Should I Turn My Nonfiction Book Into an Audiobook?
This is a question many nonfiction authors ask at some point, often out of curiosity rather than urgency.
Audiobooks feel ubiquitous. Audible is dominant. Peers seem to have one. And for authors whose work lives in conversation, teaching, or speaking, the format can sound like a natural extension.
At the same time, audiobook production is not trivial. It takes time, money, and coordination, and it rarely functions as a primary revenue channel.
This article is intended as orientation, not a directive. The goal is to help you understand how audiobooks typically work, what decisions are involved, and when the format tends to make sense, or not.
A grounding reality check
Audiobooks are generally a secondary format, not a parallel publishing strategy.
Most nonfiction authors explore audiobooks after:
The manuscript is complete
The print and ebook editions are published
The book’s positioning is already clear
Audiobooks tend to extend reach, accessibility, or credibility. They rarely compensate for an unclear, unfinished, or mispositioned book.
Why authors ask about audiobooks
The question usually comes from one of a few places:
“My audience listens more than they reads.”
“I speak or teach, so voice feels aligned.”
“This book is narrative or personal.”
“I keep hearing that audiobooks are growing.”
“It feels like something I should have.”
None of these are wrong reasons. But they are starting points, not conclusions.
Audiobooks do represent a growing share of trade publishing revenue, with particularly strong performance in nonfiction categories such as business, leadership, personal development, and memoir, even as ebook growth has leveled off in many segments.
Growth alone, however, does not automatically make an audiobook the right next step.
Where nonfiction audiobooks are typically published
In the United States, most nonfiction audiobooks are distributed through Audible and Amazon via the ACX platform.
ACX distributes audiobooks to Audible, Amazon, and Apple Books, which together still account for the majority of consumer audiobook purchases in the U.S. For that reason, many first-time authors begin there.
There are also non-exclusive distribution options such as Findaway Voices (Spotify), Author’s Republic, and PublishDrive Audio, which place audiobooks across multiple retailers. These options trade simplicity and higher Audible royalties for broader reach and flexibility.
This overview describes the landscape rather than recommending a specific path.
The main decisions authors encounter
Exclusive vs non-exclusive distribution (ACX only)
Exclusive distribution
Distributed only through Audible and Amazon
Royalties are typically around 40% when the narrator is paid upfront
Promotional codes are included
Locked in for a term, with a one-time option to exit permanently
Non-exclusive distribution
Royalties are typically around 25%
Audiobooks can be distributed on additional platforms
Promotional codes are not included
Royalty structures and contract terms can change. Authors should always confirm current percentages and conditions directly in the ACX distribution agreement before committing.
Most first-time nonfiction authors choose exclusive distribution for simplicity and higher royalties, though some prefer non-exclusive options for strategic or philosophical reasons.
How narration is paid for
There are two common compensation models.
Per Finished Hour (PFH)
A one-time production cost
The author keeps all royalties
Typical nonfiction rates range from $150 to $400 per finished hour
Royalty share
No upfront production cost
The narrator receives a share of sales
Usually only viable if the author already sells books at scale
For most nonfiction authors, PFH is the more common and predictable option.
What the author is typically responsible for
If you decide to produce an audiobook, you are usually responsible for:
Choosing a distribution platform
Hiring a narrator
Approving a short sample read
Approving the final audio
Providing audiobook cover art in a square format
Entering metadata and copyright information
Authors are not expected to manage audio specifications, loudness standards, or technical quality control. That work is handled by the narrator and/or audiobook editor.
A note on technical requirements
Most platforms accept audio that meets ACX production standards, including specific file formats and quality thresholds.
From an author’s perspective, this information is primarily reference material. If a narrator or editor cannot deliver platform-ready files, that is not a problem the author should need to solve.
Timeline expectations
Audiobook production is not instantaneous, but it is usually measured in weeks, not months.
As a general reference:
Recording and editing typically require several hours of work per finished hour of audio, resulting in a few weeks end-to-end for a standard nonfiction book
Platform quality review commonly adds about 1–2 weeks after upload, though longer delays can occur during backlogs
For most nonfiction projects, audiobook production often takes roughly 3–6 weeks total, depending on book length, narrator availability, and revision cycles.
When audiobooks tend to make sense
Audiobooks are often a good fit when:
The book is narrative, reflective, or experiential
The content is business, leadership, or personal development focused
The author speaks, teaches, or works conversationally
Accessibility or reach matters more than immediate return
In these cases, the audiobook extends how the work can be encountered over time.
When audiobooks often do not make sense
Audiobooks are less effective when:
The book relies heavily on visuals, charts, or diagrams
The content functions primarily as a reference manual or workbook
The author is financially stretched and expects fast ROI
The core book is not yet finished or clearly positioned
Audiobooks are rarely urgent. They are often a later-stage addition.
A realistic note about return
For most nonfiction authors, audiobooks are not a primary revenue stream.
They are better understood as:
A reach amplifier
An accessibility option
A credibility signal
A long-term asset
If the expectation is that an audiobook will quickly pay for itself, disappointment is likely. If the expectation is that it extends the life and usability of the work, the value proposition looks different.
A brief note on AI narration
Some platforms now allow AI-narrated audiobooks, though results vary widely by genre and audience. For credibility-driven nonfiction, human narration currently tends to perform better in both reception and sales.
This area continues to evolve.
So, should you do one?
There is no universal answer.
A more useful question is often:
What role would an audiobook play in the life of this book?
Who would realistically listen to it?
What problem would it solve, if any?
Those questions usually become clearer once the book itself is complete and in the world.
This article is intended as orientation, not a recommendation.
Audiobook production is best considered once you have clarity on your book, your audience, and your broader publishing goals.
If you are simply curious, that is a valid place to be. Curiosity is often where good publishing decisions begin.