Coronado Games – Starship Corporation Trailer

This is a game trailer for Starship Corporation from Coronado games – where players can build their own starship, train the crew for missions, and then try to become the market leader by selling their creations. Very cool game… here’s the trailer!

Could I be the right voice for your next video game trailer? Contact me today to request a sample read and more information!

New Demo – Car Commercials

Here are some radio ads for auto dealerships I’ve voiced recently.

These were produced by Joe Krath at Moffett Productions

Car Commercial for Radio – Female, Girl-Next-Door

Radio Commercial – Valley Girl character

Female Car Commercial

Radio Commercial – Husband & Wife

If you like what you hear, please contact me today for a sample and rate quote!

[contact-form][contact-field label=’Name’ type=’name’ required=’1’/][contact-field label=’Email’ type=’email’ required=’1’/][contact-field label=’Length of your radio ad(s)…’ type=’radio’ options=’:60,:30,:15,:10,Tag,Two ads%26#x002c; :60 %26amp; :30,Multiple ads with different lengths,No fixed length’/][contact-field label=’How many ads are you looking to produce?’ type=’radio’ options=’1,2,3 – 4,5 – 10,More than 10’/][contact-field label=’Music/sound effects…’ type=’radio’ options=’I don%26#039;t want music or SFX in my ad,I want music or SFX but need help choosing them,I have my own music or SFX chosen already’/][contact-field label=’Radio Market’ type=’radio’ options=’National,Regional,Local,Internet’/][contact-field label='(Optional) Paste the script here’ type=’text’/][contact-field label='(Optional) Please give a few adjectives to describe how you envision the voiceover sounding.’ type=’text’/][contact-field label='(Optional) Please introduce yourself! Also%26#x002c; any other comments about the project%26#x002c; timeline%26#x002c; budget%26#x002c; additional direction?’ type=’textarea’/][/contact-form]

Conversant Labs Saykit SDK Explainer Video

Conversant Labs is building software that gives your app a voice – helping the blind and making life easier for just about anyone. Here is their explainer video, voiced by me and produced by OrionVega media – see it here!

Could I be the right voice for your next tech explainer video? Contact me today to request a sample read and more information!

Is It “Worth It” to Make an Audiobook?

Is It “Worth It” to Make an Audiobook? This post will be an economic analysis of audiobook sales – and what makes an audiobook profitable or worthwhile from the standpoint of an author, and that of a narrator/producer.


A lot of independent or self-published authors want to expand into the popular and growing audiobook market. This totally makes sense! But in order to get an audiobook made, first they need to find an audiobook narrator/producer to work with. This post is meant as information for authors to help them understand the process of audiobook production, and hopefully also understand how to attract the best narrator for their audiobook.

There are a couple of different strategies that independent authors can use to get an audiobook made, for distribution on the most popular audiobook platform,, as well as Amazon and iTunes. They involve working through ACX, the audiobook creation exchange and the backend for Audible. It is a matchmaking site for authors and narrators, and also a platform for the author and narrator to collaborate on the production of the audiobook, and a place to upload the finished audiobook for posting to Audible, Amazon, and iTunes.

Here is some information about how ACX works, for authors.

On ACX, there are two types of production agreements (all made between Audible, the author/”rights holder,” (I’ll just call them the author here in this post) and the narrator/producer (similarly, we’ll call them the narrator):

  1. “Pay-for-production” or “pay per finished hour.”
    • The author pays the narrator a fixed rate, usually per finished hour of audio.
    • Audible takes a 60% cut of the audiobook sale price.
    • The author receives the remaining 40%.
    • The narrator receives no royalties.
  2. Royalty Share.
    • The narrator invests all of the work up front to produce the audiobook at no cost to the author.
    • Audible takes a 60% cut of the audiobook sale price.
    • The author and narrator split the remaining 40%, giving them each effectively a 20% share of the royalties.
  3. (There are a couple of other options, such as “hybrid” deals and stipend deals. Those will be discussed later.)

