So, thinking about describing a normal day as an Audio Publishing Manager . . . Um. Is there such a thing as a 'normal day'?! For a start, I might be in the office or at the studio. The huge variety in my job is one of the things I love most about it.
When I start working on an audiobook, I will read the book, decide on a shortlist of potential readers, discuss the readers with Editorial and then the author before arranging the recording. This might be two days or (my personal record so far) twelve . . . the latter refers to the wonder of Space Opera and Peter F. Hamilton. Great North Road was an epic book at 1,087 pages or three hundred and forty-six THOUSAND words! The sheer size of the book meant the recording had to be that long! Deciding on the reader can take anything from a month to a week. It all depends on whether there’s a series narrator already established, for example. Sometimes it can be wonderfully straight-forward, when either the author or I have someone in mind straight away. At other times further discussion is needed, which can include lots of back and forth with numerous people -- before we finally decide on someone who then isn’t available for months. We then have to go back to the drawing board!
Once the recording is organised, I then have to work with the Producer, the reader and sometimes the author on pronunciations of names and places. Tor books can throw us some curveballs in this field, with invented worlds (and words) with names created from the author’s imagination. Close discussion with the author is always key here as it’s their world we are bringing to life and we wouldn’t want to distort their vision - for example by calling someone Zap-hod when it should be Za-phod!
The extra-special days are the days in the studio. Helping with the last-minute – ‘how did we decide to say that?’ queries, and listening to the amazing performances of our incredible readers. Sometimes, with US-based books for example, the audios are recorded in the States. I then, sadly, leave these recordings to our friends at Macmillan Audio US.
Once the recording is finished, my job becomes very administration based. Making sure all the metadata (detail such as title, blurb, price, praise for the book etc.) is correct, working with our art department to get the cover ready, ensuring the retailers have this metadata and know when they can expect the audio files. And then, once the audiobook is published, I create extracts and add them to our soundcloud page so that everyone can have a listen to our latest books.
Here are some releases you might like to check out:
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[soundcloud url="http://api.soundcloud.com/tracks/81343383" params="" width=" 100%" height="166" iframe="true" /]
The Restaurant at the End of the Universe (again) by Douglas Adams, read by Martin Freeman – this contains one of my favourite ever audiobook moments. Ford Prefect – obscenely drunk, trying to talk to Hotblack Desiato. Makes me laugh every time.
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[soundcloud url="http://api.soundcloud.com/tracks/81336786" params="" width=" 100%" height="166" iframe="true" /]
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The Tor Tour is part of a series of regular posts covering the varied publishing roles within the Tor imprint and across Pan Macmillan as a whole. These are the posts so far:
INTRODUCING TEAM TOR by Tor UK Editorial Director Julie Crisp
TOR TOUR: NOT JUST EDITING by Tor UK Editorial Director Julie Crisp
TOR TOUR: A PUBLICITY DEPARTMENT EXPOSÉ by Publicity Manager Sophie Portas
TOR TOUR: COMMISSIONING & SOCIAL MEDIA by Senior Commissioning Editor Bella Pagan
TOR TOUR: THE MARKETOR by Senior Marketing Manager Rob Cox
TOR TOUR: THE EDITORIAL ASSISTANT by Editorial Assistant Louise Buckley
TOR TOUR: PRODUCTION CONTROLLER by Production Controller Holly Sheldrake
TOR TOUR: THE DIGITAL ZONE by Analytics Director, James Long
TOR TOUR: THE RIGHTS DEPARTMENT by Rights Assistant, Kerry Lagan
TOR TOUR: HEAD OF WEB DEVELOPMENT by our digital department's James Luscombe
TOR TOUR: THE AUDIO BOOK DEPARTMENT EXPLAINED by Audio manager Becky Lloyd