Most authors would like to publish their books also in an audiobook version, ideally distributed on marketplaces like Spotify or Audible within Amazon to reach the largest audience worldwide. But that dream comes with at least two obstacles:

• Readers enjoy listening to the author instead of professional narrators

• Audible has high production standards not allowing AI voices

How to make that happen, especially when the Audible approach (as I shared in this article) is not an option? That’s where professional AI voice creation in ElevenLabs comes handy.

To be honest, in the past many authors dismissed AI narration because it sounded robotic. That’s no longer true any more.

When I let friends listen to samples created with ElevenLabs, most couldn’t tell where my own recording ended and the AI version began. Still, I declared honestly that it has been created by a digital voice.

In this article I describe the process following these steps:

1. Introducing ElevenLabs

2. Cloning my voice

3. Preparing the script

4. Exporting the audio tracks

5. Publishing to Spotify

6. Publishing broadly

At the bottom of this article I share a 9-min video walking through ElevenLabs while creating my first AI created audiobook. This is for my paid readers and worth upgrading adding more deep dive implementation videos as we go.

1. Introducing ElevenLabs

Before I went into a recording studio to record my latest book Reinvent Down Under by myself which is available on Audible, I gave AI narration a serious test for my fairy tale books.

To be honest, I didn’t see AI as replacing my voice but amplifying it and wondered whether AI could help with shorter books, translations or future editions.

While my previous article focused on recording in a studio environment, this AI company takes a completely different approach. Instead of speaking into a microphone for hours, you provide a manuscript and choose how it should be narrated.

You can select one of the many built-in AI voices or create a digital version of your own voice after recording a short voice sample. Within minutes, the platform generates natural-sounding narration chapter by chapter, ready for review and export.

Unlike traditional text-to-speech tools that often sound like a machine, the 2022 founded ElevenLabs is designed to reproduce the rhythm, pauses and intonation of human speech. Sure, it is not perfect and sometimes struggles with unusual names or foreign words. Testing it initially three years ago, the quality has improved dramatically since then.

In this article, I’ll show you how I created my own professional AI voice, prepared my manuscript accordingly and published it through ElevenReader. While writing these lines, I uploaded another book to Spotify this way.

Paid subscribers can also follow along with my step-by-step Loom video tutorial further below.

2. Cloning my voice

Once signed up for free to ElevenLabs*, you will see several parts:

• ElevenCreative is the lab where you can create ultra-realistic speech, turn ideas into videos, compose music in any genre or design immersive sound effects. Besides audiobooks, you can craft your next film, ad, campaign, social content or podcast.

• ElevenAgents is the place to configure, deploy and monitor natural, human-sounding agents in 70+ languages with leading accuracy across voice or chat.

• The other parts include ElevenAPI to build anything with a powerful host of APIs, and ElevenReader as their publishing platform.

Good thing: starting with ElevenLabs is free – but that only includes a choice of predefined voices with 10K credits per month (they’re consumed quickly).

With the Starter Plan for $6 USD per month we will create our own voice, have 30K monthly credits and can run 20 projects. It even includes a commercial licence which is good as we want to sell our audiobooks.

The first step within ElevenCreative is called Instant Voice Clone which only needs 10 seconds of any recorded audio which you can record on the spot or upload any file you spoke in your natural voice:

Once uploaded, you can give your voice a name and use it for recording anything – from social media posts to Substack articles up to full books.

To get better results that sounds even more like yourself, you can upgrade to the Creator Plan for $22 USD per month which comes with professional voice cloning and 121K credits per month. It requires uploading at least 30 minutes of well recorded voice samples – and you can only have one professional voice clone in the plan.

A quick word on the credits: ElevenLabs charges by characters, not by words. English language has roughly six characters per word (including blank), German has seven (that’s my own experience after writing 33 books, 450 articles and thousands of blog posts).

Approx. 100K credits are good for a book of 16K-20K words. This can be influenced by the chosen model as well. I needed more credits for my first book on the 30K Starter Plan so I added them for that month without upgrading my plan.

ElevenCreative even recognised that I have a German accent. Here are all my three created voices with one being on the Professional level and two regular:

During the last Christmas break I recorded my book Happy Habits in the silent Boardroom of the legendary Castlereagh Boutique Hotel in Sydney in good old British style with large curtains. The files were apparently good enough as a professional voice clone which I then used for my fairy tales in English.

I also added a regular voice clone in German by uploading five minutes of reading the concrete German book. The recognisable difference towards the professional voice is in the pausing between words and the melody composition across long sentences.

Feedback from my English fairy tale editor, Belle: “In which studio did you record the book with that nice silence around you?” She was surprised to hear it was done by AI!

3. Preparing the script

Starting a new project in the Studio area is easy by either typing, speaking or uploading text.

After importing the text from the book in any format, it’s important to reformat the whole script so that it is easily readable. ElevenLabs understands h1-h3 headlines and body text which is important for rebuilding the table of content of the audiobook.

In the example of my book Lead Not Manage, I deleted what was not necessary and kept only what’s required for a listener. This book has five chapters with their titles which becoming the h1 headlines. The import showed the subchapters also as h1 headlines which would destroy the intended structure so I assigned them the h2 headline level.

You need to define at this stage if your book should have plenty of files or only one per chapter. Being a listener myself, I want to press play once and hear the entire chapter instead of skipping through many short tracks every few minutes. Audiobook listeners typically consume content while driving, walking or exercising; they don’t navigate it like reading an eBook.

It comes with clear advantages: better listening flow with fewer interruptions, cleaner table of contents in Audible and Spotify, easier production with fewer files to export and upload as well as simpler editing without managing dozens of individual tracks.

Most books on Audible include plenty of separate files though as it can list subchapters below a chapter; ElevenLabs is more limited in this point.

Once the approach towards chapters and subchapters became clear, it’s time to finish the editing process for the whole project.

Professional audiobooks include Opening Credits and End Credits as individual files announcing the copyright of the writer and mentioning the narrator including the year of publication of book and audiobook production:

Next step was to complete the Project Settings which were included in the export process. On the Advanced screen I recommend normalising audio quality so that the noise level in decibel is adjusted to audiobook standards.

4. Exporting the audio tracks

Once the editing part is completed, the tracks can be generated on the fly by pressing on “Generate” chapter by chapter or even for single paragraphs. When you change anything, the paragraphs are regenerated.

By clicking on “Export”, all missing pieces are generated so you don’t have to bother about the individual tracks.

Please choose the options as I did in this screenshot: full project (unless you need only individual chapters), audio, chapter ZIPs (instead of one long recording) and then the audio format (you need MP3 but want WAV as well):

Tip: Even if your distribution towards Spotify or ElevenReader ultimately requires MP3 files, export your audiobook from ElevenLabs as WAV first. That format preserves the highest audio quality and provides a permanent master copy for future editing, remastering or distribution. Converting a WAV master to MP3 is straightforward, whereas restoring quality from an MP3 is impossible.

In my case I exported in both formats and am actually happy that the MP3 export already converts with a constant bit rate of 192 kbps. That’s the standard for professional audio tracks so no further treatment will be required.

Here is my example book in numbers: 24K words across 96 pages reads as 2.5 hours audio in normal speed. It required roughly 60K credits using the Turbo model, 50% cheaper than multi-language full AI models.

5. Publishing to Spotify

ElevenLabs has a range of publishing options right from the menu on the top right:

• ElevenReader: Their own marketplace without a need for exclusivity but not well known yet.

• Spotify: The publishing process experts directly without any third party in between.

• INaudio: This is the platform I used to publish my human recording on Audible and others; here it is recommended for all except Spotify and Audible.

