Jodie Cohen and Teri S. Lesesne

The Magic of Audiobooks: From Inception to Implementation

any of us learned to read while resting on tending recording sessions. Teri is a professor in the the laps of our parents or sitting on carpet Department of Science at Sam Houston State Msquares in front of our preschool teachers. University where she teaches courses in literature for We listened as someone read to us. Sometimes we children and young adults. She served on the Ameri­ followed along with our fingers tracking the words can Library Association’s inaugural on the pages as they were read aloud, and sometimes Committee for Excellence in Audiobook Production the reader tracked the words as he or she read to and chaired the committee in 2013. She has also writ­ us. Hearing the sounds of the words and listening as ten about audiobooks and reviewed audio for VOYA. someone read with enthusiasm and excitement made us fall into the story. In many ways, listening to some­ An Inside Look at Audiobook Creation one read aloud or listening to an audiobook are quite by Jodie Cohen similar. We can still follow along with the printed text, Choosing the Best Titles should we wish to do so, or we can close our eyes and Listening Library casts a wide net to create a broad enjoy the story as a skilled narrator reads it. As we and diverse list of available titles. Many titles are tak­ enter a tale woven by a storyteller, or “read with our en from in-house imprints at Penguin , ears,” we are centered on story. while others are acquired from outside publishers. Developing strong listening skills is critical; 85% Each season, the Editorial and Marketing teams at­ of learning is done through listening, and 45% of an tend the in-house launch, where editors describe individual’s average day is spent listening (Hoskisson the coming year’s titles. At this stage of the process, & Tompkins, 1991). Audiobooks have proven to be a we consider which titles will have strong potential valuable tool for improving student learning, and they to become great audiobooks. Often, when an editor benefit the literary and listening skills of students. In is excited about a newly discovered author or a text this article, we offer an inside look into how audio- with an engaging backstory, this information helps us are created, how they offer key benefits, and consider unique elements we might incorporate into how they might be used effectively. the audiobook. For example, when Phoebe Yeh, Vice Both of us, Jodie and Teri, have background expe­ President and Publisher of Crown, presented Breakout riences in the creation and implementation of audio- (2015) by Kevin Emerson, she mentioned that he was books. Jodie is a senior marketing manager at Listen­ a musician. When we created this particular audio- ing Library and has been working in the audiobook , we asked Kevin to record some original songs; industry for more than seven years. She has witnessed he agreed, and we included them on the recording. In every step in the process of creating an audiobook, another example, we learned that author Lance Rubin from helping read manuscript submissions to at­ is also an actor and sketch comedy writer. Lance’s

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n103-109-ALAN-Sum16.indd 103 4/28/16 12:51 PM humorous YA is written in a witty first-person Girl in Pieces (2014) by Isabel Quintero. Both caught voice, and because of his training as a comedic actor, our attention through rave reviews, and after we asked him to narrate his text. He brought the right the texts, we felt each had a wonderful voice and nar­ balance of humor, energy, and emotion to Denton rative quality that would work particularly well as an Little’s Deathdate (2015), which received an audio audio recording. starred review from School We often develop relationships with authors that Library Journal. continue long after the audiobooks are published. We also look for titles For out-of-house acqui- For example, Coretta Scott King/John Steptoe Award sitions, outside agents and Winner is very involved in the We that will appeal to young- publishers send Listening Need Diverse Books movement, and he partnered Library submissions from with us on our companion campaign, Hear Diversity. er listeners and help their lists, often a year We encourage you to visit www.heardiversity.com for support the development in advance of publica- powerful videos and interviews about the critical role tion. Their pitch provides audiobooks play in our shared commitment to diverse of their listening and background about the literature. author and the manuscript. We also look for titles that will appeal to younger language skills. Editorial Director Rebecca listeners and help support the development of their Waugh says that one of her listening and language skills. We are the longtime favorite parts of the job is publisher of series that have strong educator support, getting an early look at new books, even before re­ such as The Magic Tree House® (2001–2015) by Mary viewers. She says, “It’s fun to spread the news about Pope Osborne, Junie B. Jones (2003–2007) by Bar­ a great, new discovery” (personal communication, bara Park, and more recently, the Three-Ring Rascals August 14, 2015). (2015) by Kate Klise and M. Sarah Klise. The latter’s When a title has strong commercial potential or illustrated--book format presented a challenge is published by a well-established author, Listening in its adaptation to the audio form, but we felt that the Library may participate in an auction for audio rights. core story was so engaging and funny that it would This past year, for instance, we learned that Disney resonate with kids—and their parents or guardians. was going to publish a series of middle grade This is a perfect example of a collaborative acquisi­ retelling the saga. Rebecca Waugh recog­ tion; we discussed the challenges with the producer nized that because the new Star Wars movie (Abrams, and the authors and decided to implement a full-cast Burk, & Kennedy, 2015) would be released in Decem­ production with light sound effects. You can learn ber, this would be a popular subject. She also knew more about this audio on our website, which includes that three bestselling authors, Alexandra Bracken, interviews with the producer and authors, at: http:// Adam Gidwitz, and Tom Angleberger, had the talent www.booksontape.com/three-ring-rascals-peek­ and experience to write great books. Since our adult behind-tent-part-1-meet-ringmaster-producer-julianna­ audio imprint, Audio, is the wilson/. longtime publisher of the Star Wars franchise, our team was already very familiar with the Star Wars my­ Divvying Up the List thology. Because of this, we participated in a heated After our Editorial Team has acquired titles, we have bidding war and won the audio rights for the series our own launch meeting; this gives the producers and (Angleberger, 2015; Bracken, 2015, Gidwitz, 2015). marketing and sales teams an opportunity to become Movie tie-ins provide an effective way to draw familiar with the texts. The producers then meet and students’ attention to fiction, particularly for reluctant divide up the list based on two main criteria: a strong readers, but we also value literary gems. Our philoso­ connection to a particular title and/or a legacy with an phy is to publish great titles for all children, and our author they have previous experience with. Building Marketing team plays an integral part in that process. longstanding relationships with authors is part of our Last year, we acquired two notable titles, When I Was core philosophy. Our staff of ten producers has a com­ the Greatest (2014) by Jason Reynolds and Gabi, A bined 125 years of experience producing and directing

