CCBC-Net Archives
[CCBC-Net] random audiobook thoughts
- Contemporary messages sorted: [ by date ] [ by subject ] [ by author ]
From: smithhemb at aol.com <smithhemb>
Date: Mon, 13 Apr 2009 20:17:29 -0400
The increased number of children's and young adult titles in audiobook has opened a rich world to all of us. I've never felt that reading the book precludes listening to the audiobook, or vice versa. I usually do both--read and then listen to hear how someone else has interpreted the book.
I'm really curious to see?how a generation raised on (or with) audiobooks will write.? My daughter was a major audiobook?fan long before she could read (I started her on them when she insisted on carrying her picture book norms -- read me the whole thing in one sitting -- over to lengthy chapter books!).? And my perception was that she wrote early and well,?but read comparatively late/infrequently (in part because her decoding skills lagged so far behind the content she was interested in).? Now (as an 11 year old), she both a voracious reader and a voracious listener.?
Even before?we?started listening to audiobooks,?I remember?thinking that anyone who wrote or edited picture books should be compelled to read each one aloud before publication because there were?certainly some?where?obvious improvements could have been made -- and these were often clunky passages I didn't notice?while reading silently.
Long story short, my amateurish and?anecdotal take is that "voice"?may come more?naturally to a writer who has spent time listening to books rather than just reading them.??
Sue Hemberger Washington, DC
-----Original Message----- From: PamSHolley at aol.com To: gmkruse at wisc.edu; horning at education.wisc.edu Cc: ccbc-net at lists.education.wisc.edu Sent: Mon, 13 Apr 2009 4:48 pm Subject: Re: [CCBC-Net] More Odyssey Award Questions
Okay, I'll take a stab at answering some of the questions.
1. I'm also interested to know if the relatively new Odyssey Award Committee has incorporated the practice of having a previous chair or member or specialist come to one of the first meetings of the new committee to provide general procedural advice.
Each chair has handled this differently and I believe that Sharon Grover did have someone [Mary Burkey maybe??--Sharon, how did you do this?] come speak to the committee this year. When I met for the first time face to face with the entire 2009 committee, we talked about how we interpreted the criteria before we ever said the first word in our discussions. The Odyssey Committee is very fortunate in that Sue-Ellen Beauregard, Media Editor for Booklist, was on the initial task force that developed the award and has served
as a consultant to the committee ever since. I took advantage of all her knowledge on procedural matters, as well as that of Mary Burkey [2008 Chair], when I needed help with questions. Between the two of them, I received great advice and then could decide how best to handle an issue. To date there is no manual as the task force felt it was important to let the committee work for three years before the detailed procedures were spelled out.
2. So my question is about logistics: how much of an audiobook do you have to listen to before
> you know it's not award-worthy? Can you tell in the first 15 minutes?
> Are there fatal flaws? Or do you feel compelled to listen to all six
> hours of an audiobook you don't find distinguished?
How much of an audiobook is listened to varies between and among committee members. I like members to listen to at least the first and last discs. Those of us who are pretty anal tend to listen to the entire production, even when the audiobook is not a likely candidate for an award, as we keep thinking we're going to hear something marvelous that will change our initial opinion. So for me, I listen to the enti re work unless it's really horrible, which is not likely to happen among our noted producers.
Except for some of the read-alongs, which can be only 8 to 10 minutes, I think you need more than 15 minutes to make a decision, which is why it's important to listen to several discs. Occasionally a narrator will start off very quickly, but over the course of that first disc, they reach the right pace and the work is fine. Some producers have their narrators redo the first disc because of that problem. Would that initial fast pace keep a title out of contention? Maybe, but maybe not, which is why it's important to listen to the rest of the work.
The fatal flaws tend to be among the following:
* audible breathing to the point it's almost a gasp at the beginning of each sentence [and that often disappears by the 2nd or 3rd disc which makes the listening experience fine for a casual listener];
* a narrator who's just not a good match for the book, one with the wrong accent, or expressses no emotion, or has poor pacing of the material;
* repeats of phrases or words where it's obvious some "cutting and pasting"
went on that wasn't ever caught; * mispronunciation of words [one slip isn't major...at least to me...but continual mispronunciation would take a title out of contention];
* sibilance throughout the production [the hissy sound of an "s"];
* the narrator's inflection not matching how the character is supposed to sound, as in "he moaned," "she gasped," "he laughed derisively," and so on;
* long pauses that make one think the audiobook is over when it's just a break between chapters.