• AudioNative: This way you can upload your book to your website; not the option to sell the book that way.

In my example I exported to Spotify first. A modal appeared explaining the process. On the Audio Preview screen, I selected which chapter I wanted to use for the free audio preview with the first 5 minutes of that chapter to be used.

Then I adjusted the narrator name that would appear in the audiobook credits to differ from the internal name I used within ElevenLabs to what my readers should see. Spotify typically lists that as “Digital Voice”, followed by the name of the voice used. Once those files are exported with all that Spotify needs, I got another Zip file with MP3 files.

As a next step I logged in to Spotify for Authors and selected “New Audiobook”. Finally I uploaded my MP3 files and followed the platform’s steps to distribute my new audiobook, Lead Not Manage.

After uploading all MP3 files from ElevenLabs the track names need to be added manually, ideally again with “Chapter 1: …” before the title using a colon.

Important to notice:

• Spotify requires an Audiobook sample which should be less than ten minutes long; obviously without any spoilers or explicit content.

• The classification of three categories follows the global BISAC structure – just type some words and it comes up with the right categories.

• An ISBN number for the audiobook format is not required.

• Publishing on Spotify is best directly, not using INAudio as you can’t influence your listing or the file names directly.

Afterwards it takes up to 72 hours that the book will appear on Spotify.

6. Publishing to ElevenReader

ElevenLabs created their own publishing platform called ElevenReader. While not that known as a marketplace it will surely develop and gain traction over time.

Why would you publish to this platform? Compared to Audible, Spotify and others, it simply earns more per audiobook:

• ElevenReader

  • Direct sales earn 60% net revenue share.

  • Subscriber streaming approx. $0.20/hour streamed (capped per listener).

• Audible

  • Royalty rate: 25% (exclusive) or 40% (non-exclusive) for indie creators.

• Spotify

  • Royalty rate: Paid out via a pro-rata shared revenue pool based on listener consumption hours within the 15-hour monthly tier or individual purchases.

In terms of exporting workload, the only visible difference is a new cover dimension in a rectangular format of 1200x1800 px, not square as all other platforms. During the process it will suggest a cropped version which might be just fine as in my example, otherwise you can upload the ebook or paperback covers (or just recreate with the proper dimensions).

Once published, you can share your book’s link or use your book’s QR code to deep link directly into the app.

Payout is handled exclusively by Stripe and issued weekly once your accrued earnings reach a minimum of $10 USD.

7. Publishing broadly

As the final step I suggest publishing with INaudio as this allows wide distribution. Think about Barnes & Noble, Rakuten and other marketplaces. We only need to make sure that we don’t select Spotify over there as we handled that above.

When publishing directly from ElevenLabs to INaudio, the platform no longer exports individual MP3 files as it did in the past. Instead, it creates a single LPF package containing the audiobook audio, chapter structure, narrator information and metadata. Uploading this LPF file to InAudio dramatically simplifies the publishing process compared to manually uploading dozens of audio files.

Pricing and payout are handled through INaudio which I already explained in my earlier article.

What’s Next

If you can’t or don’t want to record an audiobook by yourself, you can create an AI voice clone. While you can’t upload that to Audible, there are various places where you can sell that including Spotify.

👉 Here is an overview of this series:

• Part 1: Navigating the Audiobook Landscape

• Part 2: Record Your Own Audiobook

• Part 3: Create a Professional AI Voice with ElevenLabs (this article)

• Part 4: Produce ACX-Ready Audio for Audible

• Part 5: Learn from Fellow Authors for Inspiration

* affiliate link for ElevenLabs

Your Move

What is your experience in recording and publishing audiobooks?

Feel free to share your experience in the comments – I read every response and it helps shape the next parts of this series.

*****

I create more long-format articles for upcoming and existing authors. Please consider upgrading as a paid member to get more benefits like that.

Subscribe now

Detailed Tutorial

If you want to see the publishing process with ElevenLabs in action, please watch this 9-min video which I created from recording my fairy tale book, The Smile That Sailed Away.

This recording is for my paid subscribers.

Read more

Every author I know wants to publish their books also in an audiobook version, ideally distributed on Audible within Amazon to reach the largest audience worldwide. But that dream comes with at least two obstacles:

• Audible is available only to authors from US, Canada, UK or Ireland

• The audiobook requires human narration excluding AI voices

How to make that happen, especially when the author is not based in those countries as in my case? That’s where third party solutions come handy.

In this article I describe the process following these steps:

1. Handling

2. Pricing

3. Metadata

4. Distribution

5. Recording

6. Files

7. Chapters

8. Cover

9. Uploading

Let’s get started.

Handling

After publishing my latest book Reinvent Down Under on Amazon KDP to get it launched, I added Draft2Digital for extended distribution to reach other ebook marketplaces such as Apple, Barnes & Noble, Kobo, Thalia etc. and eventually also book stores.

Draft2Digital manages the publication of audiobooks through Voices by INaudio (formerly called Findaway Voices) which itself serves many market places for audiobooks including Audible.

Starting from the already published ebook of Draft2Digital using relevant metadata, the audiobook creation seems straight forward:

In this image you can see all the rights you own which looks nice, especially mentioning the missing exclusivity.

Pricing

Setting the price doesn’t mean keeping everything of that though as every marketplace charges a decent percentage. The Payment terms provide more details.

Firstly, you will set a suggested retail price ("SRP") and suggested library price ("SLP") for your monetised content. As a generic rule, the price of audiobooks for libraries is 2.5x the regular audiobook. That is similar to selling ebooks to libraries on Draft2Digital (in my case $7.99 and $16.99).

INaudio will pay any amounts specified in the sales report via Draft2Digital within thirty (30) business days from providing the report. Here are examples:

1. Amazon/ Audible: 25% (without exclusivity)

2. Audiobooks.com: 40%

3. Apple Books, Kobo: 45%

4. Barnes & Noble, Google, Spotify: 50%

5. Libraries: 45%

While we authors would love to be listed on Audible we actually don’t earn that much from it! Those authors living in countries with direct upload to Audible can earn 40% if they opt in for exclusivity (not recommended).

Here is the pricing for my new audiobook:

Metadata

Draft2Digital already exported the listing to INaudio including all metadata and classification. We only need to credit the narrator name and complete the copyright info.

INaudio then provides a dedicated ISBN number for the audiobook format – as long you don’t have your own (as in my case). Good to know that the ISBNs for retail and for libraries may be different or could be the same.

Supplemental Material or bonus content can be added in form of a PDF file. Surely not the full book itself but something extra or the bonus section.

Distribution

INaudio distributes by default to nearly all possible audiobook marketplaces everywhere respecting their T&Cs.

Placing it through Audible is subject to the standard ACX terms. This includes the non-exclusive right to distribute your title for a minimum of seven years.

The audiobook needs to be match the published Kindle book with a direct link, ideally without all the parameters as in my example. https://www.amazon.com/dp/B0GYM12KPQ

Recording

The most time consuming part is obviously the recording. I suggest not to perform that task at home as distractions and expected noise level are not suitable compared to the stable silence we need.

For my first audiobook recording of my book Happy Habits I booked a classic Board room in a hotel during the Christmas break when nobody was working during the day. That was good but didn’t provide the noise reduction of a studio.

Recently I discovered a newly built studio room in a public library in Sydney-St Leonards which they rent for a small hourly fee – the perfect place for recording video or audio podcasts. Equipped with a RØDECaster Pro station covering up to four people, I feel the taxpayer money is well used to teach the public about modern technology.

