Professional Documents
Culture Documents
Susan G. Baird
Acknowledgments
As in all such situations, there are a number of people and organizations that deserve a thank you for one reason or another. The following are mine: Oak Lawn Public Library, particularly Kathy and Lorraine; Robin Whitten of Audiofile for allowing me to review for her splendid magazine. Ive learned so much from reviewing audiobooks, from the magazine, and from Robin herself; The other journals and tools that youll find mentioned all were invaluable to me in meeting my audiobook responsibilities. And to my friends, especially Tom, who never (usually) let on that they tire of the reviews and booktalks of my latest audiobook finds; And, finally, many, many, many thanks to Dr. Don, my super typist!
Published by Highsmith Press LLC W5527 Highway 106 P.O. Box 800 Fort Atkinson, Wisconsin 53538-0800 1-800-558-2110 Susan G. Baird, 2000 Cover by Debra Neu Sletten All rights reserved. Printed in the United States of America. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher. The paper used in this publication meets the minimum requirements of American National Standard for Information Science Permanence of Paper for Printed Library Material. ANSI/NISO Z39.48-1992. Library of Congress Cataloging-in-Publication Data Baird, Susan, 1948Audiobook collections & services / Susan Baird. p. cm. -- (Highsmith Press handbook series) ISBN 1-57950-034-X (alk. paper) 1. Libraries--Special collections--Audiobooks. 2. Libraries--Special collections--Audiocassettes. 3. Audiobooks--Collectors and collecting.--United States. 4. Audiocassettes--Collectors and collecting.--United States. I. Title: Audiobook collections and services. II. Title. III. Series.. Z692.S72 B35 2000 025.17'82--dc21 00-009374 CIP
Contents
Introduction 1. A Brief History of Audiobooks 2. Planning Audiobook Collections & Services 3. Audiobook Selection Principles 4. Acquiring, Processing & Maintaining Audiobooks 5. Narrators & Narration 6. Public Service Policies & Procedures 7. Marketing Methods for Audiobooks 8. Evaluating Audiobook Collections & Services 9. Future Trends Appendices A. Audiobook Publishers & Distributors B. Suppliers of Audio-Related Equipment & Materials C. Books and Journals D. Audiobook Classics E. Childrens Audiobooks F. Young Adult Audiobooks G. Adult Fiction Audiobooks H. Adult Nonfiction Audiobooks I. Audiobook Award Winners J. Oak Lawn Public Library Selection Policy Statement Index 61 65 66 67 69 71 73 76 78 80 84 5 9 12 18 25 32 37 42 48 56
Some
books are so effective on tape that theyre arguably better heard than read.
The New Yorker
Introduction
For the serious reader, there never seems to be enough time for all of the books that weve discovered at the library or the bookstore. Even if we forsake television and the computer, all of our other responsibilities consume too much of our time, leaving us without an opportunity to read. The development of books on audiocassette has changed this. By using this format, it is now possible to listen to books while commuting, doing yard work, exercising, or doing any task that permits us to wear headphones. While listening is more passive than reading, it is no less enjoyable. And, the format is not a threat to reading. Listening, like reading, is a very solitary activity. However, it must not be forgotten that audiobook fans are, first and always, great lovers of books and reading. As audiobooks have increased in popularity, more and more titles have been produced. Libraries continue to add them to their audiobook collections, and circulation has risen each year. Because audiobooks appeal to many persons who previously did not use libraries, the availability of this format in libraries has increased the percentage of the community who now use libraries, representing another unexpected bonus. Library collections of audiobooks are greatly appreciated, since few people have the funds or desire to purchase them for themselves. For the audiobook listener, the news keeps improvingthe quality of the format is better, new titles are being released more rapidly, and some audiobook narrators are becoming celebrities because of their ability to bring a book to life.
Universal Guide
This book is intended to serve as a basic guide to those who are beginning an audiobook collection. Although the emphasis is on public libraries, many of the recommended procedures and policies can be applied in other types of libraries, as well as in institutions of various sizes. The core collection recommendations should be adaptable to any size budget and type of user. Much of what Ive included in this handbook is universal and should prove helpful to anyone working with audiobooks. I have included procedures, policies, and programs that I successfully tested in the Oak Lawn Public Library (IL), where I have responsibility for the development and administration of the audiobook collection and program. I have also included details of policies and procedures that we found did not work well. My goal is to share my experience with audiobooks, so that others who are developing or strengthening a similar collection and service can benefit from my experience.
6 Chapter Summaries
This handbook contains nine chapters. Chapter 1 includes a brief history of audio as it evolved from storytelling onward. The influence of the Library of Congress talking book program is highlighted. Finally, the Audio Publishers Association (APA) and its importance to the audio industry and libraries is outlined. In Chapter 2 you will find parallels between library mission statements and long-range plans that demonstrate how perfectly audiobooks fit into a librarys collection. Methods to gather patron information and actual patron comments on audiobooks are included. Statistics on the most popular audiobook subjects and genres close the chapter. Chapter 3 is devoted to the special factors that need to be considered in selecting and ordering audiobooks. The main criteria to bear in mind are: rent or buy; abridged versus unabridged; and fiction or nonfiction. Children, young adult and adult ideas are also outlined. Thoughts and possible compromises for some situations are offered. Narrators and accents are also included. Chapter 4 really gets down to the fine points such as: how often to order; whether to use a continuous order plan or not, and the thorniest issue (for librarians and publishers both) replacement of individual tapes. We also get into repairing versus returning problem cassettes. Sources for purchasing used audiobooks conclude the chapter. One of my favorite subjects is narration, and I cover this in some detail in Chapter 5. Narrators and the quality of their narrations are vital to audiobook popularity. I have summarized the various types of narrations and described some of the best I have heard. The place of celebrity names in this market is also discussed. Based on information from the American Library Association, audiobooks are not a frequent target for censors. Since the Oak Lawn Public Library established its audiobook collection in 1988, there has never been a censorship complaint. I have, however, provided sample forms and procedures for such an occurrence in Chapter 6. In addition, I have included other policies and procedures pertaining to our audiobook collection that might be of interest to other libraries. Chapter 7 is devoted to marketing the audiobook collection. This is much easier today than it was a few years ago, when people didnt know what audiobooks were. Learning about APAs Audiobook Month is also a valuable way to jump on a relatively free promotional band wagon. The same can be said of the many well-known awards that are presented to audiobooks. All of these are introduced in this section. I have included a modest list of program suggestions, and shared my personal experience in running a group that discussed audiobooks. Evaluation is an important element of every library collection and service, and I have produced some suggestions in Chapter 8. In addition to the more common procedures such as analyzing circulation statistics, I believe user surveys and interviews are valuable in refining the librarys collection development policy. To illustrate what can be learned from our users, I have
Introduction
included the results of a small survey of library patrons. Looking into the future is harder now than ever before, because we live in a time of vast and potentially swift changes. In Chapter 9, I have attempted to highlight what was new or evolving as I wrote this book. However, I do not claim to have any sort of crystal ball regarding the audiobook and its impact on future library services. I believe in its future, although I am aware that information and entertainment formats continuously evolve. I have also assembled several useful appendices containing current lists of audiobook publishers and distributors, sources of audiobook-related supplies and equipment, review journals, reference books, and lists of classics and award-winning audiobooks. I hope you will enjoy referring to this book nearly as much as I enjoyed putting it together. Happy audiobook collecting and listening!
1888
1940s Records are popular despite wartime shortages. 1979 Sony Walkman makes its way to U.S. from Japan and revolutionizes listening habits.
Talking Books
By an act of Congress, the National Library Service (NLS) for the Blind and Physically Handicapped (BPH) began offering recorded reading materials and playback machines to the blind in 1931. All materials were sent by mail and postage was free. The term talking books was adopted by the Library of Congress in 1932. In 1952, the NLS included juvenile materials in their holdings. People with other reading-related impairments were granted access to NLS resources in 1966. The service was not intended for people who did not have disabilities. A verification of need was, and still is, required to participate. The directive given to BPH narrators was to achieve
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linguistic neutrality, combined with warm humanity, good taste, and restraint. In the 1950s, independent of the NLS, phonograph records were made by authors such as Robert Frost, Dylan Thomas and T.S. Eliot. The authors read from their own works, and the recordings gained modest popularity. These are now great collectors items, and many have been reproduced into modern formats. Foreign language instructional tapes found a market with schools and libraries. During the 1960s, many self-help gurus broadened their audience by producing audiotapes of their lectures.1 Cassette tape players for cars and Walkman units for walkers and joggers contributed to cassette sales. Producers began looking for other content and applications, and a new way of reading was born. Initially these books were produced in an abridged form. Public radio featured some new audiobooks, which helped further promote this new format to the listening audience. Many agree that libraries really helped the audiobook industry in its early days. Libraries grasped the concept long before book and music stores in the U.S. added the format to their stock. Libraries unhesitatingly added audiobooks to their collections first as records then as cassettes. Abridgements were most common early on. Interestingly, Tim Ditlow, president of Listening Library credits libraries with supporting and helping young adult audiobooks survive.2 After businesses saw how popular and profitable audiobooks could be, some audiobooks were offered in retail stores. Today, retailers are still somewhat reluctant to stock many unabridged titles, but things are slowly progressing. And, there are even stores that specialize in audiobooks, and most of these have rental programs.
The production of audiobooks for young adults is not a new concept.The idea started in the 1950s when Listening Library began releasing audiotapes of novels that young adults preferred. Early titles included Lord of the Flies,The Martian Chronicles, and titles by Twain, Poe, and O. Henry. As the years passed, Robert Cormier, S.E. Hinton, and Judy Blume joined the ranks of authors whose books were very popular and appropriate in audio format for teens. These books were of exceptional quality and substance, and narrators could add drama to their readings.