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n103-109-ALAN-Sum16.indd 104 4/28/16 12:51 PM audio productions, and some producers have worked the best voice for the role” (personal communication, with the same authors for over 15 years. August 11, 2015). Readers can watch a special video Once the list is divided among the team members, about the creation of The Diviners audiobook online at the producers read their assigned manuscripts and http://www.booksontape. collaborate with the authors on casting. As stated pre­ com/the-voice-january­ viously, some titles present special format challenges lavoys-divine-diviners- Listening Library’s philos­ when it comes to creating an audiobook. In order to audition/. Producers also ensure that the listener does not miss out on any part hire directors who help ophy is that there is one of the experience, the producers work closely with the guide the narrator’s perfor­ authors to translate elements, such as the drawings in mance and offer sugges- great voice for each and The Book Thief (2013) by Markus Zusak or the puz­ tions during the recording every book. zles in Escape from Mr. Lemoncello’s Library (2013) in order to match the tone by Chris Grabenstein. In such cases, the author may the author intended. Staff write additional text that can be recorded to translate producers direct sessions drawings, so a comparable experience is maintained. when time allows or when a project needs to be kept While producing Countdown (2011) and Revolution confidential. (2014) by Deborah Wiles, both of which include many photographs, Vice President of Content Production Producing an Audiobook Dan Zitt worked closely with Deborah not only to find Ensuring EvErything is PronouncEd corrEctly the right voices but also to assemble a soundscape Pronunciations are very important to the integrity of a team who could reimagine the images in the book into program. If there are mispronounced locations, words, audio soundscapes. These soundscapes are similar to or names, it will distract listeners. If there are incon­ background music, but they also contain sounds such sistencies in pronunciations, it creates a confusing as typewriters, crowds, and sirens to transport the experience. Before we enter the studio, our director re­ listener. Dan says, “This is one of the most complex views the text, culls a pronunciation list, and calls the audiobooks on the market, and without Deb’s help, it author to verify pronunciations. If the author does not would have been even more challenging” (personal have a definitive answer, we research via the Internet communication, August 11, 2015). or make phone calls to native speakers or local busi­ nesses. The director often starts by contacting the lo­ Casting: Finding the Right Voice cal . Sometimes, the narrator is involved; Listening Library’s philosophy is that there is one January LaVoy says, “I spend anywhere from a few great voice for each and every book. Dan Zitt says, hours to days doing research on dialects, regional­ “Each of our producers consults with our authors isms, any diseases or conditions the characters might about their books, whether we are talking about cast­ have and how those can affect speech. It’s important ing, pronunciations, or performance. Casting usually to locate what we call ‘primary source material’ when involves the producer discussing the type of voice that doing dialect work, finding a recording of or talking to they hear while reading the book, and then listening a person who is from somewhere” (personal commu­ to the author’s thoughts on what type of voice might nication, August 18, 2015). be best” (personal communication, August 11, 2015). The casting process may involve calling talent agents, in thE studio holding auditions, or suggesting someone who has Once the narrator(s) are selected, they are sent the read before. manuscript to read. Two-time Odyssey Award-winning For example, when casting ’s (2012) narrator prepares by reading and taking The Diviners, Dan spent two days auditioning over extensive notes to get a sense of tone and characters. 20 actors. Each actor was given four of the most While developing characters’ voices, Kirby says he challenging passages to read. Dan says, “After we “looks for clues from what the author has written. . . . listened through the hours of auditions, the director, Some characters have different postures and body po­ the author, and I all agreed that January LaVoy was sitioning” (personal communication, August 18, 2015).

