Karen Commins

How I Get Stuff Done

20 May 2021

Last week, the Audio Publishers Association held its annual conference (APAC), which was skipped last year due to COVID-19 and was virtual this time. They ran it on a site that gave us a virtual meeting space, networking areas, and an exhibit section like an in-person event.

The planning committee had asked me to be one of the experts meeting with small groups of narrators to address their particular questions in the Business Diagnostics session. I had the great pleasure of talking with 6 groups of narrators about time management and marketing/branding topics.

One participant’s question took me by surprise: I narrate. I write. I create content for a membership site. I have a full life beyond work. How do I get so much done?

I say I was surprised because I’ve often wondered the very same thing about other people!

[Read more…] about How I Get Stuff Done

Thoughts About Advice in Narrator Groups

11 March 2021

You don’t have to be a student of American history to know about the Donner party.

In the 1840s, this group of around 90 people had heard about the wonders of California and decided to travel west to seek their fortune.

Rather than following the rutted road of the hundreds of settlers before them, they took an unproven shortcut given by a person who had not actually made the trip he proposed and therefore had no business in directing others to go that way. None of the Donner party had traveled the route before, either, so they had no experience or knowledge to measure the shortcut against.

As a direct result of taking the disastrous advice about the shortcut, most of the party didn’t live to tell the tale. Those who did live endured unimaginable and grisly hardships in camp.

People today have heard about the gold rush in audiobooks, leading many to decide to become a narrator. While mistakes in audiobook narration don’t carry such severe consequences, they do have repercussions. Therefore, narrators participating in online forums need to be careful about the advice they give and take.

Ongoing Masterclasses and Acting Classes

24 February 2021

I think it’s safe to say that every professional, no matter the occupation, constantly undertakes training to improve their subject matter knowledge and learn new ways of doing things.

When I worked my first career in information technology, I had to stay current on software and hardware releases and understand how each component could affect the overall operation. In addition to taking specialized classes from vendors, I continuously read forums and magazines devoted to technology.

I would also experiment with new software in a lab environment. The worst thing we could do was install unproven software on our live system and then deal with the fallout from unhappy/downright angry system users who were thwarted from completing their tasks, or worse, lost work due to our changes.

While my job as a narrator doesn’t immediately affect other people, I still prefer to get training and experiment with my narration in a safe space.

Deyan Masterclasses

Last fall, I undertook 6 masterclasses from the Deyan Institute. Narrator PJ Ochlan hosted guest casting directors Jesse Bickford (Blackstone Audio), Gabrielle de Cuir (Skyboat Media), Guy Oldfield (Macmillan Audio), Caitlin Garing (Harper Audio), Khai Dattoli (Deyan Audio), and Linda Korn (Penguin Random House Audio) in separate 3-hour sessions in which 20 narrators performed a passage of our choosing.

Prior to 2020, I’d only been able to attend one of these masterclasses because they necessitated a trip to LA. With COVID-19 causing everyone to stay home, I was thrilled when I saw these classes would be offered over Zoom.

In each session, the industry director and PJ would give us guidance about ways to make our read better. We’d try a take 2 and sometimes 1 or more additional takes to incorporate their direction. With the slightest changes, a read can go from serviceable to superb.

They would point out areas in the text that were rich with clues about the underlying subtext that could lead to more nuanced acting choices. I can’t overstate the importance of developing the skill of taking the notes given to you and doing something that expresses you understood and are incorporating the direction into your read.

Each director had a different style, but all tried to help us approach the text more authentically — in other words, to be able to present the scenes as though they were really happening to us. Not only did we improve our performances, but listening to the feedback given to others proved highly valuable.

For instance, when thinking about your listening audience, it’s more helpful to envisage the exact type of person who would want to listen to THIS book instead of a general person close to you.

I’ve signed up for 4 more masterclasses over the next 2 months and am looking forward to the first one this Thursday with Iris McElroy (Harper Audio).

Acting for Audio

Meanwhile, I’m in my 6th week of Joel Froomkin’s Acting for Audio 14-week intensive course. Outside of a 10th grade speech class, I’ve never had an acting course. I’ve heard and read about many of the topics we’re discussing each week and enjoy seeing how they apply to acting in front of a microphone.