Booking a slot of three hours was sufficient for me to read the book spanning 20,000 words after getting an induction in the setup.

What I only discovered after my recording: besides the chapters we must also record opening and closing credits. Here is a list of all required (*) and suggested audio tracks:

1. Opening Credits*: Title, Author and Narrator, e.g. “[Title], written by [Author Name], narrated by [Narrator Name]”.

2. Front Matter: Title Page, Dedication, Preface, Author Notes, Introduction.

3. Body Matter: Chapters*, Parts, Epilogues, Afterwords, Conclusion.

4. Back Matter: Appendix, Endnotes, Bibliography, Bonus section.

5. Ending Credits*: Indicating “The End”, e.g. “This has been [Title], written by [Author Name], narrated by [Narrator Name], copyright [Year of Manuscript and Name of Rights Holder], production copyright [Year of Audiobook Production] by [Rights Holder]”.

6. Retail Sample: Keep it between 1-5 minutes long to showcase the narration. Customers will use this sample to preview the audiobook before purchasing, so pick an engaging and dynamic part of the book.

Recording the opening and closing credits at home after the studio recording is not a good idea as the noise level will be completely differently.

Files

Once we have recorded our audiobook we need to ensure the outcome can be processed. The well documented audio requirements from INaudio are quite high as they need to cater for all marketplaces even beyond Audible:

• Formats: MP3 or FLAC formats (not WAV)

• Sample Rate: 44.1 kHz (not 48 kHz)

• Constant Bit Rate: 192 kbps or higher

• Root Mean Square: The RMS or average volume for each file must measure between -23dB and -18dB, with peak values below -3dB, and a maximum -60dB floor.

• Length: Every chapter is one file, not longer than 120 minutes per file.

• Silence: Add 1 second of room tone at the beginning and 1-5 seconds at the end of each file after narration completes.

When you recorded your audiobook stored as WAV files, you can convert them to fulfil the requirements above. The DIY approach can result in a steep learning curve if you want to try tools such as the paid Audacity or the free Cloud Convert as I tried here:

Using those tools doesn’t guarantee a successful upload. Most likely the average volume as mentioned under RMS above will result in error messages.

To achieve higher quality in a shorter period of time, I asked top rated sound engineer Michael Goodrick from Fiverr to reformat the WAV files into mp3:

Chapters

In contrary to audio files on CDs which only have a file name with a leading number (e.g. 01_Overture.mp3), audiobooks have useful chapter names and less visible file names. These chapter names are sent to all marketplace partners to be shown in respective players. Here is an example from the highly recommended book Choose by on Audible:

The chapter names in the Table of Content have a structure of stages (parts) and steps (chapters, lessons). When done correctly, chapter names can add to the listening experience of the user.

While INaudio supports custom chapter names, not all distribution partners currently use custom chapter names and may use track numbers instead.

The typical format is: Chapter #: Custom Name. Make sure to use a colon sign (:) instead of a dash (-) to avoid technical errors.

At the end review your chapter names to ensure they don’t include anything that looks strange in the view of the readers.

Cover

Most audiobook marketplaces use square images. Here are some rules:

• Format: PNG, TIF or JPG.

• Resolution: square aspect ratio, at least 2400x2400 pixels, at least 72 dpi, 24-bit colour

• Content: Title, author(s) and book series information (where applicable) are clearly displayed as in the metadata and opening credits. No images of or references to physical books or scanned images.

• Avoid: Book summary (as included in meta data), blurry or watermarks

Comparing existing ebooks and their audiobook images is good guidance on how the Audible version should look like.

Uploading

When all elements are ready in the desired quality, you can upload them into INaudio by placing the files in the respective section:

If a file has troubles such as RMS or any other parameter, the upload of that particular track fails with explanation.

The icon with three lines helps you sort the uploaded files to get the desired order.

From there just click on “Submit Audio Files” at the bottom – and you’re done!

What’s Next

If you can’t or don’t want to record an audiobook by yourself, you can create an AI voice clone. While you can’t upload that to Audible, there are various places where you can sell that including Spotify.

👉 Here is an overview of this series:

• Part 1: Navigating the Audiobook Landscape

• Part 2: Record Your Own Audiobook (this article)

• Part 3: Create a Professional AI Voice with ElevenLabs

• Part 4: Produce ACX-Ready Audio for Audible

• Part 5: Learn from Fellow Authors for Inspiration

Your Move

What is your experience in recording audiobooks?

Feel free to share your experience in the comments – I read every response and it helps shape the next parts of this series.

*****

I create more long-format articles for upcoming and existing authors. Please consider upgrading as a paid member to get more benefits like that.

Subscribe now

Welcome to the second episode of this mini series with five ways to write your book. This approach works particularly well for non-fiction books. But from a structural point of view, it can also help fiction authors.

One of the most common ways to write a book is to start with structure. Not paragraphs or perfect sentences, just bullet points. Especially in the ideation phase.

Instead of asking: “What should I write?” you ask: “What do I want to say?” And you capture that in short, simple lines.

How This Approach Works

You begin by outlining your book as a list: chapter by chapter, idea by idea. At this stage no pressure to write well or sound smart. You’re building clarity.

It’s a simple way to start:

• Define your main topic

• Break it into 5–10 chapters

• Add 5–10 bullet points per chapter

• Expand each point into a paragraph later

At this stage you’re not writing a book yet; you’re mapping it.

This is how many business books are created. Framework first, content second.

Why Bullet Points Work So Well

Bullet points remove friction as they make it easier to:

• start quickly

• organise your thinking

• see the whole structure

• avoid getting stuck on wording

You’re no longer facing a blank page as many writers otherwise do. You’re filling in a system.

Something else happens as well. When you write in bullet points, you naturally think in:

👉 steps
👉 concepts
👉 frameworks

That’s exactly how readers like to consume information.

You will be surprised how many people check the table of contents before they even start reading.

Where This Approach Shines

This method works particularly well if:

• you think in structures

• you like frameworks and concepts

• you struggle with starting from scratch

• you want to see the whole book before writing

It gives you direction before detail. And for many professionals, that’s enough to start and finish a book.

The first time I used this method was for a fiction book – a Christmas gift for my wife, Alexandra. I had only three weeks, starting on 1 December. So I didn’t want to waste time.

I mapped the entire story using bullet points. Each chapter had a clear role, each character had a defined development.

Once that structure made sense, I started writing — bullet point by bullet point.

Where It Starts to Break

But there’s a limitation, a subtle one.

You can create a very clean outline, fill it with strong content, even complete the manuscript – and still feel something is missing.

While bullet points help you organise your thinking, they don’t automatically connect your book properly with:

• readers

• conversations

• positioning

• outcomes

You’ll end up with a well-structured book – but not always a meaningful one.

What I Learned

I’ve used this approach many times. It helped me:

• start faster

• stay focused

• finish drafts

For a long time, I thought this was enough – until I recognised it isn’t.

Structure helps you write a book but it doesn’t guarantee that the book will:

👉 reach people
👉 create nice momentum
👉 lead to something beyond the page

At some point, I realised something important: You need a second layer. Not just bullet points about the book. But bullet points about the purpose of the book.

You need a separate document where you define:

• your target reader

• how people will discover it

• the outcome you want to create

• how the book connects to your work

This allows you to talk about your book before it exists to test if it resonates and to adjust before you write too much.

I applied this when writing Prague on Foot for German publisher Polyglott.

While the structure was defined, I had freedom in how I shaped the content. And I used that freedom to think beyond the manuscript.

Where did I do this? In a nice café, of course – with a large city map unfolded in front of me.

