The Deadline Games: Catching Up, Clocking In, and Keeping My Sanity (Mostly)

Ah, deadlines. Those glorious, anxiety-inducing beacons of progress that seem to range from "You’ve got a few leisurely months" to "Can you have the entire 12-hour audiobook ready by Friday?" (Spoiler alert: Friday is tomorrow.)

One of the more fascinating aspects of working with different publishers and authors is watching how deadline expectations morph like a greased-up ferret in a bounce house. Some publishing houses offer comfortable timelines—generous, thoughtful, spa-day-for-your-soul kind of timelines. And then there are others—often well-meaning indie authors—who might not realize that narrating an audiobook isn’t just about sitting in front of a mic and reading out loud like you’re in a third-grade spelling bee.

"You Just Read, Right?"

Oh, how I wish. Let’s talk about what really goes into making a high-quality audiobook:

• Research – Before I ever hit "record," I’ve got to know who’s who, what’s what, and—most importantly—how the heck to pronounce Q’thrrxan’jule from the planet Zzorp. Character accents, tone, relationships, and world-building matter, especially when your antagonist sounds like a brooding war general and your protagonist is an anxious pastry chef from Brooklyn.

• Recording – This isn’t casual storytelling in pajamas (well, okay, sometimes there are pajamas). I’m in an acoustically treated booth for hours, staying hydrated, doing vocal warm-ups, and trying not to mouth-click every other sentence like a cartoon squirrel with a peanut allergy.

• Post-production – Once the chapter is recorded, the real fun begins. Editing, proofing, mastering. That means cutting out breath noises, fixing flubs, adjusting pacing, de-essing sibilance, and making sure the final product sounds cleaner than a Disney villain’s backstory before the third act.

The Great PFH Illusion

There’s a magical phrase tossed around in the industry: Per Finished Hour (PFH). Sounds efficient, right? You might think it takes one hour to produce one hour of audiobook.

Oh, sweet summer child.

In reality, every finished hour usually takes 5 to 7 actual hours of work when you account for the full production process. That includes prepping the text, recording (with inevitable retakes), editing, proofing, mastering, and QC. Multiply that by a 10-hour audiobook and suddenly you’re not looking at ten hours of work—you’re looking at a full 50 to 70-hour marathon.

That’s a lot of late nights, coffee, and pleading with your vocal cords to “just give me one more chapter, buddy.”

Publishing House vs Indie Author Deadlines

Most established publishers know this time commitment inside and out. They often build realistic timelines into their production cycles, with room for revisions, corrections, and the occasional sick day (or toddler launching juice across your mic stand).

Indie authors—especially those new to audio—might not always understand that we’re not just narrators. We’re a one-person production team. We wear all the hats. And sometimes the hats are on fire. But that doesn’t mean they’re difficult to work with. On the contrary, most indie authors are incredibly passionate about their stories. They’re excited, eager, and ready to get their book into listeners’ ears as fast as possible—which is totally understandable!

That’s where kind communication goes a long way. When expectations are gently aligned—“Hey, just so you know, this 12-hour book will take me a few weeks if we want it polished and professional”—everyone benefits.

Finding the Right Balance

So how do I handle it all?

• Workflow batching – I break projects into manageable chapters, schedule daily goals, and—let’s be real—try not to stare too long into the void when Reaper crashes.

• Clear communication – I keep authors and producers in the loop so they know what’s coming, when it’s coming, and how it’s progressing.

• A little grace – For myself and for others. Life happens. Deadlines get tight. But with transparency and a shared love of the work, we can make the magic happen.

TL;DR: Audiobooks Take Time

Deadlines vary. Publishers range from chill zen masters to caffeine-fueled rocket boosters. But behind every finished hour of audio is a labor of love (and maybe a few well-hidden panic snacks).

Whether I’m working with a major production house or teaming up with an indie author who’s pouring their heart into their debut, my goal stays the same: deliver an authentic, compelling, unforgettable performance—without losing my voice or my marbles in the process.

So next time someone asks, “How long can it really take to record an audiobook?” I just smile, sip my coffee, and whisper softly:

“About five times longer than you think.”