I have to be honest, I hadn’t thought much about audiobooks because I don’t listen to them often myself. The one time I really did was the weekend I was stuck in bed with a broken collarbone and couldn’t physically hold a book. But that right there goes to show you how incredibly useful they can be — a lifeline to people who really really need them.
Then my own books came out in audio formats last year, and I suddenly started learning a lot more about them. (Like I started learning about romance when my novels started getting cross-promoted as romance.) I learned that lots and lots of people love audiobooks, and many of my readers were thrilled to have them in that form.
From my perspective, this is fabulous. The more ways readers — and listeners — have to enjoy my books, and the happier they are about it, the happier I am.
It should come as no surprise that like a lot of other aspects of the business, the author doesn’t have a whole lot of say in how things get done in audio publishing. I didn’t know who was going to be reading my books, and I didn’t have a say in it. (Marguerite Gavin reads all the Kitty novels, and in most people’s opinion does a fine job.) One place where we do have a say is in the contract — abridged or unabridged? If you’re negotiating for an abridged audiobook, the contract should state that you get to approve the abridged version of the script. Fortunately, mine are unabridged, which I think is awesome.
What about you? Audiobook fan? Not so much? What do you look for in a good audiobook?
The Kitty audiobooks are published by Tantor Media. They’ve got some clips to listen to on their website, here.