Only 10 narrators are in each section of the 3-hour classes to give us time for our performances and Joel’s lecture.

We have to plan and practice a short scene each week to meet certain criteria. Even though we normally work off camera in the booth, doing these tasks on camera helps fire the imagination to better visualize scenes and add physicality as we narrate.

Knowing that I’ll be performing over Zoom means I have to decide what to present, work through the logistics of doing it for an online audience, and practice a number of times before I’m ready to go live for the class.

Many of the exercises have come with a written assignment. In answering the questions, I’ve been surprised at some of the things I’ve never considered and learned about myself.

In both the masterclasses and the acting class, it’s been very interesting to observe the performances. Even without the text in front of us or knowledge of the scene beforehand, we can tell when the narrator wasn’t being true to the emotion of the scene or was otherwise unconvincing, like when an attitude crept into a character voice that didn’t match the author’s intent.

As we immerse ourselves in the characters and story during our narrations, we must allow ourself time to make the discoveries and feel the emotions as the characters would in that moment.

If a director and other colleagues can detect a narrator’s disconnection during these classes, our listeners likely will also hear it in our audiobooks.

I think of the Deyan masterclasses like an appetizer and Joel’s classes like Thanksgiving dinner. I don’t want to give too many specifics about each because doing so wouldn’t be fair to my colleagues who paid for these experiences.

I’m grateful these wonderful instructors have held these classes online and know that my narration skills have improved with each one. I highly recommend both the Deyan Masterclasses and Joel Froomkin’s Acting for Audio course for audiobook narrators who want to take their intepretation and acting skills to a higher level.

5 Things I Learned From Margaret Mitchell’s Letters

20 February 2021

I always wondered why Margaret Mitchell didn’t write another novel after Gone with the Wind. I thought she could have feared the critics’ comments as they compared a second book to the epic, monumental achievement of her first. Nothing could ever live up to the reputation of her Great American novel.

However, when I narrated Road to Tara: The Life of Margaret Mitchell by Anne Edwards, I learned one big reason for Mitchell’s later absence from the bookshelves of new releases: she was too busy responding to correspondence about her book to write another book!

Embed from Getty Images

I’ve read the 2 books of her letters linked below. I’ve also been collecting the pictures of her letters posted by eBay sellers.

Mitchell published GWTW in June 1936, and it instantly became a runaway bestseller. David O. Selznick then paid the highest price to that date for the movie rights, causing Mitchell’s celebrity to rise even higher.

Suddenly, all the newspapers and magazines wanted to do interviews with the reluctantly-famous author. In numerous letters, she described fans as jumping out of the bushes at her home to get her autograph.

She was so besieged by people who wanted her to sign their books that she stopped signing them after a couple of months. However, she replied to hundreds or maybe thousands of letters requesting an autographed book to explain why she wouldn’t do it — and then signed the letter!

Maybe Mitchell felt compelled to respond to almost everyone due to her inborn sense of graciousness and Southern hospitality. Maybe she secretly thrilled at being a celebrity and sought to keep more recognition coming to her.

Whatever her reasons, she spent all day, every day, immersed in and often overwhelmed by her mail. For instance, she fielded fans’ questions, as well as requests for speaking engagements and material mementos.

Although Mitchell vowed not have any part in making the movie, she answered and wrote a barrage of letters about it. She also kept eagle eyes and a tight rein on the foreign rights and translations of her book, initiating and participating in countless exchanges about those aspects of publishing.

I think of Margaret Mitchell often when I’m reading, replying to, and writing my email and communicating in online forums. I learned a few things from the way she dealt with her voluminous correspondence that I want to share with you.

Use templates, and then liberally copy and paste.

Margaret only had her trusty typewriter and reams of paper at her disposal. What might she have achieved and how productive might she have been with a computer? Rather than re-typing the same info to multiple people like she did, we have the luxury of copying and pasting from one message to another.