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APA Membership Information
Audio Publishers Association 627 Aviation Way Manhattan Beach, CA 90266 Phone: 310-372-5046 E-mail : apaonline@aol.com
Audiobooks are a popular and growing format. As evidence, an APA survey undertaken in 1999 found that 21 percent of American households listen to recorded books. The listening is done 44 percent of the time in the car, 37 percent at home, and 16 percent while participating in some form of exercise. Additionally, 41 percent of people who listen to audiobooks obtain most of their books from the library. It is reported that from 1990 to 1998 their cumulative sales growth was 360 percent. Today, audio publishing is a $1.7 billion industry.3
Notes 1. Books for Blind and Physically Handicapped Individuals. Library of Congress Facts (Library of Congress, 1999). 2. Tim Ditlow, Young Adults and Audiobooksthe Lost Generation. Kliatt (January, 1999) pp. 4-5. 3. Growth of Audiobook Industry, APA Newsletter (March, 1999) p. 6.
Filling a Need
The audiobook is a major resource that is now considered part of core library service. In many libraries, audiobooks circulate more frequently than any other format, and libraries fill a major need by acquiring and circulating these resources, since they are often the only source in most communities.
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offer readers an opportunity to enjoy a good book during activities such as driving or exercising where it would be difficult or impossible to read a printed book. Most libraries also have collection development policies designed to complement their mission statements. Despite their different format, audiobooks should fit easily into existing collection development policies. As previously stated, audiobooks are available on virtually every subject, and they are produced for every age level or category of user. Qualitative standards developed for print publications are equally applicable for audiobooks. To illustrate this, consider the following collection development statement, which I believe is typical of those adopted by many public libraries. Sample Mission Statement: Materials selected for the librarys collection shall meet the educational and recreation interests and needs of the people of this community. To fulfill this purpose the library endeavors to maintain a collection of representative materials of permanent value and current interest.1 Regardless of the size of the library, there is nothing in this statement that should exclude audiobooks from the institutions collection. Audiobooks do contribute to the educational and recreational needs of the community, and quality productions are available that would be of both permanent value and current interest. By listening to an audiobook, young or beginning readers can avoid confusion about pronunciation and meaning. This can be the critical ingredient to improved reading skills confidence. I believe that audiobooks are not a substitute for reading, but are a way to read more at times when you cannot sight read. Audiobooks also offer the ability to listen to something youve read and loved and now want to hear. In some cases, people are inclined to listen to something that they would never read. Audiobooks invite people to take risks. They are often more willing to listen to a book on a difficult subject than to read it.
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audiobooks into the librarys overall plan, there is greater likelihood that policies and procedures will be consistent, and that duplications and conflicts can be avoided. Oak Lawn Public Librarys video collection development policy emphasizes educational or how-to subjects, but also purchases box office hits. However, we only buy them after prices come down, and some patrons are unhappy that we dont buy immediate releases and multiple copies. We apply a different policy in purchasing audiobooks. The task is less difficult, in my opinion, because of the availability of so many more quality audiobooks. There are fewer choices in video. Thus, we continue to build up the audiobook collection with classics, selected fiction, and nonfiction. In nonfiction, the important subject areas remain history, biography, self-help, and business. In fiction, I avoid romance and esoteric works as well as poorly written materials. However, I buy recreational reading such as mysteries, science fiction, westerns, and fiction (which doesnt mean highbrow, but simply well-written new fiction). There are many excellent books that arent considered romances, but they would certainly fill the bill for patrons requesting that genre.
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unabridged books in my lists, because unlike videos, libraries are not in significant competition with commercial businesses relative to the loan of unabridged audiobooks. While abridged audiobooks are sold through local bookstores, there are relatively few retail sources for unabridged audiobooks. You will find several different lists from which to choose: classics, adult, young adult, and childrens audiobooks. Many of these overlap, but I tried to put each title on only one list. There is a code for each of the companies that supply audiobooks, and I took care to suggest a variety of suppliers, rather than favor one firm.
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Many library publications, such as Library Journal, now include audiobook news, reviews, lists, etc. in their content. There are also a number of other sources that can aid in making wise selections. Please refer to Appendix C for additional selection tools.
Unique Considerations
There are several user categories that should be given special attention in planning the audiobook collection and services. Input from those members of the library staff who are involved in outreach to special user groups is very appropriate in planning policies and collections. One population example is the immigrant who needs resources to strengthen his or her English language skills. Although more publishers are producing English as a second language (ESL) print resources, they are still in limited supply. Moreover, audiobooks offer advantages that print resources cannot match. The ability to hear the pronunciation of difficult words greatly benefits those who are unfamiliar with the subtleties of English. However, the person who is seeking ESL resources will want books that are somewhat different than the typical listener. More foreign authors may be required, and accents will be a critical concern. Please see page 64 for a list of publishers of audiobooks in foreign languages. Another user category to be considered in planning are those persons with vision disabilities. Many libraries offer large print books, and many who have vision loss may be eligible for the NLS talking book service. Nonetheless, the blind are often heavy consumers of audiobooks, and their special needs should be considered in planning the collection. Still another category are new readers. More publishers are producing high interest/low readability resources for use by new readers, but they are in short supply. The unique characteristics of the audiobook makes it a valuable resource to these patrons. However, new readers require titles that are pertinent to their lives, such as employment materials, but which do not contain difficult or specialized language. Selection assistance should be sought from those individuals who specialize in reading instruction and adult learners.
Collaboration Opportunities
Audiobooks offer opportunities for collaborative planning with various departments in the library. Public relations endeavors are a good example. At Oak Lawn, we include a statement on our bibliographies whenever an audiobook version of a print edition is available. The large print area of the library is also an excellent location to promote audiobooks. Another way to promote the audiobook collection is by using stickers that can be placed on books, videos or even related music albums or soundtracks. The label simply reads Also available as an audiobook.
User Input
Good planning also requires user input. To gain this feedback I recommend a suggestion box be placed in a strategic area near the audiobook col-
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lection (in our audiovisual area, we have a suggestion box). Our library is also committed to doing periodic community surveys. Friends of the Library volunteers hand out surveys in a friendly manner, encouraging patrons to participate. We also run a survey in the librarys newsletter. Among the comments we received during the last survey were: Expand books-on-tape collection. Add textbooks on tape for learning disabled students. Reorganize audiotape section by type of book. Please catalog the books on tape that you have. Titles are extremely difficult to find. Im happy that the library has service for the visually impaired. Dont know what I would do without the library. Librarians in that section are extremely helpful. I have a difficult time selecting books on tape as the collection has grown so large (very good) but difficult to select. Compliments from a thirty-five year resident.3 Figure 2.1. Sample suggestions form from As a result of this particular survey, we have cataloged the nonficthe Oak Lawn Public Library. tion, using very brief and basic numbers. The fiction collection was divided by genres (mystery, science fiction, western, short story, abridged) and then alphabetized. All new audiobooks now have a new sticker. We also pass the survey results on to the librarys Board of Directors. I like to keep them updated because the collection is expensive and must Public Preferences compete for funding with other popular items. The Friends are also kept In 1999, an APA survey finds current on the popularity of this collection, since they initiated it and still the following specifics regarding popular genres within the contribute a considerable amount of money for additional purchases each audiobook format: year ($5,0007,000). 1. Book-based unabridged An audiobook collection fits perfectly into most libraries' collection fiction at 30 percent. development plans. After the decision to add audiobooks is made, details 2. Book-based fiction (both such as how and what to choose and what will fit with your library's comabridged and unabridged) munity demand must be covered. After this close look at one librarys realwent from 43 percent of the market in 1995 to 48 ity, Chapter 3 will cover the real nitty gritty about selecting audiobooks, percent of the market in including the differences in adult, young adult and childrens audiobooks.
1999.
Notes 1. Oak Lawn Public Library (IL) Mission Statement 2. Charles R. McClure, Planning and Role Setting for Public Libraries (American Library Association, 1987). 3. Oak Lawn Public Library (IL) 1998 Community Survey. 4. Growth of Audiobook Industry, APA Newsletter (March, 1999) p. 7.
3. General/Miscellaneous nonfiction decreased from 29 percent to 21 percent. 4. Children's audiobooks increased from 10.3 percent to 14 percent. 5. Language instruction programs held steady at 2 percent.
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A few audiobook producers cut corners by recording only short stories or original shorter works which are considered unabridged. Dont be misled! Ive noticed the term unabridged is very loosely used. Some audiobook companies are also following a practice adopted by a number of video producers. By putting less content on each tape, they force buyers to buy a set in order to obtain the entire movie or video.The best way to counter negative practices is to join with other libraries, and to work with professional organizations such as the ALA. Despite these problems, the demand for audiobooks continues to grow. Publishers Weekly reports that due to the increasing popularity of unabridged audiobooks, sales were 10.2 percent higher in 1998 compared with 1997.The major publishers are now releasing 2030 percent of new titles in both abridged and unabridged formats.2
down in all these categories as popularity continues to increase. I believe that if you base your decision on the cost per tape, unabridged titles would be less costly. However, some users prefer abridgments; others do not. Authors differ on whether to abridge. Some major writers, like P.D. James, Larry McMurtry and John Irving, will only sell unabridged rights to their books. Stephen King and Dean Koontz have relented and permit abridgments, but they want to personally have a hand in the cuts. Proponents of abridged audiobooks contend that they cost less, are often released simultaneously with the hardback book, and are sometimes the only format available. Unabridged advocates claim that they remain closer to the authors intent and writing style, have more durable packaging, and remain more traditional library fare (not like the Readers Digest Condensed Books). A compromise might be to begin a collection with abridged titles and then evaluate their popularity with your patrons. Another possibility is to try to keep everyone happy by adding both formats. Some libraries automatically purchase abridged audiobooks without first reading reviews. Conversely, they buy unabridged only after reading at least one favorable review. Some of my patrons find abridged audiobooks unsatisfactory because they lose a major part of the original story. When a book is abridged, the editors usually cut into thought, emotion, and character development. Unfortunately, this often greatly alters the authors style, or even worse, the intent and content.
