a woman, the female narrator would read that line.

Jess LaheyWhich is more similar to me in terms of how it feels with, like, ensemble narration. Like, for example, Lincoln in the Bardo had a full cast of many characters, and every part was someone different, and those actors would chime in with their parts. So, same—similar idea.

Sarina BowenWell, sometimes, sometimes a “full cast” audiobook just means that there are lots of very short chapters or segments. But to have every single line of dialogue cut in is really different than just saying a book has a full cast.

Jess LaheyThat’s true. Actually, that’s true.

Sarina BowenSo the thing about duet specifically is that the engineering part of it—the post-production—is really expensive because the engineer has to cut together this script, and actually preparing the script is also a lot of work. So it’s a pretty big deal to make a duet book. It’s more expensive. The cost of making a one-POV narrator book or a dual book is between, let’s say, $300 and $600 per finished hour.

Jess LaheyWhat do you mean by that, Sarina?

Sarina BowenSo, if you look at Audible right now, you can see the lengths of all of my audiobooks down to the minute. So it might say eight hours and thirty minutes. That means the finished length of that book is eight hours and thirty minutes. And the cost of making that book will be 8.5 times some number between $300 and $600. But if I did that book as duet, then it might be $1,000.

Jess LaheyOkay, all right.

Sarina BowenSo, every audiobook I’ve ever made cost between, like, three grand and seven grand. And if I were doing duet, then I would be hitting numbers more like $10,000.

Jess LaheyAnd make no mistake—there are stars in the audiobook world who, like celebrities in films, can earn more per finished hour for their books. And that demand is really important because they have a vibe. There are fans of particular narrators who will listen to anything that narrator reads.

Sarina BowenYeah, like my kids and I used to listen to audio narrated by Meryl Streep, and I’m sure she broke the curve for how much that cost per finished hour. But you should also know that the finished hour is not the same as how long it takes the narrator to do the job. So, if I’m paying a narrator $350 a finished hour, he is spending more time on that book, and his actual pay per hour is lower—like 150 bucks or whatever. It depends on his ratio of how fast he can narrate a book. And also, narrators’ voices get tired. They can’t narrate forty hours a week—although, actually, some of them probably do—but, you know, it’s a hard job. So, if you’re thinking, “I’m not going to pay someone $350 an hour to narrate my book,” you should know that it doesn’t really work that way, and that really is the price for a reason.

Jess LaheyAnd they’re fun—just for some fun inside baseball things. Like, for both of my books, narration hours when we worked—our starting time in the morning was pushed up a little bit because no one wants to get an audiobook narrator right after they woke up. Your voice is not primed. Your voice has gunk in it. So, we would start later. You really could only go—you know, with my first book, I think we went until, like, three in the afternoon or something. You have to take a break for lunch, and then after you eat lunch, you get all these weird secretions, and it takes time to get back into it. There’s just some weird stuff that I didn’t count on—like it was better for me to be hungry (except then my stomach would make noises, which the microphones would pick up) than to stop and eat and have to get back in the groove. Because when you’re in the groove, you kind of don’t want to stop. There was just so much more to it than I ever anticipated. It was a blast, but it took me almost a whole week. We had scheduled five days for The Gift of Failure—it’s like 78,000, 80,000 words, or something like that. We scheduled five full days; we ended up taking four. And I didn’t have pickups for that book, but I did have pickups for The Addiction Inoculation. There was a lot more scientific language in that book that we had to do some pickups for. So, yeah, it’s—

Sarina BowenPickups means edit.Jess Lahey

Yeah. So, there were a couple days where I came in—and so I actually did The Addiction Inoculation during COVID. I was at a studio here locally in Vermont with my director, the producer of the audio in one ear of my headphones, and my producer from Harper in my other ear, in New York or wherever she was. We were working in a sound booth in Vermont. And, you know, in the evening, that producer would go over the audio and make sure that all of the words were pronounced correctly and everything was good. And then the next day, we would do pickups along with the new work as well.

Sarina BowenRight. So, the editing that happens is really down to the word. Like, the engineer will sit there and, you know, go right into that space between the two words that you said and put the new thing in. And when a professional narrator is in the booth, they operate in a way that’s called punch and roll, which means that they will stop when they make an error, go back—looking at that visual sine wave of the audio on their screen—find the pause between the words, go right to that spot, and then roll forward by hitting record again and then speaking the word that they meant to say.

Jess LaheySome audiobook narrators use a clicker too. It’s a way of being able to see on the wave where you, you know, might need to go back and figure something out.

