While I attended BEA, I had the opportunity to attend an audiobook writing seminar held by John Grace at Brilliance Audio. I’ve been reviewing audiobooks for a few years now, but I was interested in learning more about writing professional audiobook reviews. It was nice to see that audiobook publishers were becoming interested in providing educational opportunities for book bloggers. This seminar, which was scheduled at the end of the day on Tuesday, also gave me a much needed break from the BEA floor and gave me the chance to meet Danielle from There’s A Book in person. I wish I had written down the name of the woman who presented with John. Although I cannot remember her name, she has experience writing audiobook reviews professionally for several publications, including AudioFile Magazine. I was happy to come away from this seminar knowing that I’m already on the right track: commentary on narration and production are key to any audiobook review.
The reviewer at this seminar mentioned that she devotes at least half of her reviews to the audiobook’s narration. This threw me at first until I remembered that her average review length is less than 200 words. I devote at least a full paragraph to narration and its impact on the book as a whole. Depending upon the circumstances, I may write more. Book bloggers have a distinct advantage in that we can use as few or as many words as we feel necessary to cover an audiobook completely.
One question I had was about writing reviews of a narrator’s work when you’ve previously written several other reviews. How do you continue to say that this narrator did another bang up job and keep it fresh? I got a great tip from another person attending the seminar. Her suggestion was to read other audiobook reviews to see how other reviewers have expressed their opinions. This advice was not meant to incite plagiarism, but to be used to expand one’s audiobook vocabulary. I don’t read reviews of a book I’ve read but have not yet reviewed or plan to read in the near future. For me, that is an important part of keeping my voice mine. Those reviews, however, are just a small drop in the bucket. This advice was the perfect reason to pull out past editions of AudioFile magazine to read up on the reviews.
When I first started writing audiobook reviews, I expressed my feelings about them just as I did any other book. Not knowing what had to be a part of the review made that easy. It was the “write like nobody’s reading” approach. Luckily, I have always felt compelled to discuss the narration and that is the one thing I need as an audiobook review reader. Over time, I’ve expanded the introduction sections of my reviews to include not only the narrator’s name, but the audiobook’s publisher and length as well. One thing I’d like to look into is the possibility of including an audio sample. I’ve been thinking recently how nice it would be to provide readers with easy access to a sample. In fact, we talked about this at the narrator/blogger luncheon. It was an interesting conversation started when someone mentioned that Audible takes minutes 7 through 11 (if memory serves me correctly) from each audiobook to create samples for their website. I didn’t think ahead enough to begin with my audiobook reviews from this week, but I will work on that for upcoming reviews.
There is one area of audiobook reviewing that I do not feel comfortable addressing very often: production. I don’t have a background in audiobooks other than as a listener, so I’m unsure of exactly what good or bad production means. Some things are obvious. There was an audiobook where small snippets small snippets of dialog were repeated (repetition intended to illustrate how the issue I encountered). I noted that in my review. Other things I’m not sure about. For example, I frequently notice when the sound of a narrator’s voice changes slightly and then goes back to “normal.” I’ve been assuming that this is where a correction was edited in. If I notice it at all, is that bad production? I am really unsure, so this is not something I’ve mentioned before in my reviews. I would like to develop that area of my audiobook reviewing in the upcoming year.
That is the state of the audiobook review here at Literate Housewife. I’m curious to hear about your reviews.
- What elements do you include in your audiobook reviews? Are there any that you’d like to add?
- What standards do you have in place for audiobook production? I would really be curious to hear your thoughts on that.
Oh, providing a sample of audio with the review is such a great idea!! I had never thought about it but that would be so helpful
I’m glad you agree. It will be an interesting adventure to see how easy it is to get them.
I love your insights based on your time spent with the pros in NY. I guess I am basically on the right track too. I’ve never included the length (or pages) before, except if I make a comment on how short or long the thing is. I think I’ll start doing that. As far as production goes, I don’t really know much about it technically, but things I do notice are background noise (sometimes it sounds like they are recording at freaking happy hour!), voice changes (like you can tell when they have taken a break and come back), breathing of the narrator, etc. I also would love for every audiobook to add a comment at the end of every disc saying “this is the end of disc 3″, or “this is the beginning of disc 4″. I also love it when there is an interview with the author at the end. Great post!