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gram that features listening sessions. First, I have each person listen to the same audiobook, then I have them share their favorite passages with the group, replaying segments of the tape containing these passages. Following the listening sessions, I will ask them to explain why it was a favorite. They will also often point out how something could have been better presented. Another more advanced approach is to have each person play a favorite section of a book of their own choice. After playing the passages, open discussion by asking each participant to comment on one anothers choices. I found that these experiences help people learn how to listen better. It also introduces them to books they have not previously read or heard, and further broadens their reading and listening habits. Of course, these programs would be suitable for people of all ages, but I found that audiobooks are particularly appropriate for young adult programming. They will often be more attracted to audiobook discussions than general book discussions. Teens have also told me that when they participated in these programs they would often hear something they missed the first time, or they would gain another perspective as a result of the discussion. This is, after all, part of the enrichment that reading and listening to great literature is all aboutlistening, reading, and interpreting in our own ways, but benefiting from other perspectives. Selected Audiobooks for Teens from YALSA In her article, Recorded Books Raise Brave New World, by Aldous Huxley; read by Michael Reading Skills, Marie Carbo recommends York. Audio Partners; ISBN 1-57270-064-5; Unabridged. that a well-written book above the childs Down River, by Will Hobbs; read by Christina Moore. reading level should be chosen.4 The audioRecorded Books; ISBN 0-7887-1101-6; Unabridged. book can do what the child herself cannot The Mighty, by Rodman Philbrick; read by Elden Henson. doverbalize the printed words with propListening Library; ISBN 0-8072-7981-1; Unabridged. er pace and pronunciation. The student has Into Thin Air, by Jan Krakauer; read by the author. BDD a greater potential for success, since she Audio; ISBN 0-553-47867-2; Abridged (also unabridged). learns how to pace herself by deciding how Lives of the Presidents, by Kathleen Krull; read by John C. often to listen to a difficult passage. Brown. Audio Bookshelf; ISBN 1-883332-34-6; Abridged. Since some reading specialists believe Out of the Darkness, by Karen Hesse; read by Martha one learns better upon hearing rather than Mashburn. Listening Library; ISBN 0-8072-8012-7; reading, some schools are introducing Unabridged. audiobooks as an alternate way to study litParrot in the Oven, by Victor Martinez; read by Robert erature. In some cases, groups listen to an Ramirez. Recorded Books; ISBN 0-7887-2081-3; audiobook and then break for discussion. Unabridged. This is an excellent way to introduce differWalk Two Moons, by Sharon Creech; Read by Kate ent topics for discussion. Harper. Listening Library; ISBN 0-8072-7871-8; There are many exceptional audioUnabridged. books for young people, and the following Wasted, by Marya Hornbacher; read by the author. BDD list, reprinted with permission of the Audio; ISBN 0-553-52518-2; Unabridged. American Library Association, contains Weeping Willow, by Ruth White; read by Angela Jayne selections from the ALAs latest annual list Rogers. Recorded Books; ISBN 0-7887-0951-8; Unabridged. of Outstanding Audiobooks for Teens:5 Find each years list at the Young Adult Whistling Toilets, by Randy Powell; read by Johnny Heller. Recorded Books; ISBN 0-7887-0889-9; Unabridged. Library Services Association (YALSA) site: (www.ala.org/yalsa).
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acquiring award winners will simplify collection development. See Appendix I for award-winning titles in every age level, from children through adults. Notable Childrens Recordings from ALSC
The Association for Library Services to Children, a division of the ALA, produces this annual listing. Reproduced with the permission of the ALA.7
Bens Trumpet, by Rachel Isadora; Read by Charles Turner. Live Oak Media. Book and cassette. ISBN 087499-433-0. The Best Christmas Pageant Ever, by Barbara Robinson; Read by C. J. Critt. Recorded Books #95264. Chrysanthemum, by Kevin Henkes; Read by Meryl Streep. Weston Woods Studios. #KPRA369; Book and cassette. Door in the Wall, by Marguerite De Angelie; Ready by Roger Rees. BDD Audio; ISBN 0-553-52522-0. Eleanor Roosevelt, by Russell Freedman; Read by Barbara Caruso. Recorded Books #95284. Freak the Mighty, by Rodman Philbrick; Read by Elden Henson. Listening Library; ISBN 0-8072-7981-1. The Gardener, by Sarah Stewart; Read by Bonnie Kelly-Young. Live Oak Media; ISBN 087499-430-6. Book and cassette. The Great Fire, by Jim Murphy; Read by John McDonough. Recorded Books #95430. Jacob Have I Loved, by Katherine Paterson; Read by Christina Moore. Recorded Books #95433. John Henry, by Julius Lester; Performed by Samuel L. Jackson. Weston Woods Studios #KPRA377. Book and cassette. Joyful Noise, by Paul Fleischman; Read by B. Caruso, J. McDonough, C. Moore, and J Woodman. Recorded Books #95282.
Leons Story, by Leon Tillage; Read by Graham Brown. Recorded Books #95281. Moonchild, by Eloise McGraw; Read by Virginia Leishman. Recorded Books #95341. Rascal, by Sterling North; Read by Jim Weiss. Listening Library ISBN 0-80727896-3. Running Out of Time, by Margaret Peterson Haddix; Read by Kimberly Schraf. Listening Library ISBN 0-80728031-3. Sarny: A Life Remembered, by Gary Paulsen; Read by Lynne Thigpen. Recorded Books #95435. The Silver Chair, by C. S. Lewis; BBC Radio dramatization. BDD Audio; ISBN 0-553-52570-0. Storytelling Norwegian Tales of Enchantment; Performed by Judith Simundson. Makoche Recording Co. #SCD198. Rudy and the Roller Skate; Performed by Don Keding. Turtle Creek Recordings #TC 1009. Under the Mango Tree: Stories from SpanishSpeaking Countries; Performed by Elida Guardia Bonet. Zarati Press; ISBN 09663662-0-4. World Tales, Live at Bennington College; Performed by Tim Jennings and Leanne Ponder. Eastern Coyote; #ECP120CA (also on CD).
Making Returns
Look for publishers who will permit audiobooks to be returned for credit, if they turn out to be unsatisfactory in terms of quality of production or content. You would not hesitate to return a printed book if one of the signatures was printed upside down, and you need to establish similar standards if deficiencies occur in your audiobook purchases. Thus far, Ive not had a
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bad experience with any of the audiobook publishers/distributors relative to returns. Most will accept a return if it is technically deficient, but you may need to write in advance to get permission and shipping instructions. If you do get something that doesnt live up to your standards, send it back.
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salers do not stock every audiobook, and every audiobook publisher does not have an agreement with a distributor or wholesaler, you often have to deal with publishers, distributors, and wholesalers or jobbers in order to acquire the materials you need for your collection.
Acquiring
In my opinion, audiobooks are expensive compared to other library materials. In addition, audiobooks have smaller discounts. Some companies offer the best discounts to those libraries that agree to a standing order or continuous order plan. Be careful to read the fine print in the agreements advanced by the publishers. There are always titles that you would definitely buy, but there may be some marginal titles that you feel pressured to purchase in order to get the better discount, or to save yourself the trouble of informing the company that you do not want certain titles. Few libraries want to bother mailing back an unwanted title. All of these extra considerations may lead one to question the ultimate savings. Some companies offer up to a 60% discount if you subscribe to a standing order agreement, while others offer smaller discounts on individual orders. Generally, look for sales usually during the summer. I carefully watch for special sales promotions during this season. In 1998, a Library Journal/Cahners research survey of 486 public libraries found that audiovisual budgets had grown 53 percent during the previous five years, but the annual Library Journal budget survey found that library material budgets had only increased by 36 percent for the same period. Many librarians will acknowledge that budget allocations do not keep up with the demand for audiobooks.1
Placing Audiobook Orders
At my library, we buy as much as possible from a library jobber.When we cannot get something from our jobber, we will then go directly to the smaller houses.There are many times when I would prefer to go directly to the publisher, but it is very time-consuming. It is the policy of my library to combine our orders and send them to the jobber in order to maximize our discount. Audiobook publishers supply lists of new releases periodically.These vary from monthly to quarterly. It seems that a healthy number of releases come out each month. However, I only order two or three times a year. Our fiscal year begins in January, and in February or March I do a large order. I prepare a second one in August or September.We cease making new purchases November 1, which automatically produces limitations. I find that this method works fine and keeps our shelves brimming with new titles. Patrons will find appealing titles whether they vacation in the summer or midwinter. I would recommend that individual libraries do what's best for their collection, budget and other individual requirements.
Replacement Tapes
In selecting publishers, distributors or wholesalers, care should be taken to ensure your supplier can furnish replacement tapes. Library users can be hard on tapes, and they have been known to lose part of a set of tapes. Some cassettes may be of poor quality. Cassettes are also sensitive to magnetic fields and heat. Equipment can also eat the tape. In summary, it is almost a certainty that you will need to obtain a replacement tape for a multi-cassette set. The other alternative, of course, would be to throw away the balance of the set, which few libraries wish to do. Fortunately, most audiobook publishers will replace a missing cassette, as will some distributors and wholesalers. Unfortunately, company policies vary greatly. Some offer free lifetime replacements. Others will replace a damaged or missing cassette free of charge for only the first year and charge a fee thereafter. The worst companies offer no replacements. Some librarians (myself included) actively avoid doing business with the latter companies in an effort to convince them to change their policy.
