How can a series with only three out of five of its books published already be drumming up conversation, and it isn’t just about the novels? The Naida Saga by Lisa K. Stephenson is making headlines because of a newly defined concept called an original book soundtrack, or what we like to call an author-created book score. After diving deep into this rabbit hole, I found a company called The Black Piper through a Reddit thread. In their own words, they are a collective of composers who create cinematic music for books; they make original book soundtracks inspired by existing novels.
These are often licensed by authors or publishers and are usually based on a popular fantasy IP (e.g., The Way of Kings, Lightbringer Series). However, these compositions are sometimes funded through Kickstarter and similar platforms. “Hi everyone, Michael Bahnmiller (Producer/Composer) and Sae Sae Norris (Creative Director) for The Black Piper here. We led a team of 11 composers, 11 orchestrators, and 8 music preparers—most of whom are working Hollywood professionals—to adapt Brandon Sanderson’s epic novel The Way of Kings into a fully cinematic book soundtrack called Kaladin. We had the absolute privilege of working with 3 orchestras, 5 choirs (including one virtual), and a whole host of soloists from across the world.
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Our music team has worked on titles from The Mandalorian to Star Wars to Harry Potter to Wish Dragon to Wonder Woman. We focus on adapting epic fantasy books into cinematic-style music albums. Our team of Hollywood professionals uses cinematic techniques—from screenwriting, to storyboarding and directing, to the post-production music process—aiming to give our fellow nerds and fantasy fans a cinematic experience of their favorite stories without inhibiting their own vision of what a film would be like. We are currently adapting The Black Prism and are opening the curtains through Discord to allow fans and curious minds alike an insider look into the adaptation process—from breaking down the books to building playlists to doing the work of composing.”
So how do they differ from Lisa, and can what she’s done be considered innovative? In other words, is Lisa the first IP owner to integrate music into the story itself? According to Lisa, the music is only an extension of the novels and is not required for reading. Therefore, they both exist independently, but are designed to complement one another, with some of the song lyrics seamlessly integrated into character dialogue throughout the books, and songs like Shells by the Sea (track one of the album), where the lyrics suggest longing—but not in a simple romantic sense.
It feels more like being drawn back to something you cannot fully understand—something ancient, something that feels familiar even when it shouldn’t. The repetition of imagery creates a hypnotic effect, almost like the tide itself, pulling in and out. That is originality. That is innovation. So unlike traditional book soundtracks, which are typically created by third-party composers after a book is published, this project features an original book score created by an author and developed alongside the novel. The music here was commissioned and is owned by the author herself.
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A NEW APPROACH.
While companies like The Black Piper create cinematic soundtracks inspired by books, Lisa K. Stephenson (née Jevasia) is introducing something new. So, she may not be the first to have music tied to a book, but she is the first to clearly position author-owned music integrated into the narrative, thereby creating an original book score. She isn’t competing in the same category; she’s created a better one.
When asked during an interview with Pebble Galaxy if she believes more authors are likely to emulate this, she says, “I think my work is definitely building something and preserving something that did not previously exist. I wouldn’t say it’s challenging anything at the moment because I doubt there’s suddenly going to be an influx of indie authors investing thousands of dollars to have music created for their books. I do believe, however, that traditional publishers, depending on the success I achieve, will seek to adapt this method of storytelling into their services. The downside to that is going to be them recouping those funds from the author.”
On its own, an original book score is not a moneymaker, but it does become valuable when you position it as IP and leverage, not just music. Indie authors are seeing less and less money when it comes to paperbacks, and while piracy is one reason, another is the increase in printing costs from companies like Amazon. A book priced at $12.99 on Amazon subtracts printing costs, which can be around $3.80, and then takes 40%, which leaves the author with the remaining balance.
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However, many readers complain about the price of books, with some stating that they should be free or less than $10, or else they will outright steal them. Some users on X have been quite bold in these statements and have shamelessly admitted to their actions on public platforms. A user by the name of Nora (@hiscoraline) disgracefully wrote, “I just found a site where you can read all the books you want on it without having to download them, and it has all sorts of books on there.” The post garnered over 3,000 bookmarks and 8,000 likes. Thieves live among us.
But here’s where things can take a turn for the better: brand and deal leverage, which happens to be the biggest upside. An IP creator with multiple format assets can negotiate better advances, production deals, partnerships, as well as speaking and brand opportunities. Lisa has also decided to take things a bit further by producing a ballet performance called The Snows of Khione Winter Kingdom in NYC through her non-profit, The Snows of Khione Ballet Academy, Inc. This allows for live performances of the music and introduces an additional revenue model for the author.
For publishers, it’s interesting, but not necessary, and will likely be recouped. For authors, it’s a game-changer and an opportunity to differentiate yourself in the industry.
ORIGINAL BOOK SCORE: an author-owned musical composition created alongside a novel, designed to function as part of the storytelling experience rather than as an external inspiration.
Mira Barr writes on literature, exploring the books that shape thought, influence decision-making, and reflect cultural shifts. Her work highlights both emerging and established voices, offering readers a curated perspective on reading as both leisure and intellectual investment.