My Most Recent Example

Earlier this year, I wrote Reinvent Down Under which I will launch on my birthday on 4 May.

A very personal book as it marks ten years in Sydney. That makes it easy to go too deep — and lose relevance for the reader.

So I used this method again. I spent significant time on the concept, shared the structure with future readers and refined the direction. Only then did I move into writing.

How to Get Started

If you want to try this approach, start simple. Take your initial idea and write down:

• 5-7 potential chapters

• 5 bullet points per chapter

• or 3-5 parts with 3-4 chapters each

Don’t overthink it, just map what’s already in your head.

Then ask yourself:

👉 Does this structure lead the reader somewhere?
👉 Can you explain your book based on that?
👉 Or does it just describe something?

What’s Next

Bullet points are a great starting point but they’re still inward-focused.

👉 In Part 3, we will shift from structure to expression:
Speak Your Book Instead of Writing

Your Move

What is your experience in creating your book?

Feel free to share your experience in the comments – I read every response and it helps shape the next parts of this series.

I’ve published 31 books – essentially writing for half of my life.

But I didn’t write them the same way. Some took months, some came together in weeks. Some started with an idea, others started with a conversation.

Looking back, I didn’t just write books. I experimented with how books get written. And not all approaches worked equally well.

When people tell me they want to write a book, they often assume there’s one “right” way to do it.

Simple answer: there is not “one right way”. There are many.

And depending on where you are in your career, your energy, and your environment, different approaches can work at different times.

The Writing-Only Trap

Here’s one approach I see over and over again which goes like this:

You sit down. You write. You focus entirely on the manuscript. And only after finishing, these questions eventually appear:

• Where should I publish this?

• How do I sell it?

• What is marketing, actually?

• And why do people even “launch” a book?

By that point, the book already exists – but everything around doesn’t.

So many people have been there, too. Not because it’s wrong to focus on writing, rather because it’s incomplete.

A book lives in conversations, in positioning, in what happens around it – not just on the shelf. That’s exactly where most writing approaches fall short. They just help you finish a book but they don’t help you build anything beyond it.

We should have this in mind: writing a book is one thing, building authority through a book is another.

Most people don’t fail to write a book. They fail to make it matter.

Discovering Self-Publishing

Let me share where I’m coming from. In my early years as a side-business author, writing a book felt straightforward, like a home manufacturing process.

A travel publisher – large or boutique – would approach me with an idea. They have a long-standing tradition in Germany like Polyglott and Bruckmann or served a niche like Vista Point. Maybe similar to well-known Lonely Planet.

We signed a contract. Half was paid upfront, the other half upon delivery. About six months later, the book would appear on shelves. By then, I was already working on the next one. Good old days.

But something changed. Travel books – my core topic – slowly lost relevance.

At the same time, I was considering our move to Australia, which meant writing in English and starting fresh in a new market. I had to rethink everything.

My first real attempt at self-publishing came much earlier though. Back then I published feature stories in a weekly newspaper in Prague (in German).

The idea was simple: A small, postcard-sized book called Hollywood in Prague showing visitors where famous movies like Amadeus or Mission Impossible were filmed, and how those places looked in real life.

That was in 2004, long before Amazon KDP. Long before self-publishing became normal. Back then, I explored the German equivalent, BoD (Books on Demand).

But I still remember what professionals in the industry told me: “If you publish by yourself, you’re out of the real publishing world.”

Looking back, that belief feels almost absurd.

Let me tell you my story how I discovered self-publishing. I pitched the idea of Hollywood in Prague to a local publisher in Prague, Vitalis. They had multiple books about various aspects of the Golden City.

The owner liked it. But I also remember a very honest comment in that meeting:

“This type of book won’t make money in the first edition.
And you’ll need to secure all movie scene photos yourself.”

That was enough friction to stop me.

Instead, I tried something else, something that feels almost surreal today. I created demand through my website and travellers. Then I produced the book myself:

• buying special paper

• cutting it into A6 format

• printing everything at home in Zürich

• taking the pages to Prague

• binding them in a local copy shop

• and sending copies manually from Germany on the way back

A true DIY publishing process.

The idea never left me, though. Over the years, I reused parts of it in newspaper and magazine articles. And eventually, many aspects became part of a professional travel guide: Prague on Foot — published by Polyglott in 2014, ten years after the original idea.

Looking back, I realised something important: I didn’t just try to write a book. I tried different ways of getting a book into the world.

Some were traditional. Some were experimental. Some were… inefficient.

The Five Ways

That’s exactly what this article series is about. Each of those ways taught me something different about how books actually work.

There isn’t just one way to write a book – there are many. And some of them are far more effective than others.

Over the years, I’ve used five different approaches in practice:

• starting from structure

• starting from speaking

• starting from momentum

• starting from tools

• or starting from something else entirely

In this series, I’ll walk you through these five ways. See it as real approaches you can choose from, not just theory.

Here’s what’s coming

Part 2 — Write Your Book from Bullet Points
Start with structure and expand from there.

Part 3 — Speak Your Book Instead of Writing
Turn conversations into content.

Part 4 — Write Two Books at the Same Time
Use contrast to maintain momentum.

Part 5 — Let AI Tools Write Your Book
Use technology to accelerate your process.

Part 6 — Write Your Book Backwards
Start with the result and build everything around it.

Each of these approaches can work but they don’t all lead to the same outcome. Some help you finish but not all help you build something beyond the book. And that’s the real difference.

By the end of this series, you’ll not only understand these five approaches. You’ll also see why one of them changed everything for me.

If you’re thinking about writing your own book, don’t start with perfection. Start with structure.

👉 In Part 2, we begin with one of the most common approaches:
Write Your Book from Bullet Points

Your Move

What’s your starting point right now?

• thinking about a book

• already writing

• or stuck somewhere in between

Feel free to share it in the comments – I read every response and it helps shape the next parts of this series.

The first time you hear your own book spoken aloud, something shifts: Your book is no longer a just manuscript or a layout file.

It becomes a form of presence based on your pacing and your pauses showing your personality.

And suddenly you don’t ask yourself, “Should I create an audiobook?”. Instead you wonder, “Why did I wait this long?”

If you’re serious about building authority with books, there is an uncomfortable truth: an eBook alone is incomplete. Even with the paperback or hardcover it remains incomplete as something is missing.

Don’t forget: attention today is less captured by pages as in the past, rather by voices. Think about how people consume content during commutes, walks, or gym sessions.

If your book can’t be heard, it can’t travel. Your audience can’t read while driving but they would love to listen to your own voice – if only they could get the most personal version of your book.

The audio layer is where authority deepens but also where things get complicated.

Therefore I created this mini-series From Manuscript to Microphone to tackle the challenge for self-published authors.

Why Audio Changes the Game

Audiobooks are not just another format. They:

• Increase perceived authority

• Reach people who never read eBooks

• Command higher price points

• Create passive discoverability

• Allow your voice (literally) to build trust

When someone listens to your book while commuting, walking, or cooking – your voice becomes part of their daily rhythm. That is very powerful!

And strategically, it fits beautifully into a book-based ecosystem. Think about the transformation from your content alongside the marketing funnel:

Book → Newsletter → Course → Coaching → Speaking

Audio simply strengthens the loop.

The Audible Assumption

Most authors think: “If I want to do audio, I have to upload to Audible.”

Not a surprise as Audible is part of Amazon. Some books show up first in Audible format even when you wanted to buy a Kindle or paperback.

No doubt, Audible is the dominant consumer marketplace for audiobooks with 63.4 % market share in the U.S. Market “generating double the revenue per title compared to other platforms.” (according to a report from ereadersforum, June 2025).