Out of Print
One of the best features of audiobooks is they dont go out of print as fast as books. Because high speed duplicators are relatively cheap, many pub-
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lishers can produce a tape on demand. Many audiobook publishers even promote the fact that their materials never go out of print. As long as licensing arrangements can be made with the copyright holder, audiobook publishers can produce any book that will sell enough copies to recover the cost of narration and production. This flexibility allows a library greater opportunity to achieve a balanced collection. It is fairly common for a library that is adding a new format to emphasize the bestsellers, since it will yield greater circulation. While I have no objection to bestselling fiction and nonfiction, I would strongly recommend that funds should be budgeted to permit the librarys audiobook collection to include a representative selection of classics and books with literary value. These titles will remain in circulation long after the popularity of the bestsellers declines. The standard selection tools such as the Public Library Catalog and the Fiction Catalog published by H.W. Wilson can serve as guide to building a balanced collection. Not all of these titles will be available in audiobook format, but a significant percentage will. It is also useful to contact the audiobook publishers to determine whether they have any plans to produce audiobook versions of the classics and standards. Publishers are constantly seeking suggestions for new products, and they will welcome this question. At my library, I also rely upon our suggestion box for purchasing ideas. Our users are always willing to offer recommendations on materials that can improve the collection, and we rely upon their knowledge of the community and insight into future trends.
Budgeting
Although audiobooks are not cheap, they are certainly not the most expensive resource material purchased by libraries. The three package proposals I developed for consideration by our Friends in 1988 were $1,127, $2,333 and $3,277. Fortunately, the friends chose the largest collection, which included 78 titles. These were adult classics plus a few titles popular with young adults. There were no childrens titles. I would estimate that the cost of these audiobooks would be somewhat greater today, but audiobook prices have remained relatively constant. Depending on your discounts, this could be somewhat less. I usually purchase audiobooks about twice a year. The librarys budget includes one line item for audiocassettes, from which I must purchase both music and audiobooks. Since the Friends continue to supplement the audiobook collection each year, I dont have to buy too much with library money, perhaps $2,0003,000 annually. The Friends donate $5,0008,000 annually. I also add many review copies that I receive as a reviewer for AudioFile Magazine, and as a member of the jury for the annual Audio Publishers Associations Audie Awards. In seeking funding, I would recommend that you give your board, director or Friends group several options. I regularly review all the catalogs we receive, and then take the plunge.
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Another important consideration for libraries is packaging. The quality of packaging can vary greatly by company and by whether the titles are purchased in abridged or unabridged formats. Generally, the big name companies have good, quality holders for unabridged titles. However, some companies orient their product for single-use or personal users which means paper or thin vinyl cartons. Most abridged titles are also packaged in cartons that are completely unusable by libraries. Most libraries repackage abridged audiobooks in reinforced cases that are bought separately. The cover information and artwork can usually be trimmed and placed in a clear plastic pocket in the new cases. Generally, audiobook covers and artwork are very attractive. Covers range from elegantly sedate dark covers with text and few illustrations, to multicolored, elaborate covers with appealing artwork. This range makes a wonderfully diverse selection on library shelves. Often audiobook covers are the same as the hardback book cover, which often helps to promote the audio version. Many library supply houses sell heavy-duty bookpacks that are the best packaging for durability. They vary in size from a small paperback look-alike to much larger bookpacks that measure several inches thick. Cassettes are held securely in these cases, to reduce damage and loss. For large sets, the cassettes are secured upright with the delicate exposed tape placed downward in its bay. Both types have distinct pluses and minuses.2 The bookpack design allows the cover and spine information to be easily installed. The bookpacks can be shelved in various ways much like books. Shelving audiobooks depends on the type of shelves you use, space, your marketing and browsing methods. The outside cover must provide the standard author, title, narrator, summary of content, and a clear indication whether the audiobook is abridged or unabridged. (This is often very hard to find on commercial packaging.) The number of tapes and running time should also be shown. Be sure to alert the people in your librarys technical services departFigure 4.1. Sturdy bookpacks will protect audiobooks. ment that processors should avoid obscuring the information on the outside of the package. It is often very difficult to do this because the jacket is loaded with important information. The more sophisticated your audiobook patrons become, the more they will thirst for this information. There is one omission that I observe on many audiobook packagesthe year the audiobook was first published. The date of the original publication of the book and the production date of the audiobook are valuable and should be included.
Maintenance
One of the greatest problem areas in administering the audiobook collection is repair and maintenance. Although it is possible to order replacement tapes, there can be a significant delay until the replacement copy is received. This can be a real problem with very popular titles. Several weeks
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may elapse before an audiobook is returned to circulation. At my library we have solved some of these problems by making repairs ourselves if the damage is minimal. Not every damaged tape can be repaired, but you may be pleasantly surprised at what can be done. Patrons are extremely impressed whenever we are able to make these repairs. I think they see it as a great example of their tax dollars really being put to work! We put together, piece by piece, our own tool kit years ago. Kits from library supply companies will do the job splendidly. We began doing our own repairs in 1993. The person who repairs our tapes reports that she has gained greater skills with experience. She keeps a list of the repairs that she has made including date, title, tape number and type of repair done. She will repair a given tape only one time. When a second problem arises, she immediately orders a replacement. The main weakness that occurs with audiocassettes is the voice pad (the small foam rubber-pad that holds the tape against the record and playback head as it plays). The other problem area is the sounding board, which is the silver rectangle piece that fits below the voice pad. Usually these pieces are either worn out or missing and simply need to be replaced. This is a fairly easy job. We keep extra voice pads and sounding boards on hand from tapes that were discarded. This repair takes about 10 minutes. Another very common problem is a twisted tape. To make this repair we use a manual rewinder that is hooked on to the tape. Figure 4.2. Simple repairs can return audioThe tape is hand rewound as you watch for the problem spot. The books to circulation. tape must be carefully untwisted and then rewound. This job takes longer, from 10 to 30 minutes. Most cassette cases are screwed together, which makes opening them quite easy. If there are no screws, the case must be pried open and then taped back together again on three sides. (Do not glue it together.) Tapes are examined by looking for a rough spot or a discoloration. These signify a twist in the tape. If a tape is ripped or torn, how much damage has been done must be determined. If a lot of tape will be lost in repair, replacement is the only solution. The goal in repairing cassettes is to avoid interference with the story. If a small splice will suffice, a technician can use an audiotape splicer sold by several of the library supply houses. After the tape is spliced, it is test played to make sure it works and only a little of the storys continuity is lost. A mark is also placed on tapes that have been repaired. If there are additional problems with such a tape, you will know it needs to be replaced. The amount of usage determines how long the repair will last. It is very important to encourage patrons to tell staff about problems with tapes. They must be specific so staff can make the proper repair. If a tape sounds garbled, there is probably a twist in it. If the tape continues to flip back and forth like it is playing and then rewinding, the problem might simply be a little bend in the tape and an oversensitive tape player. No repair is needed. Labels will often fall off and need replacement. We keep a supply in the audiovisual department.
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When a tape needs to be replaced, it is the policy of our library to charge the patron $5.00. This is an across-the-board charge, and it avoids the necessity of having to determine how much each company specifically charges for repair or replacement. For very minor damage we do not charge the patron, nor do we apply this fee if the publisher will furnish a free replacement. We may run into greater or less expensive repairs, but we have found that costs average out. In all of our circulation policies and procedures, consistency is helpful and appreciated by patrons and staff alike. Charging for nickel and dime repairs causes bad public relations. We have produced this handout (shown at right) on how patrons can improve their audiobook listening. As mentioned previously in this book, damage does occur to audiobooks once they Hints to Improve Your Listening Pleasure leave the library. Water and heat damage If the tape doesnt sound or play right: affect the outer cases far more than the tapes. Although cases can be damaged when Check the cassette for damage to reels or case they are left outside or in a hot or wet car, If the tape wont move, hit it on a hard surface this generally causes less damage than carryon both sides. This frees the reels. ing the cassette in a pocket or purse. Rewind, then fast forward to free tight reels. We try to clean and repair the cases or replace inserts whenever possible. We will Dirty playing heads distort sound. Clean the also continue to circulate an unattractive tape heads. case if everything else is fine. Unlike most Try another tape machine. Maybe the problem other library materials, an audiobook goes is the player. out regardless of its used appearance. It has been our experience that a worn audiobook case seems to advertise the popularity How to Maintain Your Cassette Player of the tape, and circulation is not adversely Purchase a head cleaning kit and carefully folaffected by its appearance. low the directions. Be careful not to use too The popularity of audiobooks can somemuch alcohol cleaner or you can ruin your times be their undoing. Our copy of The player. Ladies of Missalonghi by Colleen McCullough Consider buying a demagnitizer. This reduces finally wore out. In evaluating what to do the magnetic noise your tape head adds to the with the damaged tape, which we had tape you are playing. repaired several times, we decided to see how many times it had been circulated. To our These simple, economical steps can greatly surprise, it had been loaned 124 times! To enhance your tape listening pleasure. me, this is a testimonial to the format as well as to the novel itself!
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must be unabridged. In addition to ISIS, Landmark, and Blackstone also have used audiobooks for purchase. I can offer no comment on buying used material, however, since I have never bought any. I'm hesitant to do so, because of the varying durability of cases and even the tapes themselves.
Notes 1. Norman Oder, Audiovisual Rising: Demand, Budgets and Circulation are All Up. Library Journal (November 15, 1998) pp. 30-33. 2. Judy Byers, Words on Tape (Audio CP Publishers, 1997) p. 35.
My Favorite Narrators
(In alphabetical order) Kate Binchy David Case (aka Frederick Davidson aka Edward Raleigh) Sally Darling Harlan Ellison George Guidall Mark Hammer Terrence Hardiman Peter Francis James Wanda McCaddon (aka Nadia May aka Donada Peters) Iona Morris Christian Rodska Barbara Rosenblatt Lynne Thigpen Samuel West Jeff Woodman
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Celebrity Narrators
In the early days of audiobooks, celebrities were frequently recruited as narrators. This helped to build sales and increase public awareness for the audiobook industry. Some of the major publishers such as Simon & Schuster, Harper, and Random House still use celebrity narrators. Keep in mind, though, that a narrator's Hollywood celebrity status does not necessarily make one a good narrator. Today, celebrities are still being featured, but the industry now has its own stable of highly talented readers who specialize in book narration. They may be unknown in Hollywood or Broadway, but they are stars in this special art form. A good narrator can add another dimension and depth to a book, and reveal meaning that the average person may have missed when reading the print edition.