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n103-109-ALAN-Sum16.indd 105 4/28/16 12:51 PM The microphones in studio are some of the most nounced words. Sometimes, the narrator goes back to sensitive on the market; we ask our narrators to wear the beginning of the sentence or paragraph to get the soft clothing, forego jewelry, and eat a light breakfast. tone and pacing correct. Typically it takes 2–2.5 hours The microphone will pick up a gurgling stomach, in the studio to get one finished hour of edited audio. so narrators must skip their morning coffees. Ac­ A day’s session usually results in three edited hours, tors and directors have to be aware of mouth noises depending on the reader’s efficiency and endurance. like popping p’s, dry mouth, lip smacks, and mouth clicks. There are lots of tricks Putting All thE PiEcEs togEthEr to eliminate these kinds The files from the recording session, along with Actors also need to of mouth noises. Dan Zitt the marked script, are sent to the post-production shares, “If someone’s mouth team. The sound editor listens to the raw audio and control their breathing, gets a little too wet or a little cuts out unwanted takes, mistakes, and stray sounds. too dry, we might ask them The editor also paces the recording to make the audio maintain a consistent to take a bite of a green flow naturally. The editor then proofs the entire rhythm, and keep the apple to help return a mouth recording while following along with the script to find to the proper PH balance, or and correct any mistakes. characters consistent. ask them to gargle with olive oil” (personal communica­ thE FinAl sAFEty nEt: QuAlity control tion, August 11, 2015). Ac­ The quality control team identifies anything in the tors also need to control their audio that differs from the text and comments on breathing, maintain a consistent rhythm, and keep the inconsistent pacing, sound levels, or pronunciation. If characters consistent. Some actors color-code their there are none, the master recording goes to replica­ scripts according to mood or character. Maintaining tion. Otherwise, the editor recuts the audio; occasion­ continuity for over 200 character voices spanning the ally, the actor may even be called back into the studio seven books in the series (1999–2007) was for pickups. especially tricky. Senior Executive Producer Orli Mos­ cowitz says, “As Jim Dale prepared, he created unique Getting the Word Out voices for each character and recorded brief samples to At each step of the process, the Marketing and Publici­ play back in the studio. Those lists and reference CDs ty teams see if there are any opportunities to help pro­ were invaluable!” (personal communication, August mote the titles. For instance, we recently recorded a 3, 2015). It helped tremendously—and Jim Dale special message with the narrators of Illuminae (2015) achieved a Guinness World Record for having created by Amie Kaufman and Jay Kristoff for Random House 134 unique character voices for one audiobook: Harry Children’s Book’s video trailers; readers can watch the Potter and the Order of the Phoenix. Another challenge finished product at www.IlluminaeFiles.com. Some­ that narrators face is making sure characters sound times we create videos, as we did with Jon Scieszka different, so listeners can easily distinguish them. who talked about why Audiobooks are Seriously FUN January LaVoy says, “That’s often where my direc­ Reading: http://www.booksontape.com/audiobooks­ tors come in—and I use everything in my arsenal by seriously-fun-reading-jon-scieszka-explains/. the end of a long book. Nasal quality, register, range, We also strive to provide useful resources and musicality, pace, accent” (personal communication, have created a number of campaigns, including www. August 18, 2015). ReadProudListenProud.com, a website dedicated to While recording, an engineer, a director, and sharing powerful LGBTQ stories to encourage under­ sometimes a producer are in the studio to oversee standing. We partnered with Jon Scieszka to create the production. The recording can be influenced by www.GuysListen.com to motivate boys to find the everything from the position of the microphone to the right literature for them. And our anti-bullying web­ chair the actor is sitting on. While the narrator is read­ site, www.TheBullyConversation.com, features titles ing, the director and engineer follow along, marking that concern the topic of bullying because we hope to up the text for any retakes to fix missed or mispro­ open a dialogue that will put an end to it.