By the way, the above figures all cover exclusive distribution of the audiobook through Audible, Amazon, and iTunes (meaning you can’t sell the book through other audiobook platforms or even direct download from your own website, otherwise the royalties go way down.) Audible handles all of the royalty payments and sends a statement each month about what they are paying you and why, so there is no need to hire an accountant or do any extra work in that department, when going through Audible.

Now, the next question folks usually have after they hear about these types of production arrangements is, how much is my audiobook going to earn? How do I crunch the numbers to see what makes sense to invest in audiobook production, and how can I make my audiobook a profitable venture?

This is a really difficult question, because there are so many factors coming into play. Here are some of them.

First of all, one cannot predict audiobook sales based on book sales, but in general there is a trend that if a book is popular, and the audiobook is good, the audiobook will be popular too. Similarly, if a book is not selling well, even having a great audiobook version is not going to turn the book into a bestseller, and it is not likely to even sell well as an audiobook. It would be great if we could extrapolate future audiobook sales figures from Kindle or paperback sales data (believe me, nobody wants this more than me, I used to be a scientist and I looooove data!), but we just can’t.

Audible sets sale prices for audiobooks. They used to let the author do it, but then took over themselves, although they still mostly adhere to these guidelines based on the length of the audiobook (copy/pasted here from the guidelines for your convenience):

  • under 1 hour: under $7 [my note: more like, $3.99]
  • 1 – 3: $7 – $10
  • 3 – 5 hours: $10 – $20
  • 5 – 10 hours: $15 – $25
  • 10 – 20 hours: $20 – $30
  • over 20 hours: $25 – 35

To make things even more complicated, there are multiple ways that folks can pay for an audiobook. They can use Audible credits, which are worth somewhere around $11 or $12 – subscribers get one every month as part of their membership and they can use one for pretty much any audiobook. They can be an Audible subscriber, but buy an audiobook “over plan” meaning they buy an extra one even though they used their member credit that month. Or, they can buy a book “a-la-carte” meaning they don’t even subscribe to Audible, but they still bought the audiobook. Then, there’s Whispersync, which enables someone to listen to the audiobook and follow along with the Kindle version at the same time. On top of all this, Audible can put the audiobook on sale or change the price at their discretion.

Bottom line (part 1; there are going to be several “bottom lines” in this rather lengthy post. :D): these different ways of purchasing the audiobook come with slightly different purchase prices, which means that they provide slightly different pay for the author and/or narrator. I have found that the easiest way to make sense of it all is just to try doing different types of books and gather some empirical data. Here are my latest numbers (which still fluctuate month by month). These are meant as ballpark numbers only. Since in a royalty share deal, the author and narrator earn equal royalties, authors can use these too as guidelines for how much they could potentially earn in a royalty share agreement. For a pay-for-production deal, double these numbers, because the author would be keeping all of the royalties.

  • Full length book (6 hours or more) – I earn about $2 per unit sold
  • Novella (3 hours) – I earn about $1.50 per unit sold
  • Short story (1 hour) – I earn about $0.50 per unit sold

I don’t have much data on audiobooks in the 10 to 20 hour range, but I’m waiting on the release of one, so I may have it soon.

How do you calculate how long your audiobook is? Take the word count of the book and divide by 9000. Approximately 9000 words of text = 1 finished hour of audio. Here’s a table for quick reference.

Word Count Length of Audiobook (hours)
10000 1.1
30000 3.3
50000 5.6
60000 6.7
90000 10.0

To give you an idea of the work involved in audiobook production, it is quite time consuming. Each finished hour of audiobook can take between 6 – 10 hours of work to produce. Some producers work faster, but I haven’t been able to get below the 4 – 6 hour range of work for 1 finished hour of audiobook, and honestly it’s usually more pushing 6 – 10 hours for me. No matter how you slice it, it takes time, especially to get a good quality product that sounds engaging, is error free, and just generally represents the type of quality a buyer would expect when purchasing an audiobook.

For a narrator, royalty share deals are risky. However, they can pay off if a narrator is selective about which titles they agree to take on as royalty shares. Authors often love royalty share agreements, because it means they get an audiobook produced for free*. However, it is key to understand: when you as an author offer a royalty share deal to a narrator, you are asking them to work for free. Hopefully, it will pay off eventually, but that’s not guaranteed. The narrator is taking a risk – it could really pay off, given that there’s no upper limit to what a royalty share title could earn. However, it could completely flop, and if it does, the narrator is out of luck.