I don’t know exactly why I started incorporating the time in my reviews. Not everyone thinks it’s necessary. It is something you can easily find on Audible, etc… To me it’s almost something I can use to keep track of my time.
Thanks for your thoughts on production. That’s really what I need to start doing. It wouldn’t be difficult to jot down things I notice at the end of each listen. I mentioned the “End of Disc X” added to the CDs once on Twitter and people responded that it would also be on the digital copy as well. It seems as though that could be worked around. If I’m really into a book, I don’t always notice that I’m on the last track and then it starts repeating itself again.
Author interviews are an outstanding feature. I agree completely!
The only time I mention production is if there are sound effects or multiple narrators. I’ve never noticed background noise, but I have noticed a change in the narrator’s voice (like you mentioned) and I just figured it was the nature of the beast.
I do sometimes wonder if the voice changes just go hand in hand with the audiobook. Some are worse than others, though. It makes sense to point that out.
Personally, I think it’s OK to mention pickups if they take you out of the story. They way I view it, just because you mention something that bothered you, or distracted you, doesn’t mean the production was bad. In fact, it’s possible the distracting thing was the best way to save some flaw, but it still is worth noting. For me, this is a critical distinction. I don’t view mentioning things like that as negative. I wouldn’t want to recommend something, than have the reader wonder why I didn’t mention something like that.
BTW, I believe the other presenter at the Audiobook Reviewing seminar was Amy Goldschlager. I wasn’t
there of course, but we talked a bit about it on Twitter. I would have loved to meet John.
You make a very good point about the pickups (thank you for the technical term!). They are much preferred to other issues. And you’re right. Just because something caught my attention doesn’t mean the production was bad. It’s just something I noticed.
Thank you also for the reviewer’s name! I will amend my post to reflect it. John is a really nice guy. Given his area of audiobook expertise, the two of you are like peas in a pod.
I feel the same way. I am just a regular person, what do I know about production? When I pick up an audiobook that sounds like it was recorded in a tin can, then I will say something. I guess we should be brave about mentioning the obvious breaks, like Bob suggests, especially when it happens a lot in the story.
I love the idea of sound clips and would happily incorporate them into my review if they were available!
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We are on the same page with production values and Bob’s comments. You could simply include a sentence about things noted about the production and leave the value judgments to others.
I’ll let you know how easy it is to get audio samples for reviews.
I think if it is something that you notice and that bothers you, mention it. You don’t have to CALL it “bad production,” just state exactly what it was, etc.
You’re right about the value judgments. They are simply things noted about the production. I’m really glad that we had this topic today. It’s given me a lot to think about.
Interesting post on how to write good book reviews. I have to say personally that it comes with experience. At the beginning, I did not even mention the narrator, then I would a few lines, and now I’m learning to give examples, and highlight one or 2 important elements of the narration.
In an oral production, I’m looking at how the narrator made it lively, and enhancing the very character of the text.
see my own post here: http://wordsandpeace.com/2012/06/26/so-you-want-to-review-audiobooks-audiobook-week-discussion-and-giveaway/
Experience is key. You’re absolutely right. I’m glad we discussed this today. No matter how long you’ve reviewed, there’s always something to tweak or think about.
So glad to hear the Brilliance session was helpful. I’ve often wondered about the short word limits of industry publication reviews, as I imagine that would be very difficult to squeeze within if you had a lot to say about a particular audiobook. One of the reasons I love reading blog reviews is that bloggers are so open about their experiences with the book, and part of why they can be is the lack of a word limit. Very glad!
And I love LOVE the idea of including an audio clip with the review. I think that’s a great way to provide an all inclusive experience – especially if you can find a clip that encapsulates a specific thing about the book you are trying to describe.
Less than 200 words is quite a limit. I think I would have to put more time into a much shorter review to craft it in such a way that it fit and was coherent. It’s an art, for sure.
I’ll be curious to see how easy it is to get access to audio clips when I start asking for them. Wish me luck!
I think the production values are an important part of the listening experience and therefore should be noted. I’m particularly annoyed by volume shifts – I have no idea why those happen, and I’ve given up on so e audiobooks because of that.
Being able to include an audio clip would be fantastic – it would really reinforce what you stress in your review.