If you find yourself sending the same message on a recurring basis, create a template for that type of correspondence. For instance, I have a folder in Evernote containing my templates for numerous situations, including:

prospecting emails to publishers and authors (they ARE different!)
messages to authors who chose a different narrator from an ACX audition
requests for reviews
inquiries about licensing rights
asking permission to add people to my mailing list

I even have a template for newcomers who leave me voice mail asking to talk with me about becoming a narrator! It’s super fast and easy for me to open my Evernote app on my phone, find that template, and copy and paste it to a text message back to the originating phone number. In the time it took for me to write or you to read that sentence, I could have taken those actions, responded to that query, and moved on with my day.

2. Create and use keyboard text shortcuts.

Facebook Messenger, WordPress, and other platforms don’t maintain my email signature. As pictured below, I set my keyboard text replacement to automatically and magically type Cordially, Karen Commins when I type the 3 letters ckc and press space or return.

I have created a number of text shortcuts for things that I type frequently:

my email address
sign-off sentence in email
daily tasks like walking my dog
my web site URLs

MacOS has text replacement as a built-in feature. From my quick Google search, it looks like you have to use a separate text expander utility in Windows to get this functionality. I saw this one recommended on several sites, and its capabilities go beyond simple text replacement.

I have multiple Gmail accounts, and I noticed that text replacement only worked in some of them. I Googled the problem and learned that you have set the Gmail Spelling setting to Spelling suggestions off.

3. Don’t answer everybody even when you know the answer.

Mitchell prided herself on the depth and accuracy of her historical research for GWTW. She felt compelled to set the record straight whenever anyone questioned the facts in her book. Instead of defending her previous research, she could have spent that time doing new research for a new project.

This tip is becoming one of my mantras! I remind myself of this point when I am reading Facebook forum threads. I’ve decided it’s not my job or even in my best interest to share my knowledge every time the opportunity presents itself.

In addition, I receive LOTS of messages from narrators, authors, and wannabes via email, text messages, and social media. As I’ve previously noted, if I personally assisted everyone who asked for my help, I would never have time to do any work of my own.

I state on my Contact page:

Due to the volume of requests that I receive, I may not personally respond to your message. I prefer to answer publicly so that more than one person benefits from the answer.

If I can quickly point someone to a blog article or other resource, I am very happy to do so. Otherwise, since I have stated my policy, I feel no guilt when I sometimes need to press the delete key. I especially use the delete key when I know someone wants to sell me something or I can tell that writing a suitable answer would take more than 5-10 minutes. I make a note of questions that require more involved answers for subjects to explore here on the blog.

4. Don’t put others’ needs ahead of your own creative output.

I saw a quote recently that speaks to this thought:

“When you say yes to others, make sure you are not saying no to yourself.”
— Paulo Coelho

When I re-read my journals, I’ve noticed that I’ve said on too many occasions that I didn’t even start on my project for the day because I was helping other people.

Helping people gives me joy. I feel it’s a large part of my purpose.

I’m realizing, though, that I can help more people in the long run by prioritizing my creative projects (like writing this article!) ahead of helping a single person in the moment.

5. Get to the point quickly, and don’t bury the lede.

Mitchell’s letters show her immense strength and charm as a loquacious storyteller. She wrote the most chatty, lengthy letters and would wax on for paragraphs assuming that her recipient was devouring her every word with keen interest.

People today are too busy and get far too many sources of info hammering at us every day.

When I worked as the deputy branch manager in my government IT career, my boss complained that he received lengthy emails that left him wondering what the person wanted him to do. He often forwarded such messages to me to decipher and resolve.

At least once a week now, one of those kinds of messages appears in my inbox. If I can’t quickly figure out what the person wants from me, I delete the message.

A while back, I did some research to learn the ideal length for a prospecting email to a potential client. One writer uses a 5-sentence rule.

The sweet spot falls between 50 and 125 words, which is not much longer than a tweet. I use this site to check the length of emails before I send them.

You also may want to compose messages on your phone because more people are now reading and replying to emails on their phones. If you have to scroll your message, it’s time to make some cuts!

If you wonder why your emails go unanswered, one article writer commented that, like my former boss, s/he felt anxious when seeing large blocks of text. Do they have time to read it? Would they get all of the sender’s points? Do they need to read it carefully? Do they have time to write a long response?