Authors don’t upload directly to Audible though. They typically go through ACX (Audiobook Creation Exchange), which is Amazon’s backend production and distribution platform. And that’s where it gets interesting.

One key driver behind the Audible success is the subscription growth - other platforms besides Audible jumped on that trend, especially Spotify and Kobo.

Here is the example of my first fiction audiobook on Spotify. I will share a quick tutorial later in this article series.

Why ACX Doesn’t Allow AI Narration (Yet)

ACX currently requires human narration for most submissions.

I kind of agree to this mandate as a published author myself and a listener to authors who I know in person. There are plenty of good reasons for that:

• Quality control

• Union agreements

• Listener expectations

• Rights clarity

• Premium brand protection

Audible’s positioning depends on perceived professionalism.

We already observed the amount of AI written ebooks on Amazon’s Kindle platform – if AI narration flooded the catalog without control, that quality perception would surely shift.

Even while narration tools are exploding in quality (I will talk about ElevenLabs as an example), ACX has drawn a line for now.

There is a bit of hope as Audible as a beta program of AI voices which some users from my network already have (thanks for sharing your example audiobook below) – but it’s not available for everyone.

With the Audible door momentarily closed for most there are many other options for your distribution strategy to allow selling audiobooks.

Therefore reverse engineering matters before you generate a single audio file.

Your Options From Cheap to Premium

Let’s break this down practically.

Level 1 – AI Narration

Platforms like ElevenLabs allow you to upload a manuscript, generate professional-sounding narration, clone your own voice and export chapters quickly.

• Cost: $0–$100+

• Speed: Very fast

• Control: High

• ACX compatible: Usually no (for now)

This is excellent for:

• Spotify distribution

• Lead magnet audio

• Course add-ons

• Private audience use

Spotify has expanded into audiobooks and is far more open to AI-generated content than Audible currently is. Different platform means different rules and different opportunity. I will cover Spotify in my article series.

Level 2 – DIY Recording

Record your own voice in your home office, a closet or a public library study room.

• Cost: $100–$500 (microphone + light editing tools)

• Speed: Medium

• Control: Very high

• ACX compatible: Yes, if properly mastered

This approach gives you full ownership, authenticity and a maximum brand alignment. While it requires time to gain proficiency, it builds authority in a different way.

Level 3 – Marketplace Narrator

Hire a narrator via ACX directly or from independent marketplaces like Fiverr or Upwork. This way you outsource not only the narration but also the experience required to manage the task professionally.

• Cost: $500–$3,000+ depending on length

• Speed: Slower

• Control: Medium

• ACX compatible: Yes

It is a good option if you dislike your recorded voice, your brand is not “personality-driven” and you want professional polish without studio work.

Level 4 – Studio Production

You find a professional studio in your area, hire an engineer, potentially also a director and experts in mastering.

• Cost: $2,000–$8,000+

• Speed: Slow

• Control: Premium

• ACX compatible: Yes

This is especially suitable for established authors, speaking-driven brands, corporate-funded books and long-term catalog investment.

Here is my favourite example: while I know Tony Hughes in person well, the book has been completely narrated by Justin Michael – I discovered him through his voice, reviewed his books and became his coaching client.

The Strategic Question

Before you record anything, ask yourself:

1. Where will your audiobook be distributed?

2. Do you prefer revenue or authority?

3. Does your audience care about voice authenticity?

4. Is speed more important than prestige?

In my view, audio production is not primary a technical decision, rather a positioning decision.

The Hidden Layer: Identity

There is something else in the background: When you record your own audiobook you are no longer just an author, you are a narrator.

When you use AI voice clones, you become a publisher experimenting with new tools.

If you want to get a highly professional level without speaking by yourself, there is always the option of having your book professionally produced by voice actors – I found excellent examples on Fiverr, Upwork or Airtasker.

All these three routes are valid but they feel different – and your readers will feel that difference, too.

And when you know that you will record your book I bet you write differently.

What’s Coming Next

In the next article, I’ll go practical.

I’ll show you:

• How to record your audiobook using RiversideFM

• Which file formats to use (WAV vs MP3)

• What sample rate to choose

• How to avoid beginner mistakes

• How to edit your audio cleanly

In the following articles we’ll explore how to:

• Create professional AI voices with ElevenLabs

• Publish on Spotify

• Build a home studio setup

• Make files ACX-compliant

• Upload correctly

This series is not about theory but about leverage. I want your book to travel – that way it doesn’t need to sit silently as a PDF getting digital dusk.

Your voice is the vehicle. See you in part 2.

👉 What’s your experience with audiobooks?

Gunnar

PS: I hope the series is helpful – happy to help you with a 1:1 Zoom session to go more into details.

Hurray, I published my second fiction book this week – it marks ten years from arriving in Australia for the first time.

It’s a fairy tale from Rottnest Island in Western Australia, home of the quokkas, the happiest animals on Earth. The fictive book shows that curiosity, courage, and a gentle smile can change the world.

In this article I’m describing the process of self-publishing in six versions at the same time (yes I know, a bit crazy to do it all by myself). That includes English and German versions in three formats.

👉 Please check out the new book here: https://mybook.to/thesmile

Step 1: Complete the script

Like my first fairy tale book I wrote the entire manuscript in Microsoft Word, carefully formatted for print in a 5.5” x 8.5” size. For paperbacks, that means thinking like a traditional typesetter:

• The chapters typically begin on the right-hand page which might add some “empty pages” throughout the document. This time I deviated as many empty pages add the cost and customer price.

• The Table of Contents (TOC) must be adjusted to match the actual pagination. I took the freedom of adding the preface, not a real foreword.

• The front matter including the title page, a copyright page and a potential dedication sits before the numbered chapters.

• I use my own ISBN numbers for paperback, eBook and audiobook to have freedom of the fulfilment route

For the digital ebook, I created a second Word file without those empty pages to avoid scrolling over emptiness.

This book has 17 chapters which all start with an illustration below the chapter name. As I got used to the proper size from the first book, it’s easy to now have a series blueprint.

Step 2: Create the paperback

KDP requires a print-ready PDF format. Thankfully, this part was simple within Microsoft Word (or alternatively Google Docs):

• Save the manuscript as a PDF using Print Quality.

• Double-check margins, fonts, and page size match the chosen trim size (in my case, 5.5 x 8.5 inches / 140 x 216 mm).

• That file becomes the upload for the paperback interior.

This quality was good enough for KDP even with my illustrations - no need to have an Acrobat Pro version or any other tool.

Make sure to add alt-text images right now so that the book converter can capture that as well (KDP will ask for it later).

Step 3: Design the covers

All formats from paperback and ebook to various audiobook distributions need different dimensions:

• Ebook cover: 1600 x 2560 pixels is the typical size with a tall aspect ratio that displays well across Amazon, Apple Books, and other stores. KDP requires a JPG image; for sharing on other channels I also created the better quality of a PNG image.

• Paperback cover: it must match the book’s trim size as defined (in my case 5.5 x 8.5 inches). I also created the back side as separate PDF to attached it all together as a PDF book to sell it separately later.

• Full wraparound cover: required for the paperback including the spine. The dimensions are based on the page count (mine was 84 pages for English and 98 for German); KDP provides a template once you enter those details. If you bring your own ISBN number, you can integrate and let KDP know in the steps.

• Audiobook covers have different dimensions. Spotify and Audible sue square images (3000x3000 is best) while ElevenReader requires 1800x1200. When I’m already doing covers, I create all in one go.

