The trade-off is that traditionally published books have a higher chance of getting media coverage and ending up in major bookstores.īut unlike print books, self-published audiobooks can still be sold through all major retail outlets. And contrary to what many Authors think, it’s not always the most lucrative option. It’s nearly impossible to get a traditional publishing deal. The publisher produces the audiobook, but Authors have little creative control over the book’s production, distribution, or marketing. When an Author signs a traditional publishing contract, they turn control over to the publisher. Then, the publisher has the right to make all the money that comes from the book’s sales (minus an Author’s negotiated royalty). On the other hand, traditional publishers purchase the rights to Authors’ books with an upfront payment called an advance. Most importantly, the Author retains all rights to their book and all the profits. They also get to specify which audio changes they’d like before the book is released. Typically, Authors have a say in how the narrator sounds.
With a production company, Authors pay a flat fee, a per-finished-hour rate (PFH), or, in rarer cases, a portion of future royalties in exchange for an audio version of their book. They aren’t looking for a traditional publisher, a.k.a., a company that buys and controls the rights to the book. Most self-published Authors are in the market for a production company, a.k.a., a company that helps them produce an audiobook. E.C.There’s a big difference between a “publisher” and a “production company.” I can’t wait to see what’s up next for Herrera's fearless trio. I loved everything about this listen, from the distinct voices and personalities of the three “las leonas” to Nneka Okoye’s absolutely killer (and sexy) Scottish accent. A BIPOC main character from Santo Domingo who heads up a rum distillery and travels to Paris to increase her sales has historical precedent, but it’s a story that hasn’t traditionally been told in romancelandia. Film properties such as Bridgerton have tried to combat this through the creation of alternate history, but what makes Adriana Herrera’s new novel so special is it’s all so completely rooted in reality. And as much as I love this genre, I’m well aware of how it has been historically (pun!) limited, dominated by stories featuring all-white casts of characters.
I’ve always had a soft spot for historical romance, so a story set against the backdrop of the 1889 Exposition Universelle in Paris was candy for me.
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