3. Second, are there audiobooks you have admired, even if you didn't like
> the print version of the book? In other words, are there books you feel
> are improved in audio?
There are some narrators who can take an okay book and make it very special, but the opposite of that is also true. I don't remember the exact title, but there was an autobiography [or maybe biography] or a young As ian girl that was on the BBYA list several years back and it was quite well written, but the narration on the audiobook was so flat and emotionless, that the book lost all its vitality.
And I'd like to add one other comment as there's been discussion about Jim Dale and Steven Fry, both of whom have narrated the Harry Potter series. My
problem now is that Jim Dale is so married to the Harry Potter characters, at least in my mind, that I have trouble when listening to his other productions as I keep thinking I'm hearing Harry or Hermione or a Slitherine.
The increased number of children's and young adult titles in audiobook has opened a rich world to all of us. I've never felt that reading the book precludes listening to the audiobook, or vice versa. I usually do both--read and then listen to hear how someone else has interpreted the book. And I'm so grateful that Teri and Connie have mentioned how audiobook listening is just an integral part of their lives. I never get in the car without an audiobook, just as it's impossible for me to cook dinner or iron without listening to an audiobook. When I garden, I put the CD player or the iPod in a ziploc baggie, otherwise I'll have it covered in dirt. Yet when I take a long bath, I have a book in my hand--if you're a reader, you want those words in as many formats as possible.
I hope this answers some questions--Ginny and KT, thanks for asking them.
Pam
****************************************************************************
***** Pam Spencer Holley Past President YALSA, a division of ALA Contributing Author, Books and Authors [Gale Cengage online database] Author for YALSA, Quick and Popular Reads for Teens [ALA Editions, spring 2009] 13064 Conquest Point Lane Hallwood, VA 23359 757-824-3233 pamsholley at aol.com
In a message dated 4/13/2009 3:51:17 P.M. Eastern Daylight Time, gmkruse at wisc.edu writes:
Perhaps someone will respond to KT's questions (below), each of which is intriguing. I'm also interested to k now if the relatively new Odyssey Award Committee has incorporated the practice of having a previous chair or member or specialist come to one of the first meetings of the new committee to provide general procedural advice.
All of this makes me want to hear Tim Ditlow comment about what he looks for while planning an audiobook production. Connie's reference to Mort Schindel and how he relied upon Augusta Baker for advice reminds me that Tim has been a steadfast producer of audiobooks in recent years.
BTW most of you don't know that I have nothing to do with the administration of CCBC-Net, or the CCBC, during these years. (Well, almost nothing. I usually chime in with Megan while we respond to a
"What IF?" question on the CCBC website.) I'm still very involved in the wider book community, on a couple of book award committees, in ALA and other organizations, and ways to be a volunteer on various book projects. I enjoy observing the CCBC, its director, and its staff absolutely flourish and thrive. My CCBC-Net messages this week were generated because I'm curious about the Odyssey Award.
Best, Ginny
Kathleen T. Horning wrote:
> ... So my question is about logistics: how much of an audiobook do you
have to listen to before
> you know it's not award-worthy? Can you tell in the first 15 minutes?
> Are there fatal flaws? Or do you feel compelled to listen to all six
> hours of an audiobook you don't find distinguished?
>
> Second, are there audiobooks you have admired, even if you didn't like
> the print version of the book? In other words, are there books you feel
> are improved in audio?
>
> Thanks!
>
> KT
>
> Kathleen T. Horning
> Director
> Cooperative Children's Book Center
> 4290 Helen C. White Hall
> 600 N. Park St
> Madison, WI 53706
>
> Phone: 608-263-3721
**************The Average US Credit Score is 692. See Yours in Just 2 Easy Steps!
(http://pr.atwola.com/promoclk/100126575x1221621489x1201450100/aol?redir=http:%2F%2Fwww.freecreditreport.com%2Fpm%2 Fdefault.aspx%3Fsc%3D668072%26h mpgID%3D62%26bcd%3DAprilAvgfooterNO62)
_______________________________________________ CCBC-Net mailing list CCBC-Net at lists.education.wisc.edu Visit this link to read archives or to unsubscribe... http://lists.education.wisc.edu/mailman/listinfo/ccbc-net
Received on Mon 13 Apr 2009 07:17:29 PM CDT
Date: Mon, 13 Apr 2009 20:17:29 -0400
The increased number of children's and young adult titles in audiobook has opened a rich world to all of us. I've never felt that reading the book precludes listening to the audiobook, or vice versa. I usually do both--read and then listen to hear how someone else has interpreted the book.
