How this one is meant to be worked through, in the author's own words:
1. Read Chapters 5 to 8 first, in order. They are the four rules and every later chapter refers back to them.
2. Then read Chapter 20 before your next intake, because the source files decide more about a job's profitability than any decision made afterwards.
3. ASK FOR SEPARATE TRACKS, one file per participant. It costs the host nothing, most recording setups already produce them, and a merged track routinely costs two to four times the hours on an identically priced job.
4. RUN THE SOURCE CHECK YOURSELF BEFORE QUOTING - open every file, look at the waveform for clipping and flat sections, listen to the first minute and one random middle minute of each, and check the lengths. At least one thing you were told will be wrong.
5. NEVER QUOTE FROM A DESCRIPTION OF A RECORDING, however confident. 'It should be fine' is where the eleven-hour job starts.
6. ESTABLISH THE DELIVERABLE LIST ONE ITEM AT A TIME - audio, intro, beds, ad reads, notes, timestamps, title and description, transcript, clips, publishing. Asked as one open question, a host names two and remembers the rest one per week for a year.
7. PRICE THE SHOW, NOT THE EPISODE: a show fee covering intake and chasing and records and the gate, a base edit for a stated format and raw and target length, each deliverable priced individually, and an automatic source surcharge - plus a stated review point, because without one the price set in month two is the price in month twenty-four.
8. MAKE THE SOURCE SURCHARGE AUTOMATIC, stated as a condition of the base price rather than a penalty. A surcharge you have to raise each time is one you will waive when busy, which is exactly when it is deserved.
Written to be used rather than skimmed. Every financial figure is left blank on purpose, and anything touching law, tax, insurance or data protection is written as questions for a qualified professional rather than answers.
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