The nitty-gritty of producing an audiobook

As an indie author, one of the things that surprises people most about The Assassin’s Legacy series is that it has audiobooks. Like, actual, full-production audiobooks—with a professional narrator and everything.

Then the questions arises: Why? The short version—because I’ve always loved audiobooks.

I used to make long drives from Jacksonville, NC to Wilmington during college, and audiobooks were my lifeline. I was a broke student with a commute that ate up hours of my day. Books on audio from the library made it bearable—even fun. Later, when I became a new mom, audiobooks were the only way I could read while juggling nap schedules, diapers, and the chaos of newborn and toddler life. They kept me grounded, gave me something to look forward to when my brain felt mushy from sleep deprivation.

But the bigger reason? Accessibility.

Not everyone can sit down and read a book. Whether it's due to time, energy, ability, or just lifestyle—stories should be available in the ways people need them. And to be honest, I really wanted my sister (who doesn’t read, like...at all) to experience this world I built. She still hasn’t listened—I’m pretty sure she’s waiting on the TV rights to be sold—but hey, it’s there when she’s ready.

The Business Side

Now, let’s talk business for a second: as a business decision, audiobooks are tough. The return on investment isn’t immediate. Most indie audiobooks don’t make back their production costs, especially not right away. And believe me, they are not cheap.

But I saw it as a long-term investment. I spent ten years working on this series. Ten years. Blood, sweat, edits, breakdowns, comebacks—the whole rollercoaster. Making the audiobook was, in a way, a gift to myself but more so a gift from my husband, who sold his project car to give me the money to produce the very first one. He’s amazing.

What I didn’t expect was just how much I would fall in love with my own characters even more.

Hearing My Characters for the First Time Outside My Head

There’s something surreal about hearing someone else bring your story to life. It’s honestly hard to describe. These characters have lived in my head for so long—they’re real to me. But when I heard them come alive in someone else’s voice, it hit different.

When I put out the audition call, Michael Neeb was the first person to submit. And it was instant magic. His voice was confident, emotional, nuanced—he just got the characters. But I didn’t say yes right away, because part of me thought maybe I was just excited to finally have someone audition. I told myself to give it a few days, listen to more submissions, maybe consider a female narrator. But no one came close to Michael’s portrayal. He had the perfect blend of edge, vulnerability, and grit that the story needed. He was the voice of the Legacy world.

As someone who consumes a ton of audiobooks, I know how much a narrator matters. They can make or break the experience. A bad narrator can make even a great book feel flat. But Michael? Michael elevated it. He made my characters feel real in a way I wasn’t prepared for.

And here’s the wildest part: there’s a character in book one that I absolutely did not like. I didn’t enjoy writing them. I was honestly relieved when they didn’t make it. But Michael gave them so much life and much emotional depth that by the time we hit their final scene, I was crying. There was a complete moment of regret of “why did I kill them?” level emotions. That’s the power of a good narrator. 

The Proofing Process

Now a lot of people don’t realize that after the audiobook is recorded, it isn’t just done and uploaded. There's an entire proofing process, and depending on your setup (publishing house vs. indie, individual narrator vs. production team), it can vary. I can only speak from the indie perspective, working directly with a narrator. And for me? Proofing is a whole journey.

Once Michael finishes recording, the files come to me for review. And I listen to each audiobook at least three times.

First, I just listen to enjoy the story—to experience Michael’s artistry and get swept into the world like a reader would. Then, I go back with the manuscript in hand. That second round is all about catching any recording errors, wrong words, or mispronunciations. I take notes and send over a list of what needs to be fixed. After those pickup lines are re-recorded, I listen again to check for consistency and flow.

But honestly? That’s not even the last time I listen.

I wrote this series because I love it. It’s my comfort story. And I go back to these audiobooks a lot—sometimes just because, but often when I’m prepping to write the next book. It re-immerses me in the world, gets me back in tune with the characters, and puts me exactly where the reader left off.

-Libby