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tening. The story is set in futuristic America. Ellison is brilliant in his interpretation of every characters voice. It might be the best audiobook Ive ever heard!
Accents
I must also provide a cautionary note regarding narrator accents: some patrons do not like non-American English accents. I would advise you to proceed slowly with British, Irish, Scottish, and Australian accents, until you gain better insight to listener preferences. Some companies note, on the box or in the catalog, whether the narrator has an accent. Generally, if a narrator is not completely sure of an accent, he or she should not attempt to create one. I think some of the worst narrations Ive heard are British narrator attempting to create southern, New York or other regional American accents. Some narrators specialize in regional characterizations, while others do period pieces with finesse. The specialists call upon their ability with accents as the need arises. For example, Barbara Rosenblatt (an American) does The Queen and I (a book about reversal of fortunes that visit Queen Elizabeth and her family) in a variety of high class, working class and Cockney accents, in a style rivaling real Brits.
Regional Audiobook Publishers
Audio Bookshelf (New England) August House (multiple regions) Leo Productions (Northwest) Various Indian Peoples (VIP) Publishing (American Indian)
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Outstanding Narrators AudioFile began to recognize outstanding narrators in 1997. To date, these
have included David Case, George Guidall, Martin Jarvis, Wanda McCaddon, Frank Muller, Christian Rodska, Barbara Rosenblatt, Jay O. Sanders, and Toni Morrison. Morrison initially recorded her own books in order to bring them to more people. British narrators often seem to have more radio experience in their backgrounds, which makes them especially suited for audiobooks. It is also common for the British to work in both adult and childrens books. For example, Christian Rodska has read Waughs Officers and Gentlemen, Delderfields To Serve Them All of My Days, Brough Girlings hilarious School Secretary on the Warpath, and the outrageous Switch Bitch by Roald Dahl. Some narrators use several different names to record. David Case is also Frederick Davidson and Edward Raleigh. Wanda McCaddon is Donada Peters and Nadia May. They may use varying names for different book series, publishers or specialties such as accents or historical periods. Many narrators say they love doing audiobooks because they get to read all the parts and make most of their own decisions regarding style and delivery. In audiobook narration, the most difficult decision is in deciding when to come on strong and when to hold back. In order not to overplay, the old axiom when in doubt, dont, seems a wise choice here. Evidence that a narrator is the perfect choice for a specific genre or an authors work is revealed when happy listeners come back for more materials read by that individual. Like movie stars, audiobook narrators are known for their repeat performances (e.g., Mark Hammer as Porfiry Rostnikov in Stuart Kaminskys glorious mystery series, and Barbara Rosenblatt as Dorothy Gilmans Mrs. Pollifax, to name just two). Patrons will listen to something they would never read if a favorite narrator does the book. There is even a fan club for Frank Muller, who is probably the most famous audiobook narrator today! He has recorded A Christmas Carol, The Horse Whisperer, Moby Dick, My Dog Skip and many others.
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book was fantastic. This nonfiction story about real people's greed, lust, prejudices, etc., set in Savannah, Georgia, is so amazing it seems unbelievable. In analyzing why the book had such an impact upon me, I concluded that it was the southern accent used by Woodman that greatly contributed to the effectiveness of the performance. I thought all the characterizations were great until Lady Chablis appeared. She was magnificent. I became so impressed by her role in the book that I subsequently bought her book Hiding My Candy in both hardback and audio. Her book was good but she still shimmered most in Midnight. I was delighted to learn that she would be appearing in Chicago, and I attended her booksigning. It turned out that she wasnt nearly the delightful creature created by both Berendt and Woodman. The next morning my coworkers could hardly wait to hear my review. We concluded that Lady Chablis was so perfectly and successfully created that she could never have met my expectations. Reflecting upon my experience, Im still very surprised that I could have become so enamored by a character in a book and a reading. But I have concluded that this is an indication of the power of the written word and the added influence of an outstanding narration. I very much doubt that either television or a movie could be as powerful.
Author Commentary
Publishers have begun an excellent new trend of having the authors (in their own voices) provide either an introduction or commentary about the book at its conclusion. This is a wonderful bonus that further enhances the whole audiobook experience. One example I can cite was the opportunity to hear the voices of the Delany sisters at the end of Having Our Say, which is the story of Sadie Delany, age 104 and her 102-year-old sister, Bessie. They share their amazing and candid thoughts about growing up African American in the United States.
Notes 1. Clarissa Cruz, Lets Go to the Audiotape. Entertainment Weekly (July 23, 1999) pp. 6061. 2. Words on Cassette 2000. Bowker, New Providence, NJ. 3. Robin Whitten, Performed, Not Read. AudioFile (January, 1988) p. 12.
Cataloging
For those libraries that are starting an audiobook collection, a simple categorization can suffice, since three quarters of the collection will probably be fiction. Later, if patron demand or collection size requires it, I would recommend very simple brief cataloging for the unabridged nonfiction. Our collection existed without cataloging for eight years. Eventually, audiovisual department staff assigned and added simple catalog numbers. Since audiobook listening is often a family activity, I would recommend that the term family listening be added to the spine labels of appropriate titles. This would act much like the video designation family fare, which helps parents find materials suitable for a variety of ages.
Shelving
Because of the popularity of the format, we estimate that more than 50 percent of the audiobook collection is in circulation at any one time. In the library where I work, all audiovisual material is located in one area of the library, but the childrens materials are shelved separately within the audiovisual department. The kids naturally gravitate to their own area until they get to the in-between age. If a young child is after an older video that is inappropriate for their age level, we try to redirect them. We follow that same policy for audiobooks. There is minimal shelf division. We separate the abridged and unabridged editions, and within these divisions we separate the fiction, nonfiction, and juvenile titles. Depending on the availability of materials, we will further separate the collection by genre. Of course, fiction is shelved in the same way as booksby author, then by title. Good clear labels and signs are provided to guide our patrons. When we first established the collection, it was primarily organized for browsing. A well-developed collection
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sells itself and encourages patrons to learn as they look. New titles should be so labeled and separated from the general collection. When the collection is new and growing, some patrons will go through all of the older titles, and they will be dying to see the latest acquisitions. We use spine labels for our young adult fiction titles, but they are intershelved with adult titles. Parents and caregivers choosing audiobooks for kids often gravitate toward what they know. Of course, these will be in your collection, but you need to guide them to new titles of quality.
Loan Periods
Unless the beginning audiobook collection is prohibitively small, I would recommend that audiobooks have the same loan periods as books. However, I believe it is appropriate to limit the number of books on tape that can be checked out at one time if you fear that the collection will be quickly depleted. As the collection grows, this restriction can be lifted. In our library the loan period for audiobooks is three weeks with an additional renewal of three weeks. Items may be renewed by phone or in person (unless they are overdue). Until we experienced some severe recent losses, we had no limits on the number of audiovisual items a patron could borrow. We now limit CDs and videos, but patrons can borrow an unlimited number of audiobooks. Because of the nature of the format, it is vital that the audiobook case be carefully examined before it is removed from the borrowers record. This procedure is to ensure that no tapes are missing or that the wrong tapes are being returned in the case, and it is the only chance the staff will have to know exactly who was the last person to borrow the item. This precaution will avoid or reduce confrontations with borrowers who may claim that tapes were missing when they borrowed the item. Never deviate from this procedure if you want your staff to be on firm ground in handling customer service problems. Outside of each case should be a clearly visible label stating how many tapes comprise each set. This is a wonderful aid for patrons and staff alike.
Interlibrary Loan
Our library has an unusual and unpopular policywe do not interlibrary loan our audiovisual materials. We require that materials that are loaned from our library be returned to our library and nowhere else. We developed this policy because of the potential for damage to audiovisual materials, which are more fragile than other items in the library collection. In the Chicago metropolitan area where our library is located, interlibrary delivery is via mail or delivery truck. All books and audiovisual resources are placed in open bins that are moved around in a walk-in delivery truck, and there is a greater likelihood of damage. Because we have this restriction, we are unable to get audiovisual materials via interlibrary loan for our patrons from other libraries. However, since our audiovisual collection is well-funded and we encourage patron suggestions for purchases, few (if any) of our patrons even notice that they cannot get audiovisual items from other libraries. We do, however, allow anyone with a reciprocal card that is in
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good standing to borrow audiovisual materials from our library if they make a trip to our library. To ensure that audiovisual materials borrowed from our library are returned directly to us, we have added a label on all our cassettes and other audiovisual resources that reads Only to be returned to Oak Lawn Library. No exceptions. This reminder works for most people, although on occasion we have to remind them if they dont follow the policy.
Rewinding
Not rewinding a tape can be a great irritation to the patron since the continuation of the story hinges on this. After many, many complaints we decided to charge patrons 25 for each tape that we had to rewind. In theory, this may sound fairly reasonable. However, we eliminated the policy after several frustrating months. The problem of enforcing the penalty and then having to physically rewind each tape took its toll on the staff. We quietly stopped enforcing the policy, and we now rely on a please rewind label on the inside of the tape case. The problem has decreased as people adjusted to this format.
Borrowers Fees
As with loan periods, I would recommend that libraries charge the same fines for audiobooks as they charge for print books. Very few libraries charge patrons a fee to borrow audiobooks. Only 1 percent of those surveyed several years ago by Library Journal reported that they charge a fee for this format. This compares to 14 percent who charge for borrowing videotapes.1
Security
We do not have security tags in our audiobooks. Our policy is to only use them for selected books, videos and some music CDs. Very few audiobooks are stolen. I learned this from conversations with staff in other libraries, and this was reinforced by discussions with our security systems sales representative. Retail stores that sell only audiobooks have the same experience.