Sarina BowenYeah. So, um, there’s a lot that goes into this. Humans make a lot of noises that we’re trying not to hear. Like, some engineers will go in and dampen the breath sounds.

Jess LaheyYeah. Yep.

Sarina BowenYou know, they’ll go in and take out the “heeeeh.”

Jess LaheyActually, I had to change my clothes. My sweater was making too much noise. It turns out when I narrate, I use my arms a lot—so I actually had to learn how to narrate with my arms resting on the armrests but only using my lower arms. So, I look like the robot in Lost in Space with my little—my little—and also, my hair had to be up because my hair made noise too. And you can’t wear jewelry, you know, like bracelets and things like that also make noise.

Sarina BowenYep. And narrators all have stories like, “I can’t eat Indian food before I narrate,” or “When I go in the booth after lunch, I strap pillows around my midsection.” Like all this stuff to make sure that the sound quality works. So, that brings us to a difficult topic in how audiobooks are made, which is that a lot of books are flooding the market with AI voices. And everybody’s heard AI voices before—for example, if you’ve ever been on TikTok and you hear that weird, artificial female voice reading the—I don’t even know how to explain it—but that’s primarily why I never go on TikTok, because I cannot stand that artificial voice.

Jess LaheyI listened to—I listened to an article yesterday with The New York Times that was AI-generated that was better than those awful TikTok voices, but still, you know—still AI.

Sarina BowenYeah. So, I am not going to spend our time discussing whether those voices are good or not, but it has really gotten messy. At the beginning of AI narration, some platforms said, “No way, no how. We will never have one.” And then a lot of platforms suddenly allowed for it. So, there’s lots of AI narration in the world, and it’s causing real havoc, especially among people whose livelihoods are being affected by a drop in audio work. I really believe that the readers of my books care very much about the delivery, and it’s hard for me to think that an AI voice could carry the kind of emotion that romance readers are looking for in an audiobook. So, I hope—I hope that audio listeners continue to demand quality, because it’s a big deal.

Jess LaheyAt least right now, your listeners—you know, they love Teddy Hamilton. Or, you know, there are audiobook narrators who are very specifically—people get excited when they see a particular narrator’s voice attached to your work. And I think—and again, in Thank You for Listening, there’s that good—she goes into great detail on that whole inside baseball of narrator fans. And like, Teddy Hamilton has fans—has a fan base. And I hope that persists, because I think there’s real value in that. I hope there’s real value in that, and I hope people continue to value it.

Sarina BowenYeah, and I don’t think that’s going away anytime soon. People really aren’t clamoring to see AI Meryl Streep on the screen at the movies—and, you know, paying a movie ticket price for that. And I believe that in narration land, yeah, it’s the people coming up that will suffer the most—the newer narrators who don’t have a fan base yet and are struggling to get work. So, yeah—anyway, that is one thing. And we could talk about how to get your book done in AI production now, but I think we won’t, because...

Jess LaheyYeah.

Sarina BowenBecause that’s, you know, not—you can figure that out yourself if that’s interesting to you. But, um, I believe that humans are still the way to go here.

Jess LaheyThere was an interesting note. So, when I said that I worked really hard to get the chops to narrate my own audiobook—I mean, I went to go work for Vermont Public Radio. I recorded these commentaries. And these commentaries that my producer taught me how to record—there was a really interesting note she gave me, which is that these commentaries are really short, like just a couple of minutes—less than three minutes. And one of the things she taught me is that when I’m reading these commentaries, if at the end I look up at my producer and smile and make eye contact with my producer that it makes the narrator be even more connected to the listener. And she’s absolutely right. You could hear a difference in the commentary when I was making eye contact with my producer, and I find that fascinating and intangible and magic. There is a magic in that that I hope we do not lose with AI.

Sarina BowenYes, absolutely—and that is a fantastic place to close this episode.

Jess LaheyAbsolutely.

Sarina BowenLet’s not lose that magic.

Jess LaheyIf there are things you would like us to talk about when it comes to the nerdery of publishing—in the Publishing Nerd Corner—if you’re a huge fan of publishing nerdery, I also would love to recommend that you go over and follow Jane Friedman immediately, because she is such a great writer about the nerdery stuff in publishing. But we will continue to talk about it. If there are things you would like to know about, please let us know.

But until next week, keep your butt in the chair and your head in the game.

NarratorThe Hashtag AmWriting Podcast is produced by Andrew Perrella. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output—because everyone deserves to be paid for their work.