So, basically, when calculating whether it’s worth it to take on an audiobook project, I as a narrator attempt to figure out:

  1. How long the finished audiobook will be
  2. How much work will be involved in me producing the audiobook
  3. How much I want to get paid for the work I’m putting in
  4. Will I be able to get paid?
    1. How much to quote the author for a pay-for-production arrangement
    2. How many copies of the book would need to sell in a royalty share arrangement for me to be compensated for my work
    3. If I don’t think the book will sell enough copies, to compensate me for my work, can I work out a royalty share plus low per-finished-hour rate to make it worthwhile.

Now we’ll discuss rates.

It is not in a narrator’s interest to put in the work to produce an audiobook unpaid unless they think it will sell well enough to be worthwhile, so if you go the royalty share route, make sure to have sales numbers (the closer to #1, i.e. the lower, the better), amazon ratings (the more the better, doesn’t have to be 5 star, in fact, that’s a bit suspicious that the author may be stacking the deck with their friends and family leaving reviews), and information about your social media and marketing plan to reassure the narrator that their investment of work will pay off in audiobook sales.

If you pay a narrator up front, expect to pay at least $200 to $400 per finished hour of audio for a good quality audiobook. You get what you pay for applies here. Many narrators outsource their editing to professional editors, who also get paid (by the narrator), so this cost is a factor too – but you don’t have to worry about that. The narrator will have taken the cost of editing into account in their price quote, whether they are paying an editor or they are the editor.

There is also the option of paying a low per-finished-hour rate, such as $50 – $100 per finished hour, plus royalty share, to cover the cost of editing or at least provide a baseline pay for the narrator in case the audiobook sales don’t come through spectacularly. This is referred to as a “hybrid” deal. The way this would work through ACX is that the author and narrator would create a royalty share contract, and then the author would also pay the narrator the agreed upon rate. The hybrid arrangement seems to be a “sweet spot” for a lot of other narrators I’ve talked to – the best of both worlds. This would be a good thing to be prepared to offer if you don’t have the budget to offer a pay-for-production deal, but want to attract a good quality narrator.

There are also some books, which tend to be good sellers (in book form,) have lots of reviews, be posted on ACX for several weeks without casting a narrator, and be on the longer side (6 – 10 hours finished,) which are eligible for a “stipend” paid by Audible. The stipend is $100 per finished hour, but it comes with strings attached – the audiobook must be finished within 8 weeks of being cast, for example. Then, on top of the stipend, the author and narrator share royalties as in a regular royalty share agreement.

The final wildcard is “bounties.” Bounties are a payment of $50 which is split between the author and narrator (so, $25 each) when a new member signs up to Audible’s monthly plan and downlads your audiobook as part of their “free trial offer.” Yes, like many subscription services, Audible’s model is, “we’ll give you the first one for free…” [evil smirk]  If you do earn bounty payments, they can significantly increase your earnings. But, understand that it’s essentially a payment for getting Audible a new customer. You are recruiting people for them with your audiobook. And, the more people who join Audible, the less potential listeners you have who will give you a bounty payment.

I’m sure this has all been very entertaining, or perhaps by now your head is swimming and you’re even more confused about audiobook number crunching than you were when you arrived at this blog post. The bottom, bottom line: here’s what I do when I am trying to figure out whether to accept a royalty share deal through ACX, ask for a per finished hour rate, or try to work a hybrid deal.

To get paid this rate per finished hour… I would need to sell this many copies…
$100 200 – 300
$200 400 – 600
$300 600 – 900
$400 800 – 1200

If I don’t think the audiobook has the potential to sell somewhere around 600 – 1000 copies over the next seven years (which is how long the ACX contract runs), it’s probably not worth it for me to take it on as a royalty share.

That’s 3 copies a day over the first year, 1 copy a day over the next 3 years, whatever. Sales tend to be stacked up at the beginning when the book is a new release. Sometimes they have a long tail, and sometimes they drop off a cliff. This business is very difficult to predict. 200 sales of a title is fairly easy to attain, though certainly not a given. 1000 sales is harder, but of course still doable.