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Since the same selection policies and procedures that govern most library materials also apply to audiobooks, one would assume that the same censorship issues would occur. But that assumption is wrong! In my 15 years of experience at the Oak Lawn Public Library, I have not had one attempt at censorship of an audiobook. I do not believe our library is unique in this experience with audiobooks. I searched through the American Library Associations Newsletter on Intellectual Freedom for the period from 1987 through 1999, and I found no mention of censorship threats involving audiobooks. I wanted to be sure, so I called the ALA office and learned that they had record of only one attempt at censorship involving audiobooks. It occurred in 1995 in Maryland when Not without My Daughter by Betty Mahmoody was challenged. The book involves a woman who left Iran and who faced the possibility of being unable to take her child with her. It was considered insensitive. However, it was not removed from the owning librarys collection. That is all I could learn of the incident. Im proud of this fine record for one of the best services offered by public libraries. However, I will explain how we handle items that are found objectionable by our patrons.
Responding to Complaints
When a person has a complaint about library material, it is the policy of our library to explain to the patron that the purpose of the library is to provide diverse materials to appeal to the varied tastes of the library community. An unemotional give-and-take conversation may suffice. However, if the person persists, we will use all of the tools and procedures recommended by the ALA. This will include reviewing our librarys mission statement, the Freedom to Read Statement, Library Bill of Rights, and the Statement of Professional Ethics with the patron. The individual is encouraged to read all of these items to understand the librarys purpose and position regarding its collection. Along with this, the individual is given a form entitled Citizens Request for Reconsideration of Library Material (see figure 6.1). The person is encouraged to review this and to complete the form if he or she still desires to request reconsideration of the material. A copy of our reconsideration form can be found at the end of this chapter.2 After the library director receives the reconsideration form, the Board of Trustees is informed and the director forms an ad hoc committee of three staff librarians to review the material in question. When the committee reaches a decision, the board and the complainant receive letters informing them of the committees decision. If the patron is dissatisfied with the findings of the staff committee, he or she may bring the objection before the Library Board. The complainant can request permission to address the board in the event the material is not removed from the collection. The boards final decision is based on the librarys material selection policy and staff input. I have never witnessed a complaint that required final action by the board, but I have dealt with several objections involving materials other than audiobooks. In handling any censorship attempt, it is crucial that the library have
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a well-developed procedure in place. An orderly process will deter arbitrary complaints and reduce emotional pressures from special interest groups seeking to impose their own standards upon the community.
Figure 6.1. Oak Lawns Citizens Request for Reconsideration of Library Material
Notes 1. Norman Oder, AV Rising: Demand, Budgets and Circulation are All Up. Library Journal (November 15, 1988) pp. 30-33. 2. Oak Lawn Public Library. Library Mission Statement and Other Documents to Support the Citizens Request for Reconsideration of Library Materials.
Industry Exposure
Libraries can benefit from the advertising sponsored by the APA and audiobook companies. Some indirect advertising also occurs when little snippets from popular audiobook titles are played on the radio, and in book or music shops. National Public Radio features many audiobooks, and NPR personalities such as Garrison Keillor and Baxter Black are regular audiobook narrators and authors. Parents can often get a taste of audiobooks when they attend a childs read-a-long in a local school or library. There are many ways in which the library can piggyback on these opportunities. I am always amazed how many people show me audiobook ads, or tell me about a new audiobook that was featured on television or radio. NPR has been a pioneer and a wonderful source for audiobook exposure. They will frequently mention new titles, and an excellent idea would be to place an audiobook on a small easel with a card noting Featured on NPR. Their feature for children, Rabbit Ears Radio, introduces kids to great literature, and the narrators include celebrities such as Mel Gibson. Libraries have received priceless help in promoting audiobooks from a variety of outside concerns. Audiobook companies and the APA have helped libraries to improve their marketing by running ads in strategic publications such as the New York Times Book Review, New Yorker, Armchair Detective, and Audiofile Magazine. Newspapers such as the New York Times, Chicago Tribune, Washington Post, Christian Science Monitor, USA Today and many others run features on audiobooks along with best seller lists and ads.1 Use your bulletin board to post these articles, and you will be surprised by the number of listeners who read the text, and place a reserve on the featured titles. Another sign that audiobooks have made it into the mainstream came
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via film critic Roger Ebert. In his column in the Chicago Sun Times on January 21, 2000, Ebert reviewed the movie Angelas Ashes. Ebert revealed that Frank McCourt honed his ability to share his autobiography at pubs over the years, from the easy familiarity you hear in the audiobook he recorded, the quickening rhythm of humor welling up from the description of grim memories. Some say audiobooks are not real books, but in the case of Angelas Ashes, the sound of the authors voice transforms the material with fondness and nostalgia. The whole sense of humor is mostly missing from Alan Parkers film version, which reminded me of Mark Twains description of a woman trying to swear: She knows the words, but not the music. On his television show, he went so far as to play a sample from the audiobook to illustrate his point. What a testimonial!
Figure 7.1. Ordinary shelving can be used to store and display audiobooks.
Audiobook Month
June is Audiobook Month, and you may want to use this opportunity for special programs and exhibits. Consider developing a news release for your local newspapers or radio stations. Use the posters (available from APA; for their current address see page 11) as well as the related buttons and postcards. AudioFile provides free issues of the magazine (contact information is in Appendix C). Many of these promotional items are available at book or audio shops and anywhere else audiobooks are sold. Our society seems fixated on best of lists. They appear in popular magazines, newspapers, radio, television, the net, and audiobook retail outlets. Dont be left out! Why not have your patrons share their favorite audiobook with you? Then use the information for a program, display, flyer or any other creative idea to help your library celebrate Audiobook Month. To put you in the right mood, here is my list of the best creative promotional ideas for the librarys audiobook collection. All can be easily and quickly done, at little or no cost.
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Creative Promotional Ideas for Your Audiobook Collection Sponsor a program on audiobooks, featuring an author, a narrator, or both. Play an appealing section of a new audiobook as a booktalk for kids and/or adults. Add audiobooks to your summer reading club. At your next orientation for teachers, suggest that they add audiobooks to their reading lists. Give them some suggested titles, or your best list. Sponsor an audiobook discussion group. (I did, and it worked very well.) See details below. Place audiobooks next to print, soundtracks or videos of the same title. Mention the availability of audiobooks in book talks. Advertise or hand out bibliographies of audiobooks at related library programs (science fiction or mystery programs, Great Books groups, concerts, lectures, etc.) Offer annotated bibliographies on current issues, featuring both print and audiobooks. Encourage staff to gain familiarity with audiobooks. No marketing tool is better than an enthusiastic staff. Hand out lists of new titles that people can take with them as a reminder.
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had an assigned book to study approximately three weeks before the meeting. Both companies agreed to cooperate. The first session attracted 10 people, including our local audiobook sales representative. It began very well. No one dominated the discussion, and everyone participated. Having someone present who was associated with the audiobook industry helped stimulate the participants. One of the outcomes of the discussion was a decision by the group to collaborate in developing a bibliography of recommended audiobooks. We subsequently published and distributed the list to other interested patrons. The group decided to meet once a month at a fixed time. Several people regularly attended every discussion group meeting; others came and went. As we got more used to the activity, I changed the format to stimulate greater participation. Initially, all of us would listen to a portion of the same title. In subsequent sessions I would ask the participants to bring in something they liked. Each would play a segment for us to hear, and we would then disFigure 7.3. Flyer promoting participation in an audiobook discussion group. cuss the narration, led by the person who chose the title. This broadened the scope of our discussions, as very individual and specific tastes emerged. The selections were usually fiction, but some nonfiction was introduced. It was very enjoyable experience, but the attendance stayed low, about five to seven. Since it was time consuming for me to prepare for such a small number of people, I decided to end the series after six sessions. I believe we all became better listeners from our experience, and several of the participants expressed their disappointment that the discussion could not be continued. I miss the interplay, and I may restart the program in the future, given the growing popularity of audiobooks. I recently noticed that one of the Borders book stores in the Chicago area did something similar. Various libraries have contacted me about my experience with audiobook discussion groups, and I did a poster session for the Illinois Library Association, but I am unaware of how many other libraries have implemented such a program. Along the same line in planning childrens programming, why not try short passages from audiobooks as a way to initiate discussion? This is an excellent way to introduce a new concept. It will also strengthen listening skills, and serve as an interactive activity that will permit children to share their impressions and observations based on what they just heard. It is also
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possible to lure reluctant readers by playing a bit of an audiobook for them. Afterwards, give them the option to either read the book or listen to the audiobook. Fortunately, more schools and teachers are using audiobooks to add variety to reading instruction. Videotapes are also a popular variation, but there are not as many classic stories that have been produced in video because of the greater production cost and the difficulty in converting some complex plots and language into film or video. It should be easier for teachers to find audiobook versions of many classics to incorporate into their lesson plans.
Notes 1. Horak, Terri. Audiobook Marketing Gets Bolder. Billboard (November 2, 1996) p. 63. 2. Rebates for Audiobook Month. Publishers Weekly (June 7, 1999) p. 43. 3. Rosenblum, Trudi M. APA lays groundwork for Audiobook Month. Publishers Weekly (June 7, 1999) p. 42.
Strategic Planning
Most libraries today have created strategic long-range plans to fulfill their mission in the community, and this is the major mechanism for evaluation of the librarys services. Through the efforts of the Public Library Association (PLA), a planning process was developed to help public libraries of all sizes evaluate community needs, and develop meaningful goals, objectives, and strategies. The process provided guidance to library administrators and trustees on how to effectively involve staff, representatives from the community, as well as administration and governance in creating practical strategies that could measure effectiveness. The best resource on this process is Planning for Results: A Public Library Transformation Process, by Ethel Himmel and Bill Wilson with the ReVision Committee of the PLA (ALA, 1998). By integrating the audiobook program in the librarys master plan, duplication of effort can be avoided, and more consistent policies and procedures can be developed. A useful handbook is, Planning and Role Setting for Public Libraries, by Charles McClure, et al (ALA, 1987). This manual identified a wide range of roles appropriate for public libraries, and this has been useful to many institutions that wish to focus their resources. It is particularly important for a library that is initiating a new service such as audiobooks. For example, limited funds may dictate that the institution identify the audiobook collection as serving a recreational role in the community. As time passes, the collection increases, and community needs evolve, the role of the collection can change.