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n103-109-ALAN-Sum16.indd 106 4/28/16 12:51 PM Benefits and Practical Applications of prosody. Readers who find text challenging need Audiobooks models who read fluently. Anyone who has spent time with beginning readers who attempt to sound by Teri S. Lesesne out words unfamiliar to them understands issues Colleagues remark from time to time that listening with fluency. The same is true for some older to an audiobook is some sort of shortcut, some way readers. Audiobooks are good models for how of cheating “real” reading. Reading with our ears is fluent readers sound decidedly not a shortcut, nor is it somehow cheating. when reading aloud. While the research on audiobooks is still relatively Prosody, the patterns Reading with our ears is nascent, there is sufficient evidence to suggest that the of stress and intona­ benefits of audiobooks tie directly to the classroom tion in reading, is also decidedly not a shortcut, and to achievement. Readers can find research about something we learn the benefits of audiobooks at the Audio Publishers with practice. Prosody nor is it somehow cheating. Association’s website (www.audiopub.org; direct link improves with the use to the research in references). Some of the research on of audiobooks. Read­ the benefits of reading aloud can be applied to listen­ ers hear the inflection of language; they learn how ing to audiobooks as well. The following is not an to breathe life into text. exhaustive list, but it does provide some rationale for 4. Finally, listening to audiobooks can increase the using audiobooks in addition to or alongside tradi­ amount of time spent engaged in reading. So many tional text. students are overscheduled beyond the confines of the school day. Time spent commuting, riding to Benefits of Audiobooks and from school on the bus, or traveling to practic­ Why are audiobooks of value in the classroom? Why es and lessons can be filled with audiobooks. Add­ offer readers the option of reading “with their ears”? ing audiobooks as a part of reading can actually Listening Books and their website, The Sound Learn­ increase the number of books students can listen to ing, (http://www.soundlearning.org.uk/benefits-of­ over the course of a year. audiobooks.aspx and http://soundlearningapa.org) gather resources, including research, so that educators Practical Applications of Audiobooks: Some Tips can understand the benefit and value of listening: 1. Provide students with choices for accessing texts: 1. Listening improves visualization. Readers create audio, e-books, traditional texts. Sometimes the scenes in their mind as they read. They see places curriculum does not offer much choice in terms of and faces; they watch action unfold as if it were specific texts. However, the mode in which stu­ a movie. For many, that movie never begins; the dents access that text can provide choice. Research world of the story remains static. Audiobooks, has already confirmed that choice plays an impor­ with their pacing, sound effects, voicing, and other tant role in student success (Allington, 2012), so aspects, can help those scenes from the book come offering audiobooks as one alternative is important. to life inside the reader’s mind. 2. Create a policy for developing the audiobook col­ 2. Listening assists those for whom decoding and lection. Adding audiobooks to the classroom and vocabulary deficits might be a stumbling block to school should be deliberate. Develop a reading. Whether they are second language learn­ policy about how funds will be obtained and ex­ ers or students who have comprehension problems, pended. A discussion of how to shelve audiobooks audiobooks can support readers. Correct pronunci­ is also necessary. Are they better shelved within ation of words can aid in vocabulary development. the audiobook or side by side with the Moreover, research indicates that listening compre­ traditional text? Would a separate audiobook col­ hension can be as high as two years above reading lection be more efficient? comprehension. Students can gain confidence in 3. An addendum to collection development for au­ comprehension with the addition of audiobooks. diobooks is necessary to develop familiarity with 3. Listening aids in the development of fluency and some of the tools of the trade. AudioFile, ,