I designed all versions in Canva as separate documents for easy copy and paste of the requirement elements. Sure, those familiar with the Adobe Creative Suite would use Photoshop or Acrobat Pro.

A quick side remark: if you want to have a free chapter of your book as a freebie download in exchange of a reader’s email address, the paperback cover PDF is quite handy stating with “free chapter copy” on the title.

Step 4: Upload the paperback

Once the files were ready, I logged into my KDP dashboard and started the upload process, starting with the paperback:

• Entered book details (title, subtitle, author name, imprint).

• Reviewed suitable categories and keywords (that’s a science for itself).

• Selected trim size, paper type, and binding options (I went for premium colour, which increases cost but looks vibrant for illustrations).

• Uploaded the interior PDF and cover PDF files, adding a comment about AI usage for the book (text, translations, images).

• Define the main market (Amazon.com) and the pricing per market: for paperback the net price without sales tax is given while the gross including GST/VAT etc. is calculated.

I like the visible prices being inclusive of tax so it’s a bit of fiddling around. In my view no need to consider a launch price for the paperback.

The paperback version was ready for review and publishing. Done!

Step 5: Create the Kindle ebook

The process begins in the same KDP dashboard. After finishing the paperback draft or even after publishing it, I simply clicked “Add Kindle eBook”:

• Title, subtitle, and contributors transfer across automatically.

• The description can be the same as your paperback back cover copy or adapted for digital readers.

• I selected English as the language, added my series information, and confirmed the categories which are different to paperback books (!).

This duplication saves time as you don’t have to start from scratch or manually copy every field over. And this way all images include the alt-text descriptions for accessibility which is a requirement in Kindle publishing.

A Kindle ebook doesn’t require an ISBN number by default as Amazon differentiates them with their own ASIN. In my case I want to sell it also on regular ebook marketplaces and therefore assigned one of my ISBN numbers.

KDP requires two main files to upload:

• Interior file: the formatted epub file which I created in calibri as usual (see my detailed walkthrough here).

• Cover file: a JPEG image (not PNG) ideally at 1600 x 2560 pixels. You can have another aspect ratio but it would look strange on the shelf.

Then I checked how the book will appear in the KDP Previewer. This is a critical task to:

• Check that chapter headings align correctly.

• Ensure images scale properly and don’t break the flow.

• Verify the cover displays as expected.

Only once the preview looks right can you move on.

Step 6: Set the pricing

Here’s where things differ from the paperback version:

• For paperbacks, you enter a net base price and taxes get added.

• For Kindle ebooks, the listed price already includes tax.

I experimented with different options, but decided to launch at $0.99 worldwide. The goal isn’t immediate profit, rather to build visibility and encourage early downloads. Later I can adjust to a more standard price like $2.99 or $4.99.

Step 7: Choose your Ebook Distribution

A few key decisions along the way:

• KDP Select: I chose not to enrol in Amazon’s promotion program which allows for price dumps and giveaways which requires exclusivity for 90 days. That leaves me free to distribute through Draft2Digital or other platforms.

• Territories: I opted for worldwide rights, no need to limit to certain countries or markets.

• Royalties: KDP offers to options: at the 35% level they take transfer costs; it’s the only way to price as low as $0.99. At the 70% level the commission is higher but the author has to pay delivery costs which is tricky in my case given its large illustrated images.

  ---

Step 8: Publish the ebook

With files uploaded, the preview approved and prices set, all that’s left is to hit “Publish”. In my experience, eBooks often go live faster than paperbacks, often within 24 hours.

As I wanted my new book to hit the shelves on 29 January - exactly ten years from coming to Australia as a visitor - I opted for a desired release date which required me to submit the file four days in advance.

Step 9: Planning the audiobook

There are two ways you can create your audiobook: narrated by a human (yourself or an actor) or using AI voices. Amazon’s own Audible distribution requires real voices. If you want to record by yourself you need to provide excellent sound quality.

I have recorded a 90 min example of my real voice in ElevenLabs to create an AI voice clone in English - and will do the same in German this upcoming week. That voice allowed me to create an audiobook version of my book within 30 minutes. Most of my friends don’t recognise it was done by AI!

I will share a separate article about my chosen approach soon.

Step 10: Create a magic link

Many people ask my in person or in writing about my books. I can’t memorise the Amazon links well - and they are different by Amazon’s marketplace per country. Sure, I could use a regular link shortener link Bitly per country link – but there is a better way.

The free service Booklinker provides a universal link which checks the Amazon country on the browser of the user, e.g. my mum sees my book in the German Amazon page while I see it in the Australian Amazon page.

For my new fiction book I created two book links and two series names to cater for the book languages, also including the first book which I published last October. I created the links in a memorisable way:

• Tales to Travel (the series): mybook.to/talestotravel

• The Elixir That Doubled Life (vol 1): mybook.to/elixir

• The Smile That Sailed Away (vol 2): mybook.to/thesmile

The same for German. The series page looks really good:

For me it is an excellent service which is purely paid by affiliate commission they receive. I could also add links to other book stores like Barnes & Noble.

Step 11: Tracking the process

This is my book 31 with 23 of them by traditional publishers. Finally it was time to create a proper tracking table of all that has been released under my name. Now I have a sheet per book and language, similar to what I noted for my book marketing clients.

With files uploaded, the preview approved and prices set, all that’s left is to hit “Publish”. In my experience, eBooks often go live faster than paperbacks, often within 24 hours.

Step 12: Author Marketing

With both the paperback and Kindle eBook versions now live, my fairy tale is ready to reach readers in both print and digital form.

Guess who runs the marketing of a self-published author: the author… unless they outsource to anyone else.

My tip: place your book in the from – the perfect place to reach fellow Substackers who are likely to read your book (especially those who published theirs, too!).

📚 Have you experimented with formatting, uploading, pricing or distribution strategies on KDP for paperback or ebook? I’d love to hear your thoughts.

👉 And if you need help for your book just let me know - happy to help!

Every fiction book has a journey, every non-fiction self-help book has a transformation - and so does every manuscript. Relaunching my first fairy tale, I documented the trip from a simple Word file on my computer all the way to Amazon’s Kindle Direct Publishing (KDP) platform.

In this publishing walkthrough, I’ll show you how I prepared the paperback and afterwards what I learned creating the eBook version along the way up to clicking on “Publish”.

Step 1: Complete the Script

I wrote the entire manuscript in Microsoft Word, carefully formatted for print in a 5.5” x 8.5” size. For paperbacks, that means thinking like a traditional typesetter:

• The chapters always begin on the right-hand page, which adds some “empty pages” throughout the document.

• The Table of Contents (TOC) must be adjusted to match the actual pagination. A potential foreword is not listed there.

• The front matter including the title page, a copyright page and a potential dedication sits before the numbered chapters.

For the digital eBook, I created a second Word file without those empty pages to avoid scrolling over emptiness.

My 12 chapters all started with an illustration below the chapter name. That was a bit tricky with the image size - easy for the paperback layout to fill the dimensions. I wanted to ensure that the chapter name remains on just one line above the image also for the ebook. As a consequence I decrease the image size that it suits both the paperback and eBook formats on most typical form factors.

Step 2: Create the Paperback PDF

KDP requires a print-ready PDF format. Thankfully, this part was simple within Microsoft Word (or alternatively Google Docs):

• Save the manuscript as a PDF using Print Quality.

• Double-check margins, fonts, and page size match the chosen trim size (in my case, 5.5 x 8.5 inches / 140 x 216 mm).

• That file becomes the upload for the paperback interior.

This quality was good enough for KDP even with my illustrations - no need to have an Acrobat Pro version or any other tool.