I'm really curious to see?how a generation raised on (or with) audiobooks will write.? My daughter was a major audiobook?fan long before she could read (I started her on them when she insisted on carrying her picture book norms -- read me the whole thing in one sitting -- over to lengthy chapter books!).? And my perception was that she wrote early and well,?but read comparatively late/infrequently (in part because her decoding skills lagged so far behind the content she was interested in).? Now (as an 11 year old), she both a voracious reader and a voracious listener.?
Even before?we?started listening to audiobooks,?I remember?thinking that anyone who wrote or edited picture books should be compelled to read each one aloud before publication because there were?certainly some?where?obvious improvements could have been made -- and these were often clunky passages I didn't notice?while reading silently.
Long story short, my amateurish and?anecdotal take is that "voice"?may come more?naturally to a writer who has spent time listening to books rather than just reading them.??
Sue Hemberger Washington, DC
-----Original Message----- From: PamSHolley at aol.com To: gmkruse at wisc.edu; horning at education.wisc.edu Cc: ccbc-net at lists.education.wisc.edu Sent: Mon, 13 Apr 2009 4:48 pm Subject: Re: [CCBC-Net] More Odyssey Award Questions
Okay, I'll take a stab at answering some of the questions.
1. I'm also interested to know if the relatively new Odyssey Award Committee has incorporated the practice of having a previous chair or member or specialist come to one of the first meetings of the new committee to provide general procedural advice.
Each chair has handled this differently and I believe that Sharon Grover did have someone [Mary Burkey maybe??--Sharon, how did you do this?] come speak to the committee this year. When I met for the first time face to face with the entire 2009 committee, we talked about how we interpreted the criteria before we ever said the first word in our discussions. The Odyssey Committee is very fortunate in that Sue-Ellen Beauregard, Media Editor for Booklist, was on the initial task force that developed the award and has served
as a consultant to the committee ever since. I took advantage of all her knowledge on procedural matters, as well as that of Mary Burkey [2008 Chair], when I needed help with questions. Between the two of them, I received great advice and then could decide how best to handle an issue. To date there is no manual as the task force felt it was important to let the committee work for three years before the detailed procedures were spelled out.
2. So my question is about logistics: how much of an audiobook do you have to listen to before
> you know it's not award-worthy? Can you tell in the first 15 minutes?
> Are there fatal flaws? Or do you feel compelled to listen to all six
> hours of an audiobook you don't find distinguished?
How much of an audiobook is listened to varies between and among committee members. I like members to listen to at least the first and last discs. Those of us who are pretty anal tend to listen to the entire production, even when the audiobook is not a likely candidate for an award, as we keep thinking we're going to hear something marvelous that will change our initial opinion. So for me, I listen to the enti re work unless it's really horrible, which is not likely to happen among our noted producers.
Except for some of the read-alongs, which can be only 8 to 10 minutes, I think you need more than 15 minutes to make a decision, which is why it's important to listen to several discs. Occasionally a narrator will start off very quickly, but over the course of that first disc, they reach the right pace and the work is fine. Some producers have their narrators redo the first disc because of that problem. Would that initial fast pace keep a title out of contention? Maybe, but maybe not, which is why it's important to listen to the rest of the work.
The fatal flaws tend to be among the following:
* audible breathing to the point it's almost a gasp at the beginning of each sentence [and that often disappears by the 2nd or 3rd disc which makes the listening experience fine for a casual listener];
* a narrator who's just not a good match for the book, one with the wrong accent, or expressses no emotion, or has poor pacing of the material;
* repeats of phrases or words where it's obvious some "cutting and pasting"
went on that wasn't ever caught; * mispronunciation of words [one slip isn't major...at least to me...but continual mispronunciation would take a title out of contention];
* sibilance throughout the production [the hissy sound of an "s"];
* the narrator's inflection not matching how the character is supposed to sound, as in "he moaned," "she gasped," "he laughed derisively," and so on;
* long pauses that make one think the audiobook is over when it's just a break between chapters.