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n103-109-ALAN-Sum16.indd 107 4/28/16 12:51 PM The Horn Book, School Library Journal, and VOYA Allington, R. L. (2012). Every child, every day. Educational Lead- all review audiobooks. Plus, awards and lists that ership, 69(6), 10–15. select titles based on the quality of the audiobook Audio Publishers Association. (n.d.). Research & articles on the benefits of audiobooks for young people. Retrieved from recordings are excellent resources for picking high- http://www.audiopub.org/Annotated%20Bibliography quality recordings. Some prestigious awards and %20of%20Literature%20on%20Benefits%20of%20 lists include: the American Library Association’s Audiobooks%20for%20Young%20People%20-%20Final.pdf. Odyssey Award (www.ala.org/yalsa/odyssey), Hoskisson, G., & Tompkins, K. (1991). Language arts: Content Young Adult Library Services Association’s and teaching strategies. New York, NY: McGraw Hill. Amazing Audiobooks (www.ala.org/yalsa/ Audiobooks Cited amazing-audiobooks), Association of Library Angleberger, T. (2015). Star wars: Return of the Jedi—Beware Services for Children’s (ALSC) “Notable Children’s the power of the dark side! [Recorded by M. Thompson; Recordings” (www.ala.org/alsc/awardsgrants/ Audiobook]. New York, NY: Penguin Random House/Listening notalists/ncr), The Audie® Awards from the Audio Library. Publishers of America (www.audiopub.org/ Bracken, A. (2015). Star wars: A new hope—The princess, the scoundrel, and the farm boy [Recorded by M. Thompson and audies-gala.asp), and the Capital Choices R. Soler; Audiobook]. New York, NY: Penguin Random House/ Audiobook List (www.capitolchoices.org/all_lists). Listening Library. Publishers have clips of the audiobooks on their Bray, L. (2012). The diviners [Recorded by J. LaVoy; Audiobook]. websites, so you can hear a clip of the narrator in New York, NY: Penguin Random House/Listening Library. advance of making a purchase. and Ama­ Emerson, K. (2015). Breakout [Recorded by F. Berman; Audiobook]. New York, NY: Penguin Random House/Listening zon often offer short clips to preview audiobooks Library. as well. Gidwitz, A. (2015). Star wars: The empire strikes back—So you 4. Provide the tools students will need to listen to want to be a Jedi? [Recorded by M. Thompson; Audiobook]. audiobooks: players, CD players, headphones, New York, NY: Penguin Random House/Listening Library. etc. Do not assume that all students will have play­ Grabenstein, C. (2013). Escape from Mr. Lemoncello’s library ers and accessories for listening to audiobooks. If [Recorded by J. Bernstein; Audiobook]. New York, NY: Pen­ guin Random House/Listening Library. the school has 1:1 devices, perhaps audiobooks Kaufman, A., & Kristoff, J. (2015) Illuminae [Recorded by O. T. could be loaded onto those and checked out for Dudley, L. Hoppe, & J. McClain, with a full cast; Audiobook]. home use. New York, NY: Penguin Random House/Listening Library. 5. Encourage BYOD (Bring Your Own Device). Klise, K., & Klise, M. S. (2015). Three-ring rascals [Recorded by Students with smart phones might be able to multiple artists; Audiobook]. New York, NY: Penguin Random House/Listening Library. download audiobooks for out-of-school listening, Osborne, M. P. (2001–2015). The magic tree house® series and public libraries are often a more-than-willing [Recorded by M. P. Osborne; Audiobook]. New York, NY: partner for audio access. Penguin Random House/Listening Library. 6. Last, model your own listening. It is always im­ Park, B. (2003–2007). Junie B. Jones series [Recorded by L. portant for students to see educators listening to Quintal; Audiobook]. New York, NY: Penguin Random House/ audiobooks and talking about their favorite audios Listening Library. Quintero, I. (2014). Gabi, a girl in pieces [Recorded by K. or narrators. Talk about how to develop those Garcia; Audiobook]. New York, NY: Penguin Random House/ listening skills to develop stamina when it comes to Listening Library. listening to longer works (the same stamina needed Reynolds, J. (2014). When I was the greatest [Recorded by J. B. for reading lengthier texts). If educators listen, Adkins; Audiobook]. New York, NY: Penguin Random House/ students are more likely to read with their ears as Listening Library. Rowling, J. K. (1999–2007). Harry Potter series [Recorded by well. Jim Dale; Audiobook]. New York, NY: Listening Library/Pen­ guin Random House. References Rowling, J. K. (2003). Harry Potter and the order of the phoenix Abrams, J. J., Burk, B., & Kennedy, K. (Producers), & Abrams, J. [Recorded by Jim Dale; Audiobook]. New York, NY: Scholas­ J. (Director). (2015). Star wars: The force awakens [Motion tic/Listening Library. picture]. Burbank, CA: Walt Disney Studios.

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n103-109-ALAN-Sum16.indd 108 4/28/16 12:51 PM Rubin, L. (2015). Denton’s little deathdate [Recorded by L. Wiles, D. (2014). Revolution [Recorded by S. Aswad; Audio- Rubin; Audiobook]. New York, NY: Penguin Random House/ book]. New York, NY: Penguin Random House/Listening Listening Library. Library. Wiles, D. (2011). Countdown [Recorded by E. Galvin; Audio- Zusak, M. (2013). The book thief [Recorded by A. Corduner; book]. New York, NY: Penguin Random House/Listening Audiobook]. New York, NY: Penguin Random House/Listening Library. Library.

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