One quick word about ISBN numbers: I bought my own in a block of ten from the authority in Australia (only one organisation per country) so I can use the same book also for being printed at Draft2Digital or IngramSpark. You can also use an ISBN number from Amazon but can’t reuse the same on another distribution channel.

Step 3: Design the Covers

Covers were trickier because paperbacks and eBooks need different dimensions:

• eBook cover: 1600 x 2560 pixels is the typical size with a tall aspect ratio that displays well across Amazon, Apple Books, and other stores. KDP requires a JPG image, for sharing on other channels I also created the better quality of a PNG image.

• Paperback cover: it must match the book’s trim size as defined (in my case 5.5 x 8.5 inches). I also created the back side as separate PDF to attached it all together as a PDF book to sell it separately.

• Full wraparound cover: required for the paperback including the spine. The dimensions are based on the page count (mine was 92 pages); KDP provides a template once you enter those details. If you bring your own ISBN number, you can integrate and let KDP know in the steps.

I designed all three versions in Canva as separate documents for easy copy and paste of the requirement elements. Sure, those familiar with the Adobe Creative Suite would use Photoshop or Acrobat Pro.

A quick side remark: if you want to have a free chapter of your book as a freebie download in exchange of a reader’s email address, the paperback cover PDF is quite handy stating with “free chapter copy” on the title.

Step 4: Upload to KDP

Once the files were ready, I logged into my KDP dashboard and started the upload process:

• Entered book details (title, subtitle, author name, imprint).

• Selected trim size, paper type, and binding options (I went for premium colour, which increases cost but looks vibrant for illustrations).

• Uploaded the interior PDF and cover PDF files, adding a comment about AI usage for the book (text, translations, images).

• Define the main market (Amazon.com) and the pricing per market: for paperback the net price without sales tax is given while the gross including GST/VAT etc. is calculated.

That means fiddling around for countries showing the gross price (most expect US, UK and Ireland) to have the proper rounded price ending with 99 cents.

At this point, the paperback version was ready for review and publishing. Done!

Step 5: Create the Kindle eBook

The process begins in the same KDP dashboard. After finishing the paperback draft or even after publishing it, I simply clicked “Add Kindle eBook”:

• Title, subtitle, and contributors transfer across automatically.

• The description can be the same as your paperback back cover copy or adapted for digital readers.

• I selected English as the language, added my series information, and confirmed the categories (a topic for another article).

This duplication saves time as you don’t have to start from scratch or manually copy every field over.

Here is a second video showing the next steps across 21 minutes:

By the way, a Kindle eBook doesn’t have an ISBN number by default as Amazon differentiates them with their own ASIN. In my case I want to sell it also on regular eBook marketplaces and therefore assigned one of my ISBN numbers as mentioned above.

Step 6: Upload the Files

KDP requires two main files:

• Interior file: the formatted epub file created earlier - it became the standard format read by most readers in the world.

• Cover file: a JPEG image (not PNG) ideally at 1600 x 2560 pixels. You can have another aspect ratio but it would look strange on the shelf.

I confirmed in the uploading process that all images included alt-text descriptions for accessibility which is a requirement in Kindle publishing.

Test: Kindle Create vs. Calibre

Amazon offers a free desktop app called Kindle Create. It is simple to use, you only need to import your Word file and it automatically generates a Kindle-ready version, even as an epub file which you can use elsewhere.

The catch? Kindle Create strips out many design details. Covers don’t always display properly, fonts are standardised, and the Table of Contents can feel generic. For text-heavy novels it works fine, but for illustrated books like mine, the result looked flat and clunky. Just check at the 6:00 mark in the second video.

That’s why I turned to Calibre, another free tool that needs to be installed on the computer as well. Calibre gives you much more control over layout, fonts, and images. It allowed me to keep my chapter titles styled correctly, embed images where I wanted them, and ensure the eBook looked polished. Even the Table of Contents came out beautifully formatted.

The trade-off is that Calibre requires a few more setup steps, but the end result is a Kindle eBook that feels professional. See the difference at 10:30 in the video.

Step 7: Preview and Adjust

The KDP Previewer is where you see how your book will actually appear on Kindle devices. This is critical:

• Check that chapter headings align correctly.

• Ensure images scale properly and don’t break the flow.

• Verify the cover displays as expected.

Only once the preview looks right can you move on.

Step 8: Set the Pricing

Here’s where things differ from paperback:

• For paperbacks, you enter a net base price and taxes get added.

• For Kindle eBooks, the listed price already includes tax.

I experimented with different options, but decided to launch at $0.99 worldwide. The goal isn’t immediate profit, rather to build visibility and encourage early downloads. Later I can adjust to a more standard price like $2.99 or $4.99.

Step 9: Choose your Distribution

A few key decisions along the way:

• KDP Select: I chose not to enrol in Amazon’s promotion program which allows for price dumps and giveaways which requires exclusivity for 90 days. That leaves me free to distribute through Draft2Digital or other platforms.

• Territories: I opted for worldwide rights, no need to limit to certain countries or markets.

• Royalties: KDP offers to options: at the 35% level they take transfer costs; it’s the only way to price as low as $0.99. At the 70% level the commission is higher but the author has to pay delivery costs which is tricky in my case given its large illustrated images.

  ---

Step 10: Publish the eBook

With files uploaded, the preview approved and prices set, all that’s left is to hit “Publish”. In my experience, eBooks often go live faster than paperbacks, often within 24 hours. In the case of this fairy tale book it was even less than five hours to see it appearing on Amazon!

👉 Check it out here: https://mybook.to/elixir (this is a universal link from Booklinker that diverts to the right market place of the reader).

Lessons Learned

• Converter tools: Kindle Create is quick, but Calibre delivers a much more professional result for all type of books.

• Covers matter: A separate JPEG is mandatory for Kindle, even if you already uploaded a PDF for paperback.

• Think globally: ISBN ownership and pricing strategy give you flexibility across markets.

  ---

What’s Next

With both the paperback and Kindle eBook versions now live, my fairy tale is ready to reach readers in both print and digital form. The next step: Preparing the audiobook, that’s another learning curve entirely.

📚 Have you experimented with formatting, uploading, pricing or distribution strategies on KDP for paperback or eBook? I’d love to hear your thoughts.

👉 And if you need help for your book just let me know - happy to help!

There’s something magical about launching a book in a bookstore.

On Saturday afternoon I had the joy of attending a local author event hosted at Sydney’s famous independent bookshop Gleebooks that loves running these sessions.

Among the speakers were my published friends Jane Turner who launched her fifth book, The Ripple Effect - How to write a book that changes lives, and Joel Annesley who presented the updated second edition of his highly recommended book Quiet Confidence - Breaking Up With Shyness, (I reviewed the original book in this Substack article).

Those two were joined by two other interesting authors I hadn’t met before in person: Christine Ross (author of Hold Onto Hope: Finding Clarity Amidst Life's Challenges) and Kate Rowe (she launched her book, How The F*ck Would I Know).

As my favourite editor Karen Crombie used to say: “A great MC is really the glue that holds a whole event together and really sets the tone.” Happy that Jen Ward guided through the launch event nicely and engaged the audience.

The audience was a beautiful blend of loyal readers, curious newcomers, published authors, and casual browsers who trusted the venue to host something inspiring.

It reminded me why book launches matter and how we can bring that same spirit online.

Bookstores: The Original Community Builders

What impressed me most was how the authors pooled their networks. Each brought their own crowd after announcing online on social media and through their email list - and the bookstore also drew in its community of regulars.

The result? A packed room of 50+ readers, energetic conversations, and book tables where the authors signed their books up to the end.