Hopefully this blog post has given you a better idea of what’s involved in trying to decide whether an audiobook project makes sense for a narrator. Be prepared to offer them $200 – $400 per finished hour, or assure them that the audiobook has a good chance of selling a thousand copies (and back that assertion up with sales rank and reviews,) or offer to pay $100 per finished hour and assure them that the audiobook will bring in 300 – 500 sales.

It can be a challenge to make an audiobook profitable for the author and narrator – but it can be done! Good writing and good marketing are always on your side. Best of luck to you!


*TANSTAAFL, of course.


Did you like this post? Think we could be a mutually beneficial match for your next audiobook? Contact me


New Demo – Money Talk Show Intro

Here is a examples of an intro I did for a finiancial radio show.

Intro for a financial radio show or money talk show – produced by me with open source SFX from various space travel missions. It really has that sound that communicates “radio talk show.”


If you like what you hear, please contact me today for a sample and rate quote.

Science Direct Feature Videos

In this series of videos, several features of Science Direct, a major platform for scientific publishing, are highlighted, which can help scientists with their research. I voiced the videos, which were produced by Ping Media. See them here!

Could I be the right voice for your next scientific video? Contact me today to request a sample read and more information!

Demo – Female Newscaster

Here are some examples of my female newscaster character voice!

This was a fun one. Now, here’s Tom with the weather.

Adult female voice. Various female newscaster characters ranging from pretty believable to totally over-the-top. 🙂 Some could pass for Diane Sawyer soundalike, otherwise perfect for your generic American female newscaster voice. Sound:  Authoritative, American, believeable, funny, character.

If you like what you hear, please contact me today for a sample and rate quote.

Health and Beauty Explainer Video – Doctor Canuso’s Foot Repair Serum

Did you know that dryness and cracking on the feet can actually be caused by fungus?  I narrated this explainer video about Dr. Canuso’s Foot Repair Serum – check it out here!

Could I be the right voice for your next health & wellness explainer video? Contact me today to request a sample read and more information!

New Audiobook: Organize Your Home by Louise Harvey

I am pleased to announce the release of my newest audiobook: Organize Your Home: The Complete Guide to Organizing and Cleaning Your Home in 7 Days by Louise Harvey!

Click to see the title on Audible and hear a sample.


I learned a lot about home organization reading this book. Louise is a master home executive. Even though this is a relatively short book, it is packed with information. I like how she starts out with getting past psychological barriers to decluttering and cleaning. We all get attached to our stuff, we feel too overwhelmed to even begin, or we fear that it’s pointless to even try to get organized because even if we manage to accomplish it our home will just get cluttered again! Louise addresses all of these objections and how to overcome them.

Then, she goes room-by-room in a typical home and gives a specific game plan to declutter and clean every space – even using humor you can relate to (have you really used that egg cooker you bought in the last 6 months?) I found the bathroom and garage sections particularly helpful.

FInally, she offers three different plans that you can implement to make sure your home stays organized. One for those who only want to clean once a week, one for those who want to clean a few times a week, and finally one for those who can take a little time out every day for home maintenance.

This is the kind of thing that, for the most part, we don’t get taught in school, nor by those we live with over the course of our lives. If you want to hear a succinct but useful guide to home organization that you can really follow and stick with if you want to live in a nice, organized home – this is a great place to start.

As with most of my audiobooks, I do have a limited number of review copies available, so if you would like one (in exchange for an honest review) please feel welcome to get in touch with me through one of the contact forms here on my website.


To get the book on Audible or download a copy for free with a new Audible membership, click here! Or, you can read a Kindle or physical version. Just click the book cover to see them all.

If you’d like me to narrate your next audiobook, please contact me!

5 Tips to Help You Write a Standout Script For Your Podcast Intro

I hear from a lot of folks who want to get a professional intro/outro produced for their podcast or videocast. Sometimes they have their own script already prepared, but other times they struggle to figure out what to include. With that in mind, I thought I’d share my top 5 tips for scripting a great podcast intro.*

*What makes me qualified for this? Well, I have personally been a podcaster since 2009, having been a host or producer of five separate shows, each with its own unique flavor. As a voice actor, I have written and voiced many dozens of intros for other podcasts. And, I have trained in script development & copy writing. Plus, I have an opinion – and this is the internet, after all!