Statistical Evaluation
Every library keeps statistics on its usage for several purposes, including allocation of the materials budget, staffing, space planning, and assessment of user trends. The audiobook collection is no exception. The following
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data needs to be collected and analyzed to effectively manage the program: Circulation by type (i.e., abridged and unabridged) Circulation by classification (i.e., fiction and nonfiction) Circulation by subclass (i.e., genre and subject) Circulation by age level (i.e., adult, young adult, and juvenile) Inventory or holdings Borrowers Losses, and damage Reference assistance Traffic by day of the week and time of day Program attendance Patron requests (satisfied or unsatisfied)
Output Measures for Public Libraries (ALA, 1987) is a good resource for establishing standard procedures to measure usage. Many state library agencies and library systems also have standards to ensure consistency and accuracy. The National Center for Educational Statistics (NCES) and the National Commission on Libraries and Information Science (NCLIS) are also active in the collection and interpretation of statistics. If your library has an automated catalog and circulation control system, it is possible to easily collect and analyze these statistics. Unfortunately, statistical reporting is not standardized in these automated systems, as yet. Moreover, many librarians are not fully aware of the potential of this statistical reporting. Managers who are responsible for the development and administration of the audiobook collection should review the options offered by these systems with their librarys technology specialist, or the vendors customer service staff. Development of an accurate statistical reporting package for the collection will make it easier to analyze usage, determine user preferences, identify gaps in the collection, and justify better funding. The PLA also compiles and publishes The Public Library Data Service (PLA, annual) which contains various statistics from many participating libraries. This comparative information can be useful in evaluating your librarys usage, collection, and funding.
Focus Groups
It is fairly common for many businesses to seek advice from their customers on new and existing products and services. One of the techniques they use is the focus group interview, and it can also be employed by libraries. This method involves selection and recruitment of persons who have some knowledge of the product or service. Specific questions are developed in advance of the group interview, and care is needed to avoid leading the participants toward a desired answer, and to avoid other forms of bias. For example, some questions appropriate for evaluating the audiobook collection might be the following:
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Do you prefer abridgments or unabridged works? What is your opinion regarding the loan period for audiobooks? If the Library received a bequest for purchase of nonfiction audiobooks, what subjects would you recommend? While staff may conduct a focus group, it is often best to engage someone who is not directly involved in the service being evaluated. This will permit greater objectivity, and the discussion leader can report the results to the staff who are responsible for the program. Often a skilled volunteer can be recruited to conduct the focus group session, and staff can review the questions in advance. The leader must have experience as a discussion leader, for it takes skill to keep the discussion on target, and gain participation from the entire group. It is also important to keep the group relatively small to encourage the sharing of ideas; ten to twelve persons would be ideal. A comfortable meeting room with coffee, tea, and soft drinks would be desirable. Businesses often pay participants for their time and ideas, but libraries should not need to allocate funds for this purpose. Most library users would be flattered to be asked for their opinions, and they would realize that their involvement would help strengthen the program to benefit the community.
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Do you have a favorite narrator(s)? If so, who are they? Top choices were George Guidall and Barbara Rosenblatt, followed by Frank Muller, Michael Prichard and Mark Hammer. Other popular narrators were: Prunella Scales, Mary Peiffer, Jeff Woodman, Ron McLarity and Lynne Thigpen. Each of the following narrators were also mentioned: Nelson Runger, Barbara Caruso, C. J. Critt, Richard Poe, Simon Brett, Ian McShane, William Gaminera, Judi Dench, Derek Jacobi, Aiden Gillan, Sian Phillips, Stephanie Beecham, Gene Eugene, Richard Ferrone, and Richard Davidson. Very few people reported that they had no particular favorites. Among the comments we received were the following: Ron McLarty reading Bill Brysons Walk in the Woods has great comedic timing. We laughed so much that we had to turn it off while driving so we wouldnt have an accident If the book is good, I dont care who the narrator is. Mark Hammer makes Stuart Kaminskys Russian characters really believable. He has a nice deep and even voice. If the author is good, I really enjoy hearing an author read his/her own work. I love Angela Lansburys voice. Most of my favorite narrators record for Recorded Books; but I also like Michael Prichard, who reads for Books on Tape. I thought the British author Alex Jennings did an excellent job reading The Dark Is Rising by Susan Cooper (Listening Library, 1999). On the childrens front, Stockard Channing is excellent in her reading of Beverly Clearys Ramona series, and Paula Denzinger excels at reading her own titles. George Guidall is my favorite, hands down! I like readers who can subtly change their voice to reflect the different characters, and read clearly and smoothly, with expression but not intrusiveness. My least favorite is Flo Gibson, because of her gravelly voice, which makes the reading hard to understand. I also do not like the reader of Prince of Tides, Frank something (Muller) because he gasps constantly; its very distracting. Our listeners, as the examples reveal, are not hesitant to voice their opinions on the quality of the narration. Although I can cite no study to verify this, my personal opinion is that this would be true of listeners in most libraries. I would have no hesitation in recommending brief surveys as a simple and effective means of evaluating any librarys selection policies. I previously mentioned the fact that some people do not like foreign accents. Here is one patrons comment on that issue: I have difficulty understanding anyone who is not American. I have difficulty following their narration, and the book loses all meaning for me.
Specialized Surveys
In support of my theory that audiobooks promote reading, I formulated a short painless survey that even the busiest patron couldnt turn down. The target question was simply:
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Have you gone on to read the book after you have listened to it? Or read other books by the same author? Or read books on the same subject? Actually I often read the book as I listen to the tape. Also, I do become interested in the authors other titles after hearing an audiobook. I have listened to books that I read previously, though usually books Id read years ago and wanted to read again. Listening to an authors book has inspired me to read others, especially Anne Tyler. After listening to an audiobook I have often gone out to buy the print version to read. I have also gone to see movies or plays after Ive listened to the audiobook. There are three different answers to your question. I broke this question into ab-c. (A) Sometimes I will read parts of it to savor certain passages. (B) Often. The audiobook is my first introduction to a particular author. If I like the book I will look for and read other books by the same author. (C) Most of what I read is fiction. Because of the nature of my job, I use abridged audiobooks to get a sense of some of the bestselling authors I would not necessarily read, or that I dont have time to read in print form. I have not read books which I have listened to in audiobook format, but I will listen to a good book for a second time. I have often used an audiobook as a springboard to borrowing other print materials by a particular author. Although I listen to both fiction and nonfiction, I would not read another nonfiction book on the same topic. I seldom if ever read the book after I have listened to it on tape. Similarly, I generally do not read books by the author whose book I have listened to on tape. But I frequently read books (e.g. travel, adventure, detective fiction) which cover the same subject matter as the books on tape. No to each question; thats why I enjoy audiobooks. My eyesight is too poor to see the small print anymore. While I was able to read, I would get books by the same author. A number of the respondents to my brief survey gave only a simple yes or no to the questions. However, an overwhelming majority of these individuals expressed their opinion that listening to audiobooks does promote reading, specifically reading titles by the same author. A similar proportion indicated that after listening to an audiobook on a given subject, they would be inclined to read other print books on the subject. It seems to me that those who love the written word almost equally love the spoken word. Both activities enhance or compliment each other and round out our lives as literate human beings. Concurrent Listening Audiobooks are increasingly a concurrent activity. People can listen to them while they are driving, exercising, or conducting any number of boring, repetitive tasks. While our economy has certainly improved our lives, it has also increased the number of service or supportive jobs and activities that do not require 100% concentration. For example, truck drivers are popular consumers of audiobooks. Every major truck stop offers audio-
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books for purchase, and there are many commercial lending services for over-the-road truckers. One of our librarys patrons told me that audiobooks give me a chance to get through boring tasks that require little concentration. Things that were a drag are, now, almost painless because I have the company of a wonderful book. That sums up the freedom and pleasure that readers get from listening to books. Being pleasantly engaged has even helped people to lessen onthe-job stress. Reduction of career-related stress is another benefit not often noted. As our society becomes more and more complex, stress will inevitably increase. Audiobooks provide relief. As another example of stress in our everyday lives, the phenomenon of road rage is growing major concern as traffic builds in our superhighways. Many of our patrons make the library their last stop as they begin a vacation. They must stock up on their coveted audiobooks before they leave town. We even have a special vacation loan with an automatic renewal as an added convenience. As you evaluate and assess the trends that are emerging in our society, it should be clearly evident that audiobooks can play a major role in making life safer and more enriching. In order to better evaluate our borrowers needs, I decided to add a related question to my questionnaire. Most of the literature or information Ive seen regarding this has stated that people generally in the car when listening. That proved to be correct for a majority of the respondents to my survey. A small percentage listened while they were doing miscellaneous chores around their home, a few listened while they rested, and a smaller number listened while walking, exercising, or gardening. The following were more specific in their answers: What are you doing while you are listening to your audiobooks? I listen while I am commuting to work on the train. Im usually driving while listening. Thus, the narrator must be easy to understand. I listen in the car on a long trip. They make the time fly by and keep me from getting sleepy. I listen at home while doing chores or while sewing or needlepointing. I listen while I am at work inputting data on my computer. An audiobook is a wonderful way to share a book; two people can discuss it as they move along. I love to work on my crafts and listen. Listening to audiobooks has helped me to improve my listening skills. My children and I listen as we travel or while we are in a cabin or tent and sometimes before bed. While driving through the mountains, we rely on audiobooks because in the mountains the radio is useless. I listen before I go to sleep at night, or if I awaken in the middle of the night. I listen to audiobooks while lying on my back, for I have back trouble.