When I’m drafting a message, I may write it in linear/chronological fashion about the situation, which naturally causes my call to action to fall near the end. I then move that action to the 1st or 2nd sentence so it’s immediately clear to the recipient why I sent the message and the action I want them to take. I’ll also enter the action as the subject of the message. I’ll edit the message to use a journalism-style of inverted pyramid where the least important info is left to the end.

Applying these 5 guidelines to my own correspondence and forum participation enables me to spend more quality time on my own projects. How do you make time for your creative work? Please leave a comment!

Put Yourself in the ACX Driver’s Seat Webinar

15 January 2021

Last updated 2/23/21

I was reflecting this week about being able to create audiobooks from my studio here in Atlanta for the past 10 years.

To be clear, I’ve recorded all of my audiobooks in my studio. However, when I started narrating early in the millennium, most publishers didn’t want to hire home studio narrators.

I always said I could fly any where; Atlanta is the home of Delta Airlines, after all. The answer was always “Why should we fly you to NY or LA when we have an abundance of talent nearby?”

Everything changed in 2011 when Audible developed ACX.com, its marketplace for narrators and rights holders to get together to produce audiobooks.

I’ve been there since day 1 when the site was in beta test:

1/12/11 — Audible invited me to a super secret, hush hush conference call.
- On 1/12/21, I tweeted my journal page from that day.
1/14/11 — I was on the call and learned about ACX. Audible asked me to be a beta tester, and I immediately said YES!
- On 1/14/21, I tweeted a 1:30 video reading from my journal entry that day.
5/12/11 — Audible launches ACX to the world.
- I announced it that day in this blog post.
9/18/11 — After submitting 23 auditions on ACX, I won one from a publisher. The book was Dixie Divas, which was the first in a series of 5 books and a bunch more I did for Belle Books, the publisher. Dixie Divas was a royalty share book that has paid several times what my PFH rate would have been and continues to make money for me every month!
1/22/14 — The Heart of the New Thought, my first book as a RH, went live.
- I wrote about it in this blog post.
5/15/14 — Part 1 of my article about audiobook marketing appeared on the ACX blog.
5/20/14 — Part 2 of my article about audiobook marketing appeared on the ACX blog.
4/7/16 — My article How to Act Like an Audiobook Narrator appeared on the ACX blog.
3/2/18 — I was a panelist for ACX at VOAtlanta to discuss Creating Your Audiobook Career.
- I created this list of resources for attendees, which can help you, too!
11/2/18 — I was the featured guest on ACX University.
- I wrote about the video and added links in this blog article.

Of course, I’ve written MUCH more about ACX here on my blog! I’m also a frequent contributor in narrator Facebook groups, particularly the Indie (ACX and Others) Narrators and Producers Group, where I developed and maintain the extensive group FAQ.

I’ve been delighted each time John Florian at VoiceOverXtra has shared one of my articles with his audience. After republishing one of them recently, John asked me if I’d be interested in doing a webinar about ACX.

I responded to him the same way I did to Audible about beta testing ACX 10 years ago: YES!

I’m thrilled to announce VoiceOverXtra hosted my webinar Put Yourself in the ACX Driver’s Seat on 11 February 2021!

You can download the 3-hour recording, my 90+ slides, and my extensive list of resources at on my Shop page.

Commit to Creativity Workshop

11 January 2021

Yesterday I attended the Commit to Creativity workshop hosted by Krista Vernoff, show runner for the Grey’s Anatomy TV show and others. After doing 2 writing exercises during the workshop, I feel inspired and energized to write more articles here on my blog.

I’ll discuss the workshop and share those 2 powerful writing prompts in a minute. First, I want to discuss my plans for this blog going forward.

I want to write more frequently, and I want to write shorter pieces sometimes.

I also give myself permission to write more about my own journey as a recording artist, writer, and owner of a membership site. While I’m changing my format and focus somewhat from more substantive content that I’d call “teachable moments” — I will still write those, of course! — I think the lessons I learn and observations I have along the way will still be relevant to other narrators and authors who are publishing their work in audiobooks.

With that said, let me tell you now about the workshop yesterday.

I could say that I only learned about this workshop through accident.

