Navigating the Audio Flow: Award-Winning Producer, Director, & Studio Owner Jocqueline Protho on the Business of Audiobooks

Meet Jocqueline Protho, founder of The Audio Flow—an award-winning production company that seeks to transform author’s works into captivating listening experiences. We were thrilled to catch Jocqueline fresh off a 2023 Voice Arts Award for Best Casting Director to discuss casting, directing dynamic performances, and using ACX to connect with indie authors who want a full-service production treatment for their book.

Welcome, Jocqueline! To start with, tell us a little about your studio and how long you've been working in audiobooks.

I’ve been working directly in the audiobook industry for six years—we just celebrated our anniversary on February 28th. We offer full-service production for audiobooks that includes casting, project management, proofing, script preparation, audio editing, and mastering. Though we still produce single and dual-POV work, our specialty is duet and multicast. More clients seem to prefer those productions and that’s one of the great things we are known for.

What have some of your favorite projects been?

Is this a trick question? [laughs] Misteria has to be one of my favorites. It was a full cast of 23 performers, including six kids. Other projects I have enjoyed were The Traitor by T.J. London, The Pilot and the Puck-Up by Pippa Grant, Finding Alex by Helen Starbuck, Intensification by Jo Michaels, and The Witches of Salix Pointe by Noelle Vella. Each of these projects are memorable to me because of the writing, character building, the performances, or the feedback from the listeners—and some earned me a few awards and nominations.

You have a few different imprints [trade names or pseudonyms for a publisher - Ed.] within your studio—can you tell us about those?

I currently have 3 imprints which includes The Audio Flow, Three One Six Audio, and Nubian Audio. Three One Six focuses on children’s titles and Christian fiction and nonfiction titles. Nubian Audio was created in an effort to bring more diversity to the audiobook community and to support and amplify the Black voice, both written and vocal. I also have Youth in the Booth, a program to teach audiobook narration and production to youth, which I hope to relaunch in 2025. What is the benefit of having different imprints for different areas of work?

That’s a good question—I’ve been thinking about not using separate imprints. I think for larger companies who have enough titles under separate imprints, it works. However, smaller entities may want to stick with one imprint and build that brand. Most people only know us by The Audio Flow, so my thoughts have truly changed about the need for multiple imprints. How do you work with ACX authors?

I often surf ACX for titles who interest me and reach out to the RH directly to offer my production services, or clients hire me directly to handle full production for their projects including casting, script preparation, proofing, editing, and mastering. What is the benefit to an author of hiring a full-service production studio to cast and produce their audiobook?

I started The Audio Flow based on the answer to this question. Authors are writers. Their focus, for the most part, is writing. Hiring a production studio to handle the entire project removes the barriers of learning all there is to consider with audio, and protects the author against mishaps, legal issues, contract negotiation, and planning. And working with us means a one-on-one relationship with a team who is not only providing a service, but becomes a collaborator. How do you choose which projects to take on?

That’s a great question. I normally try to take on every project that is presented to me. However, I do have conversations with the author or rights holder before accepting to gather as much information as I can about the story and what their goals are for the audiobook. This helps me decide if I am the right person for the job. I believe that most stories deserve to be told in audio, but they may not be right for The Audio Flow’s imprint. There are times when I will reach out to an author directly and inquire about producing or publishing their book because of the buzz I’ve heard about it, or because I read the work and fell in love with the story. How much do you work with the author to get their input once you take on their project?

I believe in collaborating with the author. It’s their work of art, so having their input is very important to me. Because The Audio Flow is hired to provide a service, the author has the final say on the output—within reason. As a consultant, I feel it is my responsibility to provide feedback on things I believe will enhance the audiobook production, so I share that with the client. We often will toss ideas around together and then agree on how to move forward. There are also times when I work with an author who gives me free reign to make the majority of the decisions (including casting) because they trust my judgement. That’s a great feeling to have someone trust me fully with their audiobook project. Do you have a roster of narrators that you pull from for casting?

To be honest, I have not used my roster since 2019 [laughs]. My first roster consisted of 77 people—the last time I checked it was 300. However, I prefer to cast in 1 of 4 ways:

• Open Casting Call, when I have no idea what I’m looking for and I want the performance of the actor to “speak” to me. I normally post these announcements on social media to cast a wider net.

• Invitation to Audition, when I have an idea of what I’m looking for and want to invite a select group of actors to audition. These are people I have either worked with previously or have on that roster I don’t use, or are on a list of people that I’ve wanted to hire.

• Blind Hire is where I just reach out to a performer and ask them to narrate a project. I’ve already heard them and know they’d be a great fit, so nothing else is required.

• And finally, I give opportunities to new performers by offering them roles in a multicast project. I do this to allow them to gain experience in a large project and an understanding of our process.

What are you looking for in a narrator?

I am looking for someone who can connect with an audience. Someone who understands that they have to perform the words and paint an aural picture that the listener can see. The narrator should understand how to take the written words and build a relationship with the listener. Knowing and understanding the emotion of the story is very important. Narrators must also be professional and able to accept feedback and take direction well. What makes a narrator stand out to you?

Performing with emotion and proper pacing, and showing persistence and a willingness to take a chance and perform something that will stretch their acting capabilities. How can narrators make themselves memorable or top of mind for future projects?

I remember every narrator I come in contact with. I have notes about their work, our conversations, and I have ideas about how I can work with them in the future. Sometimes just sending me a ‘hello’ email is great. But I hate being added to newsletters—I don’t read them. What tips would you give to narrators on crafting an effective audition?

Read the material at least 3 times. Submit the version you think captures the author’s message. Become the character. And use proper breathing techniques. Any upcoming projects you’re particularly excited about?

I am very excited about casting Comma Kaze by Mellanie Szerato—it will be cast with attendees from ‘Audiobooks at Sea’, sponsored by Joel Froomkin and Rich Najuch. The project is multicast and gives me an opportunity to connect with and hire performers I may have otherwise never met. The story is unique and I relate to the characters in so many ways. I’m also looking forward to two projects slated for 2025: The Once and Future Queen by Parker J. Cole, a reimagined story of Guinevere and King Arthur, fully cast with Black performers, and The Apocalypse Five by Stacey Rourke which is like a cross between The Hunger Games and Divergent with bots! Jocqueline and The Audio Flow are reachable through their profile on ACX, The Audio Flow, LLC, www.theaudioflow.com, or on social media @theaudioflow.