A real book, uploaded, published, sold and listened to. Every screen here is the running app doing the actual thing.
Drop in the finished M4B, EPUB or W3C audiobook you made for everywhere else. Storia opens it in your browser and reads what is already inside — the chapters, their titles, how long each one runs, the cover art, the author — and fills the form in for you. Nothing is re-encoded, so the audio your listeners hear is the audio you mastered.
Every chapter, named and in sequence. Drag one to move it, drop another in later, or fix the audio on a chapter that has already been out for a year. Uploads are chunked, so a two-gigabyte file survives a hotel wifi.
Author, narrator, series, ISBN, description, up to three genres. This is what a shopper sees before they decide, what a search engine indexes, and what appears when someone shares the link — so it is worth ten minutes.
One image does the catalogue card, the player, the phone lock screen and the preview card on social. Upload it once.
Attach the EPUB or PDF and your listeners can read as well as listen — the same purchase, the same place, no second app and no second sale. If you have narration timings, the text follows the voice word by word.
A free cut of the real audio, playable by someone who has not bought anything. Storia trims it for you without re-encoding, so the sample sounds exactly like the book, because it is the book.
Hold audio rights in some countries and not others? Say so. A title can be limited to a list of countries or kept out of one, and the rule is enforced everywhere the title can be reached — not just on the page that mentions it.
One affirmation that the rights are yours, and it is live. Nothing freezes: correct a typo, replace a chapter, re-order the book or change the price on a title that is already selling. Publishing here is not a submission you wait on.
You connect your processor. Your buyers pay you, the money arrives in your account, and Storia never touches it — we take 0% and we are not the shop. That also means the customer relationship is yours: your receipts, your refunds, your name on the statement.
A purchase unlocks a set of devices, and the person who bought it can pass their link to the household the way they would pass a paperback. Open it on one device too many and the least-used one steps aside — no activation limits to phone anyone about.
Search by the address they paid with, the order number on their receipt, or what your processor called the product. When someone writes in saying the link never arrived, you can send it again — or copy a fresh one and paste it wherever they actually reached you. If a sale goes bad, ending access takes one click and reaches every device it was shared with.
Because buyers pay you rather than a marketplace, they get to see who you are first — your name, your bio, your site, and an address for questions that is not your login. It takes a minute and it is the difference between a stranger and a publisher.
A collection is one page and one link holding a set of your titles — a series, a box set, a course. Each keeps its own free sample and its own checkout, so a reader can take the one they want or the lot.
Every published title sits in a catalogue that loads as a plain page — no app to boot, nothing to wait for, and it works with JavaScript switched off. That is also what a search engine sees.
Searching filters without reloading the page, and the URL changes with it — so a filtered catalogue is a link somebody can send to a friend.
The catalogue opens in the reader’s own language, worked out from their browser before the page is even built — so for most people it is already right and stays out of the way. Opened up, every language the catalogue holds is there to be switched on or off, as many at a time as they like.
A real page at a real address, in your colours, with everything a shopper weighs up — the sample, the length, the narrator, the reviews. Paste the link into a message or a post and it unfurls with the cover and the description attached.
Your titles, your bio and how to reach you, at an address you can put on a card. Someone weighing up a purchase can look you up — including from a search engine, before they have decided to trust the link they arrived on.
Not an account in somebody’s library app. Every title gets its own player at its own address, which a listener can install to their home screen — your cover as the icon, your book as the whole app. It keeps playing with the aeroplane mode on.
Chapters, speed, skip back thirty, sleep, and a position that survives closing the tab. It shows up on the lock screen and answers the buttons on their headphones.
The real thing, running. One clock drives the position, the chapter and the lock-screen card — which is why opening the text in a moment does not interrupt any of it.
The same purchase opens the book. Someone can listen on the commute and pick up reading at lunch from exactly where the narrator left them — one position, one place, no second app to buy.
Read-along, running against the real narration. It is the feature people learn to read with, the one that makes a second language possible, and the one that keeps a reader with a long book. If your audiobook already carries its own timings, Storia uses them; if it does not, it can work them out.
Type size, line width, theme, paged or scrolling, and how much the read-along marks — a word, a line, or nothing at all. Set once, remembered after.
Your table of contents, moving the audio and the text together.
Ratings and reviews on the title itself, from the people who actually have it.
Someone without a copy gets the cover, the description and the free sample — not a broken player and not a dead end. What they need to decide is on the page.
Every route to a payment page passes through this first, and it says plainly that the sale is the publisher’s: you receive the money, you handle the refund, Storia takes no part and no cut. Buyers trust a page that tells them who they are paying — and it is the truth, so it costs nothing to say.
Payment goes through and their copy opens — no account to create, no library to log into, no code to type in. The link is theirs and it works on the device they are holding.
The same catalogue, on the device most people are holding when they find you.
Cover, sample and price where a thumb can reach them.
Where the listening actually happens. It installs to the home screen, plays with the screen off, and works on the underground.
Every screen above is the running app, photographed by our own test suite. Nothing here is a mock-up.