On 29 December 2020, I saw a post in a Facebook group where someone referenced this Twitter thread that Krista Vernoff wrote about having a life in the arts. I confess that I did not know who she was when I clicked the link.

I connected to what she wrote and saw that she was hosting this workshop. Her guests were actress/director/dancer/choreographer Debbie Allen, actress/writer Nia Vardalos, and author Cheryl Strayed.

I knew the phenomenal accomplishments of these ladies and thought the afternoon would be entertaining, if nothing else. I signed up.

When the event started, I felt excited to be in the presence of these creative powerhouses! Within a few minutes, their genuine natures had crossed the ether in the casual Zoom atmosphere and made me feel like they were mentors and friends I had known for years.

Of course, I took a loooong page of notes in Evernote! Almost every utterance from each of these accomplished women was a golden nugget of wisdom. Listed below are a few of the gems I heard:

The most important thing is to learn how to take a note even if you don’t like it. — Krista Vernoff
If the phone doesn’t ring with a job offer, call yourself and do your own project. — Nia Vardalos
Don’t reject yourself. Don’t let someone else’s opinion or criticism come for you. — Debbie Allen
Part of creating art is letting it go. — Cheryl Strayed

A Compelling Case Study

One part of the conversation was particularly thrilling to anyone in a creative field as we all can follow similar steps to our own destiny!

Early in her career, Cheryl wrote a series of essays as if she were an advice columnist named Sugar. She wrote them for free to create content for a friend’s web site.

At some point, she repackaged and repurposed those essays into a book named Tiny Beautiful Things: Advice on Love and Life from Dear Sugar.

Some time later, a director urged Nia to read Tiny Beautiful Things. Nia had a highly emotional experience in reading the book; she used the phrase “it unzipped me” to describe it.

Nia decided she wanted to adapt it for a stage play — not that she had any experience in stage adaptations.

She laughed as she said she had the AUDACITY to ask Cheryl Strayed for the permission to develop that adaptation.

Not only did Cheryl say “yes” to the adaptation, but she asked Nia to play Sugar in the stage production! Although Nia hadn’t even given herself permission to ask that question, she had no hesitation in her answer: “Yes, please!”

She and Cheryl lived on opposite coasts, so it cost Nia money to fly back and forth for meetings with Cheryl and later the Broadway production.

In its review of the play, the New York Times awarded a Critics Pick designation.

Nia commented that she’d made the least money on that play than any other professional pursuit, but it gave her the most professional satisfaction.

Now, the play has been done in numerous other cities and theatres. I’m sure when Cheryl wrote all of the columns originally way back when, she never would have dreamed that her creative output would take on the life that it did.

By the way, Nia did an incredible reading from the libretto that had us all in tears. Cheryl’s words and Nia’s interpretation left me breathless and further motivated me to continue improving my acting ability in order to bring even more nuance to my narration.

The Writing Prompts

At the workshop’s conclusion, I no longer thought of this workshop as an “accidental” find. It was more a case of “when the student is ready, the teacher appears.”

You’ll remember that I said Cheryl gave us 2 writing prompts. In writing the second one, I found marching orders to guide my path going forward!

She explained we must trust the clarity of our deepest inner truth. Every day, she has to face down the inner critic and start new. Cheryl said, “Every time you do it, you evolve. You hand yourself the key to your next becoming.”

The writing prompt she gave us was:

Dear [your name here],

This is your deepest inner truth, and here is what I know.

In her prelude to the second prompt, Cheryl stated that your power/strength/love is at the root of your desire. She encouraged us to not think about the obstacles we face, but to instead think how it feels when you have stepped into your power and are creating your art. “Who are you when you are doing what you are most deeply, divinely called to do?”

Here’s the writing prompt:

Dear [your name here],

This is your power, and this is who you are when you own me.

In both cases, you should set a timer for 10 minutes and then write everything that comes to you as fast as you can. Don’t stop to edit or fix mistakes. Just keep writing.

For me, the last 3 sentences I wrote about my power contained truths I knew but had tried to ignore.

I won’t ignore them any more.

If you do these 2 exercises, did you learn something about yourself? I hope you’ll share your comments below!