Popularized in the United States by Audible in 1998 in physical format, then in the early 2010s in digital format, the audio book is now considered a literary format in its own right. In 2022, the American audiobook market recorded double-digit growth for the 11e consecutive year1. In France, that same year, out of a population of 68 million, the number of audio readers was estimated at 10 million, according to the Syndicat national de l’édition.
But what is the portrait here, in Quebec and in French-speaking Canada? According to several observers of the book scene here, the coronavirus pandemic has had a generative effect on the development of the audiobook, but other factors have also contributed to its progress. Different players in the book industry have invested in this market and new initiatives have been born, including Narra, a 100% independent Quebec platform devoted to audio books in French, following support from the Ministry of Culture and Communications. du Québec and the Canada Book Fund (FLC).
Thanks to the support of the FLC through its support for accessibility between 2018 and 2022, nearly 2,000 audio books have been produced2. Despite everything, the offer is still not enough to really take off the market.
Book publishers and producers find themselves in a bind: as funding runs out, audiobook production plummets. Already, audiobook enthusiasts are grieving the lack of choice.
It is clear that our lag compared to other markets persists and is increasing to the point of becoming a real challenge in the promotion of our culture and French at home. While the global size of this market was valued at $5.36 billion in 2021 and it is estimated to reach $35 billion in 20303audio books still represent less than 1% of total book sales in Quebec (comparatively, they reach about 10% in the United States).
An issue that goes beyond the simple cultural challenge
The issue of the underdevelopment of audio books in Quebec is not only related to the field of culture, but also to many other sectors such as education, immigration, francization, innovation and economy. First of all, audio books can be an indispensable resource for young people with learning disabilities and dyslexia-dysorthography. Many professionals such as speech therapists and remedial teachers consider it to assist their clients with learning difficulties.
In 2016, American researchers attempted an experiment with a group of children with learning disabilities to measure the educational impact of audio books. Result ? The test group that had audiobooks was three weeks ahead of the class that didn’t have access to the resource.
Audio books are also excellent tools for learning a new language, especially since it is possible to use them 100% independently.
Why not accompany newcomers to Quebec and Canada by giving them access to audio books in order to accelerate and make their integration more pleasant?
Next, we can’t talk about the benefits of the audiobook without addressing the issue of accessibility. Remember that today, more than 3 million Canadians are unable to read printed books and magazines due to, among other things, a visual, motor or cognitive disability.4. The audio book gives them access to high quality works, now that the production of this format has become more professional.
Finally, beyond literature, let’s remember that the boom in audio books has led to the creation of new jobs in sound recording studios, the creation of new expertise and the building of bridges between different cultural sectors. The audio book is an innovative format that allows Quebec publishers to increase their presence in the rest of the Francophonie and, by extension, to make local voices heard everywhere.
The main pitfall: foreign competition
For our cultural products and in particular the audio book to reach their audiences, they must be easily discoverable. The main obstacle remains the absence of our products or their concentration on the major platforms of commercial multinationals. Our governments must support this emerging industry in order to support local players (publishers, producers, online bookstores) against foreign competition.
The omnipresence of multinationals in our market and the dilution of local culture for the benefit of content from elsewhere, and mostly English-speaking, are on everyone’s lips these days. If the audio versions of our authors’ works are not produced, broadcast, loaned, or sold at a discount, our culture loses out. This is a risk that absolutely must be countered when we see the speed with which the English language in the cultural sector is threatening local content.
It is therefore urgent to attack the problem on two fronts: support the production of Quebec and Franco-Canadian audio books and financially support the promotional efforts of the various audio book players here in order to significantly increase their discoverability and their profitability.
1. Association of American Publishers.
2. Note that the number of audio books in French produced by publishers, not including original productions from Audible Canada, for example, was 73 in 2018.
3. Grand View Research.
4. De Marque, in a press release published on May 30, 2023.
* Co-signatories: Marie-Noëlle Blais, Managing Director, Éditions Quartz; Myriam Caron Belzile, literary director, Éditions XYZ; Sophane Beaudin-Quintin, Commercial Director, Editions Michel Quintin; Jean-François Bouchard, General Manager, Editions La Presse/Fides; Sarto Blouin, President, Vues et Voix Audio Books/Kampus Editions; Marc Boutet, President, De Marque; Céline Comtois, Francophone Editorial Director, Bayard Canada Books; Stéphane Cormier, Co-Director General and Director of Marketing, Éditions Prize de parole; Marianne Dalpé, Commercial Director, La courte Scale Publishing Group; Simon de Jocas, president, Les 400 coups; Nycolas Doucet, ADA Publishing; Véronique Fontaine, Managing Director, Editions Fonfon; Caroline Fortin, President, Quebec America; Arnaud Foulon, Vice President, Publishing and Operations, HMH Group; Marie-Ève Francœur, Director, Association Québécoise des Salons du livre; Jimmy Gagné, Founder and Creator, Studio C1C4, Éditions Panda; Cédrick Hébert, Kampus Media Inc.; Mathieu Lacourse, President, Studio Bulldog; Danielle Lalande, President, Boomerang Youth Publisher and Andara Publisher; Anne Migner-Laurin, publisher, Éditions du Remue-Ménage; David Murray, Éditions Écosociété; Simon Payette, Managing Director, Éditions Chouette; Sylvie Payette, Heritage Editions; Félix Philanthrope, Managing Director, Le Quartanier; Richard Prieur, director; Maxime Raymond, Your Mother’s Editions; Suzanne Richard Muir, General Manager, Les Éditions L’Interligne; Nicole Saint-Jean, President, Saint-Jean Publisher; Antoine Tanguay, President and Publishing Director, Éditions Alto; Geneviève Thibault, Executive Director, Le Cheval d’August; Serge Patrice Thibodeau, General Manager, Editions Perce-Neige