3. Second, are there audiobooks you have admired, even if you didn't like
> the print version of the book? In other words, are there books you feel
> are improved in audio?
There are some narrators who can take an okay book and make it very special, but the opposite of that is also true. I don't remember the exact title, but there was an autobiography [or maybe biography] or a young As ian girl that was on the BBYA list several years back and it was quite well written, but the narration on the audiobook was so flat and emotionless, that the book lost all its vitality.
And I'd like to add one other comment as there's been discussion about Jim Dale and Steven Fry, both of whom have narrated the Harry Potter series. My
problem now is that Jim Dale is so married to the Harry Potter characters, at least in my mind, that I have trouble when listening to his other productions as I keep thinking I'm hearing Harry or Hermione or a Slitherine.
The increased number of children's and young adult titles in audiobook has opened a rich world to all of us. I've never felt that reading the book precludes listening to the audiobook, or vice versa. I usually do both--read and then listen to hear how someone else has interpreted the book. And I'm so grateful that Teri and Connie have mentioned how audiobook listening is just an integral part of their lives. I never get in the car without an audiobook, just as it's impossible for me to cook dinner or iron without listening to an audiobook. When I garden, I put the CD player or the iPod in a ziploc baggie, otherwise I'll have it covered in dirt. Yet when I take a long bath, I have a book in my hand--if you're a reader, you want those words in as many formats as possible.
I hope this answers some questions--Ginny and KT, thanks for asking them.
Pam
****************************************************************************
***** Pam Spencer Holley Past President YALSA, a division of ALA Contributing Author, Books and Authors [Gale Cengage online database] Author for YALSA, Quick and Popular Reads for Teens [ALA Editions, spring 2009] 13064 Conquest Point Lane Hallwood, VA 23359 757-824-3233 pamsholley at aol.com
In a message dated 4/13/2009 3:51:17 P.M. Eastern Daylight Time, gmkruse at wisc.edu writes:
Perhaps someone will respond to KT's questions (below), each of which is intriguing. I'm also interested to k now if the relatively new Odyssey Award Committee has incorporated the practice of having a previous chair or member or specialist come to one of the first meetings of the new committee to provide general procedural advice.
All of this makes me want to hear Tim Ditlow comment about what he looks for while planning an audiobook production. Connie's reference to Mort Schindel and how he relied upon Augusta Baker for advice reminds me that Tim has been a steadfast producer of audiobooks in recent years.
BTW most of you don't know that I have nothing to do with the administration of CCBC-Net, or the CCBC, during these years. (Well, almost nothing. I usually chime in with Megan while we respond to a
"What IF?" question on the CCBC website.) I'm still very involved in the wider book community, on a couple of book award committees, in ALA and other organizations, and ways to be a volunteer on various book projects. I enjoy observing the CCBC, its director, and its staff absolutely flourish and thrive. My CCBC-Net messages this week were generated because I'm curious about the Odyssey Award.
Best, Ginny
Kathleen T. Horning wrote:
> ... So my question is about logistics: how much of an audiobook do you
have to listen to before
> you know it's not award-worthy? Can you tell in the first 15 minutes?
> Are there fatal flaws? Or do you feel compelled to listen to all six
> hours of an audiobook you don't find distinguished?
>
> Second, are there audiobooks you have admired, even if you didn't like
> the print version of the book? In other words, are there books you feel
> are improved in audio?
>
> Thanks!
>
> KT
>
> Kathleen T. Horning
> Director
> Cooperative Children's Book Center
> 4290 Helen C. White Hall
> 600 N. Park St
> Madison, WI 53706
>
> Phone: 608-263-3721
**************The Average US Credit Score is 692. See Yours in Just 2 Easy Steps!
(http://pr.atwola.com/promoclk/100126575x1221621489x1201450100/aol?redir=http:%2F%2Fwww.freecreditreport.com%2Fpm%2 Fdefault.aspx%3Fsc%3D668072%26h mpgID%3D62%26bcd%3DAprilAvgfooterNO62)
_______________________________________________ CCBC-Net mailing list CCBC-Net at lists.education.wisc.edu Visit this link to read archives or to unsubscribe... http://lists.education.wisc.edu/mailman/listinfo/ccbc-net
Received on Mon 13 Apr 2009 07:17:29 PM CDT