I couldn’t agree more. Having to constantly fiddle with the volume control on my car or smartphone makes me crazy. I hereby vow to always include that kind of problem in all of my reviews here on out. Luckily there haven’t been too many.
Cross your fingers on the audio clips!
I do think there is a somewhat different vocabulary used when reviewing audiobooks and I, for one, am often at a loss when it comes to the ‘correct’ words. Reading professional reviews is a great suggestion – thanks so much!
I think all reviews will help with vocabulary. It’s just easier to pick up a magazine and have dozens at my disposal.
It might be interesting to make note of new vocabulary I especially like and then post on them. That could bring in more good ideas in comments.
I try to include audio excerpts with audiobook reviews. I usually link to them on the publisher’s Web site. Reviews for a blog are so much easier because of no word limit, definitely! I’m nervous about reading other reviews because of the possibility of unconscious plagiarism, but it’s probably good advice for building up a better reviewing vocabulary.
Great post, Jennifer and great comments as well.
It’s been delightful to see the cast of reviewers grow in the past several years, and it’s refreshing that you are NOT limited by word count. Bravo to you all for working so hard to serve your readers (and potential listeners) better – and especially for all the audiobook converts you’ve made! We appreciate it.
This is a link to an article by Mary Burkey that appeared in AudioFile Magazine in 2007. Among other things, it is useful giving the terminology of all of the various production quirks one may encounter in listening to audiobooks.
http://www.audiofilemagazine.com/features/fea1007.html#_lex008
Yes, Amy Goldschlager.
I’ve written regular reviews for Publishers Weekly and Kirkus, audiobook reviews for PW and AudioFile magazine, and currently write the audiobook column for Locus, the science fiction publishing trade magazine. The guidelines at the places I’ve written ask me to focus less on the book, and more on the audio experience and how it enhances the text. PW and Locus already have reviews of the book as text, and obviously, AudioFile magazine has a very specific audio focus. And, as mentioned, the word count I have is so tight that there’s not much room to spare on the book as text.
How did I learn to write with such a tight wordcount? It’s true that before I started reviewing audiobooks, I’d already had experience writing regular book reviews, which also have a fairly small wordcount (although slightly higher than audio reviews, generally). But I first learned to do it in 7th grade. I had an amazing English teacher, the son of 1/2 of Ellery Queen (and the cousin of the other half), who insisted we write 100-word and 50-word book reports. I enjoyed the challenge, but couldn’t quite see the point of it at the time. Now it’s one of my most valued skills, writing to word count.
However, I think as bloggers, you’ve got the luxury of writing long-form reviews, so I say, go for it. If your only experience of the book is as the audio, then sure, you’re going to be interested in the plot as plot. Some audiobooks are great because the book’s great. But if that’s why you like the audiobook, why should you listen to it instead of read it? Does the audio enhance what would otherwise just be an okay book? Does the audio detract from the book? Definitely take time to explore each half, and then the integration.
And I don’t have a background in audio production, either. Like others have said, if you notice something about the audio production that you like or are annoyed by, then it’s totally valid to discuss it. If it sounds tinny, that’s irritating. If you can hear the narrator breathing all the time, say so. If you love/hate the musical sting the CD publisher uses at the beginning/end of each disc, say so.
I’ve probably said a lot of things you guys already know. But if you have any questions you think I can answer, I’m happy to.
So glad you posted this question and what wonderful responses there are. All of them have valuable information for us hoarders of info out in cyber space. I started keeping notes, years ago when I first joined Audible. I bought a book and the narrator was to me, at least, so awful, and the books are written by a very popular author who I loved every book she wrote. I was so disappointed with the narration. I wanted to commit hari kari for wasting a precious credit on it. I’ll give a clue, the author’s first name is Elizabeth.
It can be difficult finding new ways to say how wonderful a narrator was when you’ve done a few reviews on them. It is harder to find ways of expressing constructive criticism. It’s hard to do, and some of the one’s I’ve done, I think they look like really nice people, and I hate to hurt their feelings. So I try to say how to change/improve their skills or overcome the one or two downfalls. I am open to narrators sending comments/email and asking for more detail, or to discuss my views. I believe in keeping lines of communication open. Thank God we are getting tons more of new narrators and some of them are spectacular.