  1. Keep it short & sweet.

    This is by far the most important thing. You want your podcast intro to get the listener excited and set the tone for the host, but if it’s way too long it will just get tiresome. Aim for 10 – 15 seconds for the intro. Just a few seconds of music, the name of the show, an interesting or funny tagline or description of the show, and the name of the host, followed by a fade-down of the music usually suffices. The outro can be longer, 30 seconds or less, with a call to action.

  2. Choose music wisely.

    Music can really help set the tone for your show. Although a variety of types of music can work, you have to make sure your music is a match for your show in a number of ways that are seldom considered.

    Is the music overwhelming the voiceover on your podcast intro and making it hard to understand?

    Is the music interesting enough to hear over and over again every time a listener plays your show, but not annoying?

    Does the tone of the music “fit” with the tone of your show? (Example: I love Revolution Health Radio with Chris Kresser, but I really think he could use an update to his theme music. I think it’s supposed to connote… mystery-solving? Sleuthiness? But it just doesn’t do it for me.)

    Is your music unique enough to differentiate your podcast from others? (This is important… case in point: I always used to laugh because several years ago, I subscribed to two very different podcasts – the Cato Institute Podcast and Sex Is Fun Podcast – that both used the same stock music as their theme song!)

    Is your music royalty-free or at least “podsafe?” (If you need help choosing podsafe music, check out my guide here!)

  3. Include personality & branding early.

    Everyone has a short attention span these days. Your podcast intro is the audio equivalent of a first impression – and just like an in-person first impression, you only have a few seconds to convince a listener who is tuning in to your show for the first time of why they should stay tuned in. So, show a little bit of personality! Connect with the listener. If the listener hears something pithy and clever, something that makes them laugh, or something that inspires them to think, “yeah, this show will solve a problem for me or give me something I want” then they will continue to listen. Then, you’ve got a chance to establish a relationship with them, and convert them into a loyal fan – or maybe even a customer. But it’s up to you to provide that initial hook as early as possible!

  4. Limit calls to action, and put them at the end.

    People will pretty much only remember to take action on the very last thing they hear at the end of your podcast, if they do at all. And if they hear it over and over again, it will be tuned out.

    If you have several things you’d ideally like your listener to do – for example, email you their questions and comments, subscribe to your podcast feed, visit your website, sign up for your email list, follow you on social media, tune in next week, etc… – consider instead picking one of these things each week and ending your podcast content with that request in your own words. If it’s worded in a fresh way each time and coming straight from the host, instead of a podcast outro from an announcer figure that repeats every week by asking the listener to subscribe, rate, review, donate, follow, and share… well, it’s likely to get more traction.

    You can rotate your calls to action and focus on one each week at the end of your show for maximum impact.

  5. Keep it fresh. Consider alternate intro/outros.

    There’s a strange phenomenon wherein the more times someone hears a piece of audio… the less likely they are to actually listen. Think about commercials that you’ve heard over and over, and could recite from memory, but yet you’ve never actually visited that website or bought that product! Same goes for podcast intro/outros/bumpers. They can be a great way to establish your brand and personality, but they can also easily get stale and boring, especially if your podcast is long-running and has a lot of episodes.

    To keep your listeners engaged, consider making a slate of intro/outro/bumpers for your podcast, and then rotating them – or, just updating them every so often. Pat Flynn does a new (usually funny) intro on his Smart Passive Income podcast each episode, which is a great way to keep listener engagement and also showcases his personality and helps him connect with the audience. Sovryn Tech is an example of a podcast that overhauls its podcast bumpers every 25 episodes, yet they are all tied together as part of an ongoing spy-themed audio drama that runs concurrently with the podcast. As you can see, there are many creative ways to keep things interesting with your podcast intros, but still stay consistent with your message and brand.

I hope this post has been helpful in developing your podcast intro script. If you’d like to talk with me about voicing it, please get in touch!


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