PR · Audiobook Production · Book Marketing
Writing the thing was the hard part. Getting it in front of readers is the part nobody prepared you for. Avon Media LLC does three things and only three things: we put authors in front of the press, we turn finished books into audiobooks people stay with to the last chapter, and we run the advertising that keeps sales moving long after launch week.
What that includes:




Every author we work with gets a live view of the campaign — copies sold by format and territory, audiobook listens, ad spend against revenue, and every piece of coverage we placed with a link to it. No quarterly mystery statements, no screenshots of impressions. Here is what that looks like in practice.
Plenty of agencies will take your money and send you a spreadsheet of impressions. Here is what you get from us that you would not get from a production line:
Pitches go to editors and producers our team knows by name, in the sections and shows your book actually fits.
The same campaign manager from the first call to the final report, across all three services.
Files that pass Audible, Spotify and library distribution checks first time, not on the fourth resubmission.
Fixed campaign fees, ad budget kept separate from our fee, and a straight answer when something is not working.
Embargo dates, pitch windows, podcast lead times, ACX audio specs, category codes, keyword bids, review guidelines. You can learn all of it, or you can hand the list to a team that does it daily and get back to writing the next one.
A release written to read like news rather than an advert, then distributed and pitched directly to the desks that cover your subject.
Interviews, features and guest spots booked for you, with prep notes so you walk in knowing what you will be asked.
We shortlist the prizes your title can realistically win, handle the paperwork and hit the deadlines.
Narrators audition with your actual text. You hear the options side by side and choose the voice yourself.
Mastered files delivered to Audible, Spotify, Kobo, Storytel and the library networks, with your metadata correct on each.
Amazon, Meta and audio ads managed to a target cost of sale, with the budget adjusted on what the numbers say weekly.
A growing share of your audience will never open the paperback — they listen on the commute, at the gym, doing the washing up. An audiobook is not a nice extra any more; for most titles it is a second income stream sitting unclaimed, and it is the format readers are most likely to finish.
Public relations, audiobook production and book marketing — nothing else. Take the one you are stuck on, or run all three together, which is where they work best because they share a single calendar and a single point of contact.
A release written to read like news rather than an advert — a real angle, a usable quote, and the facts a journalist needs in the first paragraph. We distribute it over the wire services and, more importantly, pitch it directly to the desks that cover your subject.
Targeted pitching to named editors, critics and producers rather than a bought contact list. We build the media list around your actual subject matter, write a different pitch for each tier, and follow up on the ones that go quiet.
Guest spots on shows your readers already listen to. We match your topic to the right format and audience size, handle the booking and scheduling, and send prep notes so you know the likely questions before you go on.
The assets the press ask for and most authors do not have ready: a tight author bio, a one-page media kit, a Q&A sheet, headshot guidance and a press page you can link to. Prepared once, used for every pitch that follows.
We shortlist the prizes your title can realistically place in, rather than every competition with an entry fee. Forms, excerpts and submission copies are handled on our side, and we track the deadlines so nothing is missed by a week.
Shortlisted narrators audition with a passage from your actual book, not a generic demo reel. You hear the options side by side and pick the voice yourself — age, accent and register included — before a single chapter is recorded.
Studio recording, directed where the text needs it, then mastered to the RMS, peak and noise-floor figures the retailers require. A proof listener follows along against the manuscript so nothing is skipped, misread or mispronounced.
Finished files delivered to Audible, Spotify, Kobo, Storytel, Chirp and the library networks, with your title, cover, sample clip and metadata correct on each one. We handle the resubmissions if any platform rejects a file.
Amazon, Meta and audio campaigns run to a target cost of sale that we agree before anything goes live. Budgets are reviewed weekly, losing keywords are cut, and your ad spend stays in your own account where you can see it.
The unglamorous work that decides whether anyone finds your book: category codes chosen on how winnable they are, keyword research, a blurb written to convert, and series and format links set up correctly across retailers.
One calendar covering the lot — embargo date, review copies out early, press hitting on publication day, audiobook live alongside the ebook, ads switched on when there is something to point them at. Launch week only works when it is sequenced.
These are real campaigns, not mock-ups. Some came to us at launch and needed press, audio and advertising sequenced into one calendar; others had been out for years and selling quietly until we found a fresh angle for them. Each was handled by the same team you would be working with, and each is on sale today in print, ebook and audio.
We would rather you heard it from the people who have already been through a campaign. These are authors who arrived with a finished book and no idea how to get it noticed — some at launch, some with a title that had been quietly sitting there for years. Read what they made of working with us, then decide whether we are the right fit.
I had no idea where to begin with an audiobook. Cheryl sent me four narrator auditions, we picked one together, and six weeks later I had a finished file live on three stores. I listen to it more than I read my own paperback.
Frank kept the launch on schedule when I was the one causing the delays. Review copies went out on time, the press hit on publication day, and he never once made me feel like a nuisance for missing an approval.
The ads were the part I was most sceptical about. Three months in, my cost per sale had halved and the book was holding a top-twenty spot in its category. The monthly report told me exactly where the money went.
Two trade reviews and a local radio interview in the first month, on a book that had been out for two years and selling nothing. The hook they found was an angle I would never have thought of myself.
They talked me out of three awards I wanted to enter because my book could not win them, then got me shortlisted for one I had never heard of. That conversation told me everything about how they work.
The podcast prep notes were worth the fee on their own. I went into eleven interviews knowing roughly what was coming and sounding like someone who had done this before. Audiobook sales doubled off the back of them.
Tell us what you have published and what you need next, and we will tell you honestly what it would take. Prefer to talk it through? Call us on +1 (707)-353-4214.
Named by Clutch among the leading PR agencies for author and publishing clients, based on verified client interviews.
Pencraft recognition for a children's title we took from quiet release to a shortlisted, widely reviewed edition.
Listed by Clutch as a top-tier audiobook producer, judged on narration quality, delivery times and client outcomes.
A Page Turner award for a non-fiction title we submitted, publicised and supported through its award cycle.
Recognised by Clutch for campaign work that moved measurable sales, not just impressions.
Gold in the fiction category for a novel whose launch press, audiobook and advertising we ran end to end.