ACA Prep Sheet

13 Nov 2019 1:11 PM | Neil Gardner (Administrator)

One of the ACA's first manifesto aims is to get publishers to adopt the use of a general prep/information sheet.  Who knows the inner most secrets and details of a new book? Yes the author and/or editor.  Key information that a narrator needs to know could and should be easy to compile and made available without the narrator or producer having to reach out for help.

Our aim is to have this form become a key part of the commissioning process. At the point a title is commissioned for audio, the form is sent to the author/editor and they fill it out and it is returned to the narrator/producer IN ADVANCE of the prep time set aside.

Please take a look and let us know your thoughts. The draft version can be found here:



  • 3 Dec 2019 12:01 PM | Anonymous
    An individual ought to review examinations of various players before acquiring this particular game. In the occasion that audits make sure, by then you ought to think about it. A game for which negative assessments are given should not be gotten.
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  • 4 Dec 2019 7:32 AM | Sally Roughton
    Great idea and so simple. Would be good if ACX included this as a step the author completes after the narrator accepts the contract.
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  • 7 Dec 2019 8:46 AM | Anonymous
    Because of the ACA's, many publishers like me has agreed on the using general prep/information sheet. Open link for great essays info. Using this revolutionary idea is actually in benefit for all of us.
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  • 11 Dec 2019 10:13 AM | Anonymous
    I’m all for better relations between producers, narrators and rights holders, but I’m concerned that this makes us all look lazy and unprofessional. This is the data I gather when preparing a book - asking for it gives the awful impression that I’m not going to be doing that (especially the ‘don’t reveal xxx is the murderer’ question). Also unless the author/editor happens to use the IPA, how on earth can we interpret pronunciations like these? Who is to say the author even knows how to pronounce words correctly that they’ve only ever seen written down? As producers, we should be thoroughly reading and prepping books before entering the studio, as should our readers. The only other option leaves us open to the kind of errors and poor judgements that make for very poor audiobooks, and bad choices by narrators and producers who haven’t done their prep.
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