That’s the power of community in action, especially as it shows the combined group of people united by the power of reading. And it gave me fresh motivation to make my upcoming virtual launch feel just as connected and meaningful.

Funny side remark: when I asked a question in the Q&A section (about the need of authors creating a thriving community from writing their book), then another fellow author saw me in the room and sent a photo of me asking. The world is small (thanks Carrie!).

Book Launches Begin Long Before the Event

Whether in a bookstore or on Zoom, launches work best when you build the community beforehand. The authors I saw last week didn’t just show up, they had already nurtured a following. I found myself commenting and sharing Jane’s post about the event as well.

The same goes for Happy Habits: from weekly posts to reader conversations, this launch is the result of months (and really, years) of building relationships.

On my birthday this year on 4 May I remembered the vibe of my own birthday book launch of Connect & Act in Sydney on a Thursday two years ago. I thought that next year would be perfect being on a Monday - not too many excuses not to be available. So I pre-announced a book that has not been written yet… as that week falls on my ten year anniversary of arriving in Sydney, the book topic became clear to me: “Reinvent Down Under”.

I celebrated that idea with an announcement 363 days in advance - while not a single word is written yet. How to come on such a bold idea? It was just a couple of days after I met who wrote her personal book, The Flight Home, about her own story moving across countries.

Launching Happy Habits Online, Yet Personal

On Monday, 28 July, I’m hosting the virtual launch of my new book, Happy Habits. While we won’t meet in a charming bookshop, my aim is the same: to bring together people who care about making life better, one habit at a time.

I’m grateful to be joined by who wrote the book’s foreword. Natalie and I often talk about transformation; not as something dramatic, but as something joyful, simple, and sustainable. As she puts it:

“The small things you do daily can build the big life you desire.”

That’s exactly the spirit of Happy Habits. And I’ve been heartened to see how it already resonates with early readers.

“This book doesn’t push productivity, it invites reflection. Through personal stories and grounded examples, it gently guides you back to yourself.”
— Dimka Dimitrova, Marketing Automation Consultant

“As someone who left the corporate world to pursue writing, I found this book full of gold nuggets and wisdom. A must-read for navigating transitions.”
— , Author & Freelance Writer

“Gunnar has taken a unique approach with fresh – and indeed, happy – ideas for methods to get into good habits in our life, and the exercises at the end of each part are easily manageable.”
— , Marketing Coach & Author

The book has already traveled farther than I imagined. From London to Mumbai and Perth to Sydney, early readers have told me how the habits and reflections inside have helped them pause, reset, and move forward with intention.

Want to Attend my Virtual Launch?

Join me for the virtual launch of my new book Happy Habits on 28 July 2025 with guests, giveaways, and an honest look at what it really takes to build better habits in a messy world.

👉 Click here to find out more and register.

🎉 Writing a book is one thing. Launching it with style is another. You and your book deserve both.

See you at the launch!

If you write a book and no one hears it land — does it make a sound?

Too many first-time (and even seasoned) authors spend months crafting their manuscript, navigating publishing hurdles, and agonising over cover design… only to send their book into the world with nothing more than a social media post.

In my view that is a missed opportunity!

Book launches are not just for bestsellers with big publishers. They are for you: the indie author, the self-starter, the business book writer who wants their message to go around and reach their target audience.

A good launch builds momentum. A great one changes the way people see your work — and you.

Here is what I’ve learned after publishing 27 books from traditional travel guides to self-published business books and why reverse engineering your book from the launch backwards might just be the smartest move you make.

🎈 The Launch is the Centrepiece

When I started writing Happy Habits, I already planned the date of the launch: Monday 28 July 2025, the birthday of my late father whose dream was to emigrate to Australia. Starting good three months prior to that seemed to be just enough to hit the right timing.

It will be a virtual event timed to bring my community together. Planning the book around the launch kept me focused, motivated, and accountable.

Your launch becomes a lighthouse, something to steer toward. Even when the manuscript gets messy or you question your structure, the fixed point of that event will pull you forward.

If you wait until your book is done to plan your launch, it’s already too late.

🗺️ Launch Formats That Work

There is no one-size-fits-all book launch. Here are four formats I have tested for myself and attended from other authors that might inspire you.

1. The Gala Event

Imagine authors in cocktail wear, publisher-backed launches in historic venues or the vibe of shared office spaces. My first launch in Australia was such a gala-style launch for Leaders of Influence — a collaborative book where we each invited our networks.

Nine months of preparation for the whole project, but it paid off in massive reach (and I landed my first viral post from that event!). Participants typically pay a ticket fee including the signed book, food and drinks or even entertainment.

Ideal for: Authors in anthologies and participants of chapter books, or those with physical books who love networking and can bring their crowd.

2. The Author-Led Showcase

This one is all about DIY. When I co-launched my next book with another author, we booked a venue, handled logistics ourselves, and turned it into a proper event. Bonus: we could talk about our books in our own way, no publisher filtering the message (thought I am happy that she attended).

Like with the gala event the books to sign can be sourced from anywhere like a local printer to deliver on time or even from Amazon.

I tried this successfully for my launch of Connect & Act on my birthday in the Castlereagh Boutique Hotel where I am also one of the Board Directors - a memorable event I will never forget.

Ideal for: Indie authors and those with speaking or coaching programs to promote where the book is the entrance to the journey.

3. The Book Store

Which is your favourite local book store? Most cities have that independent store everyone loves - like Gleebooks in Sydney. These venues often invite to book launch events of various authors where two audiences mingle: those who just love the shop and trust their selection of launching books and the invited crowd from the authors.

The book shop then orders the dozens of books for the signing and even to advertise in their shopfront windows beforehand. Those not sold at the event will go back to the distributor.

Ideal for: Self-published authors with good connections or those with boutique publishers who run multiple of their events there.

4. The Virtual Experience

With both my LinkedIn related business books, Connect & Act and Social Selling for Jobseekers, I ran global online launch events — each twice for different time zones, multiple guests to share their wisdom, and live interaction with readers. It also gave me the chance to tie the book directly into my course and consulting offerings.

Ideal for: Authors with remote audiences or global readers and those building a digital business ecosystem.

🎯 Why Reverse Engineering Works

Back in 2022, I decided to write Connect & Act not just as a book, but as a launchpad. I planned the launch date months in advance (on my birthday, 4 May 2023) and then worked backwards.

What happened next was unexpected.

Just two weeks after the launch, I faced a corporate layoff. But because I had created visibility through the book, and structured it around services I could offer, I stepped straight into consulting.

Here is the kicker: I earned 30x more from consulting than from book royalties.

That was the moment when I realised: the launch isn’t just about selling copies. It’s about establishing presence, credibility, and revenue opportunities.

🧩 Your Book Launch Checklist

Ready to launch your own book — with intention and impact? Here’s your checklist:

• Pick your date before you finish writing

• Choose your format: live, virtual, hybrid, or creative

• Invite your people early (beta readers, interviewees, collaborators)

• Build a landing page and RSVP list

• Plan your social campaign starting 6–8 weeks out

• Have books ready — even if they are soft just proofs

• Run the event like it matters because it does

Oh, and don’t forget to have fun. My Connect & Act launch turned out to be the best birthday party of my life!

💬 Want to See It in Action?

Join me for the virtual launch of my newest book Happy Habits on 28 July 2025 — live online, with guests, giveaways, and an honest look at what it really takes to build better habits in a messy world.

More details here on the book’s landing page: www.happyhabitz.com.

🎉 Writing a book is one thing. Launching it with style is another. You and your book deserve both.

See you at the launch.

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