* Authors have the option to decline any ads in their books, and all authors were made aware of the Argosy opportunity.

* Donations and small amounts of money when ads are dropped in may not constitute a “commercial” use. Lots of discussion about that going on right now in the podosphere.

* The “branding” of Podiobooks.com at the front and back of the book aren’t optional if we’re hosting the files. If that’s a problem, then host the files yourself. We do that with a few books right now. Not an issue, but if we’re providing hosting and bandwidth, I don’t think it’s too much to ask that we brand ourselves up front and remind folks to donate at the end.

E.

I think the podiobook promo’s would be ok with the publisher, but the advertising would definitely not be. I think the books by this author are perfect horror novels and need to be podcast, which is hy I am doing it, but I just am worried about going the podiobooks route because of the licensing differences and the inserted audio.

Let me know what you think,
-Oberonix

I read with interest about adaptive created common books. I also wondered if readers will donate money for public domain podiobooks. But to *not* donate may mean the end or at least a drastic slowdown of public domain podiobooks. That would be a shame..

Several commercial audiobook producers have sold or rentel “classic’ public domain material. Brillance Audio comes readily to mind. I firmly believe podiobook producers should be able to adapt/ transcribe public domain texts to the podcast medium. This could be done with enough production value to entice readers to donate and hopefully listen to future audio productions of that podiocaster of what is essentially public domain material. A fair amount of creative effort will make all the difference.

In addition to the original textual material the podiobook producer may wish to consider a preface, introducing the story, describe the history of the story and its impact in the times when it was published. Other info such as the author’s biography, how the story affected other writings, and any bits of trivia would enhance the reading of the original material . In terms of audio production things such as music, multi-voiced charactors, voice effects, sound ques or sounds effects may add to the book, making a public domain book into an audio production. Reading becomes a performance. Listening becomes an experience.

There is a lot of public domain material out there that deserves to be made into podiobooks. There are many large libraries throughout the internet of public domain e-books and e-texts. My favorite place of PD mateiral is www.blackmask.com. There are hundreds of genre books and stories there beggings to be made into audio by a human, not a computer voice. I would love to see someone put together a series of podiobooks of pulp fiction anthologies with introductory material thrown in. It looks like Doc Savage, The Shadow, and even some Robert E. Howard storeis are in the public domain. Readers’ loyality in donating will ensure that many of these volumes could eventually be made into audio format. Not only mobile iPod users would benefit, but visually impaird readers, and seniors who fondly remember the pulps.

To many people public domain e-text are free and, therefore of little value. But with some addional introductory or afterword material and some audio elements a podiobook producer can turn a PD book into an audiobook experience. These books and storeis could live for a new generation.

- Wes

If someone’s interested in making a podiobook of Blood, Sweat & Tea; or any other NC-licensed book, there’s nothing to loose in contacting the publisher, explaining how podiobooks.com works, and opening a dialog. Once they see what podiobooks have done for the print sales of authors like Scott Sigler, they should be more than willing to work with you– Donations and all.

I nominate A. F. Harrold for the recording on Blood, Sweat & Tea