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The most eloquent reply I received was:
I like to savor the details and writing style of the author of the audiobook. I usually listen to the tapes in the same type of quiet, secluded area in which I read books. I am probably in a distinct minority, but I cannot enjoy listening to tapes while I am driving or exercising. I get too distracted by the traffic or the exertion and I therefore do not get the maximum enjoyment from the tape. In summary, evaluation of the librarys audiobook service can be accomplished by assessing progress toward the goals set for the collection and the program in the librarys strategic long range plan, by statistically analyzing the circulation of the various categories of audiobooks, by keeping aware of national trends and surveys, and by local surveys and sampling. All these methods can provide answers to the staff, administration, and governance who need feedback on progress and patron satisfaction, budget allocation, space requirements and staffing. However, I believe that brief surveys and patron sampling can often reveal the details that can bring the service and collection to life. The anecdotal information we collect gives us the feedback we need to avoid or correct problems.
National Trends
Along with looking ahead, it is most gratifying to examine the phenomenal success of the audio bestsellers at the beginning of the millennium. The top place belongs to The Seven Habits of Highly Effective People by Stephen Covey, Simon & Schuster Audio, which has sold 1.5 million. Second place belongs to Men are From Mars, Women are From Venus by John Gray, Harper Audio, with sales at 1 million. Garrison Keillor captures third place for News from Lake Wobegon at 500,000600,000, and at 400,000500,000 is Anthony Robbins with Awaken the Giant Within, Simon & Schuster.1 These numbers are reminiscent of rock or rap bestsellers. The Audio Publishers Association has done some analysis of industry growth. In 1998, the APAs National Family Opinion consumer market survey revealed that 21% of all American households have at least one audiobook listener. This is 75% greater than the findings of a similar survey conducted in 1995. The members of an average household listen to 14 books on tape per year. Forty percent of these audiophiles obtain some or all of their audiobooks from their public library. The survey results also offered a profile of the average audiobook fan. They are college educated, professional, and 30+ years old. Men listen to more titles per year, but overall, there are more female listeners.2 Contradictions There are some contradictory trends in some of the studies that reveal the limitations of surveys. For example, some surveys show that fiction is more popular than nonfiction while others state the opposite. Another contradiction pertains to listening patterns. One would assume that listening patterns parallel reading patterns. Not all studies are in agreement. The classics are a prime example of this. Many people confess that they are able to finish listening to a classic, but they never could finish reading it. Interestingly, Michener is an author whose name keeps coming up in this regard.
Although more and more bookstores offer audiobooks, libraries still have very little competition from other suppliers. In my experience, library users are usually deeply appreciative of the collection, since it reduces their need to purchase or rent their own audiobooks.
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Popular Genres My surveys reveal that audiophiles tend to borrow other recorded books by the same author and narrator. Few (if any) other materials in the library collection have ever given libraries more ways to link genres, formats, authors, and artists than audiobooks. An evaluation of the most popular audiobook topics would include fiction at the top, especially mysteries. In nonfiction, the most popular topics include religious/spiritual, personal growth, business, and humor. The latter topic is a perennial favorite.
Notes 1. Rosenblum, Trudi. Top of the Reel. Publishers Weekly (June 5, 2000) pp. 54-55. 2. National Family Opinion Survey. APA Newsletter (March, 1999) p. 10.
Future Trends
The more technologically advanced we become, the more difficult it is to look ahead in some respects. However, I do believe audiobooks on cassette will remain with us a good while. They are still the best-operating, easiestto-use format. Despite that, audiobooks are evolving, and we shall glimpse several possibilities that are already on the scene. The popularity of CDs continues to grow along with other opportunities offered by digital recording. Audiobooks are also a growing presence on the Internet. More and more audio producers have websites to promote their offerings. The Audio Publishers Association (APA) has begun a library outreach committee which bodes well for audiobooks and libraries, and the committee's goals are outlined. There's even a website devoted to dialog about audiobooks. I close using predictions from people in the audiobook field. Also, I throw in a few of my own thoughts to end as I begandiscussing a format I love!
New Formats
Audiobooks on CD became a more prominent format beginning in 1998. However, I believe it is still difficult to determine whether CDs will overcome the popularity of cassette tapes. Another disadvantage of CDs for the spoken word is that the listener cannot easily stop the CD and then pick up the narration where they stopped. Manufacturers are trying to overcome the difficulty of marking the stopping place on a CD audiobook but this is proving costly and problematic. The publics demand for CD is still not sufficient to warrant an exodus from tape. Also, the cassette tape is a convenient size, and tape players are still less expensive than CD players. Smudges on a CD will also cause skips. Nonetheless, some audiobook firms are beginning to offer listeners a choice. Chivers, Recorded Books, and Books on Tape are major firms in the industry, and all three (among a growing number of others) began selling audiobooks on compact disc in 2000. A number of other formats are being considered as replacements. These include the Digital Compact Cassette (DCC) minidiscs. However, this is still fairly new, as are Digital Versatile Discs (DVD). They offer various advantages, including the capacity to record on both sides of the disc. Amazingly, DVDs can hold seven times as much material as a CD.1 This may be a great asset for unabridged titles. Despite these advantages, it will take many years before the playback hardware reaches a major share of the market. There are also mixed opinions on the future potential of downloading
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Future Trends
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audiobooks via the Internet. Users can access and download audiobooks on an ever-increasing number of websites. One major advantage of the Internet is that international titles are much more accessible. However, the ease of downloading and copying makes it attractive to pirates. The possibility that royalties and license fees are not being paid to producers and others is a growing concern. No one likes the thought that they may be unknowingly violating international copyright regulations. Firms are making progress in improving their capability to encrypt and protect intellectual property, and governments are cooperating to combat piracy, but more progress is needed.2 Online bookstores such as Amazon.com have also had a growing impact on the audiobook market by increasing the consumer publics awareness of the format. In fact, sales have been sufficient to permit Amazon.com to justify adding an audiobook editor to its staff. Because audiotapes can be produced on demand, a large quantity of titles do not need to be stocked. Valuable warehouse storage space is not required by either the online distributors or the producers. According to studies by the APA, if a companys site is well done and kept up to date, there is excellent selling potential. Some speculate that the Internet is the future for audiobook selling. Despite these predictions, the APA Newsletter (March, 1999) reported that shockingly few companies are using audio on these sites! An encouraging event for librarians responsible for audiobooks is the formation of a new outreach committee on library issues by the Audio Publishers Association. The committee is made up of librarians and representatives from the audiobook industry. The following is an initial list of strategies the committee plans to implement to promote the use of audiobooks in libraries: More advertising in Library Journal, American Libraries, and Public Libraries to inform librarians about the role and mission of the APA. Greater publicity about Audiobook Month. Involvement of more librarians in APA, including on panels and committees, along with seminars at ALA and PLA. Free audiobooks for promotional purposes in libraries, which could be used for drawings and contests, as well as for discussion groups. Allocation of a portion of the APA website devoted to the use of audiobooks in libraries, and a discussion list where librarians and publishers can communicate about issues. Periodic library questionnaires and surveys to find out how APA could interact with the library market. Increased discussion on issues such as packaging and replacement tapes.
Publicity to better inform libraries about the APA/Bowker Audio Title Selector website. The Audio Publishers Association continues to be an excellent barometer of trends and future developments. Through its publications, publicity, research, and cooperation with the library community, it will have a pos-
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itive effect on the development of quality standards, and a growing body of excellent productions.3 Audiobookcafe.com, an on-line magazine, began in February 2000.4 I highly recommend a visit to where spoken word is spoken about. This delightful site includes new, rental, and used audiobooks for sale, downloadable audio samples, special features and reviews, staff picks, chat rooms, Caedmon, and many other goodies. Profiles of narrators, authors, and particular books are included. Best of all, small publishers and lesserknown titles are particularly sought out.
Future Trends
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and further promote e-books to new readers. What all of these present and upcoming technologies will mean to reading, listening, and audiobooks is anyones guess. In my opinion the wisest course would be to continue enjoying the wonderful world of audiobooks. But keep your ear to the ground and your eye on the world of computers. New technological developments occur daily. Ten years ago, few thought we would be going around with earphones stuck in our ears, listening to the latest bestseller or classic book.
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Richard Simtob of Talking Book World states, Current trends are better quality audiobooks, better narrators, quicker release dates. Future trends are wider availability of product through more retailers and through the Internet. The wish list of Larry Mallach of Borders: Packaging that can be displayed easier. Some titles have oversized boxes while others do not; standardized pricing; focus on formats. There are currently too many choices (abridged, unabridged, cassette, CD, etc.).
Advantage of Audiobooks
The continuing advantage that audiobooks have is the relatively low cost of cassette tape and players. Although computers are declining in price, and new technologies hold considerable promise, the availability of the cassette player in cars and homes makes it likely that this format will continue to be popular for the near future. The cassette player is reasonably durable, and a set of earphones permit the individual to listen to good works by outstanding narrators with absolute privacy. What could be better!
Notes 1. Crawford, Walt. Up to Speed on DVD. American Libraries (September, 1999) p. 7174. 2. Hilts, Paul. Redefining the Book. Publishers Weekly (June 7, 1999) p. 34. 3. Rosenblum, Trudi. APA Launches Audiobook Job Market. Publishers Weekly (September 6, 1999) pp. 36-37. 4. Rosenblum, Trudi. Audiobook Magazine to Debut on the Internet. Publishers Weekly (January 3, 2000) p. 37. 5. Cherry, Bob. Will Libraries Want Their MP3? Library Journal NetConnect (Spring, 2000) pp. 8-9. 6. Zeitchik, Steven M. Web Site Credited for MP3 Literature. Publishers Weekly (September 13, 1999) p.34. 7. Burk, Roberta. Dont Be Afraid of E-books. Library Journal (April 15, 2000) pp. 4245. 8. Dorman, David. The E-book: Pipe Dream or Potential for Disaster? American Libraries (February, 1999) pp. 36-38. 9. Rosenblum, Trudi. Audiobooks at the Millennium. Publishers Weekly (January 3, 2000) p. 35-37.
Appendix
A
80 Wood Lane London W12 OTT England E-mail: radio.collection@bbc.co.uk URL: www.bbcshop.com/bbc_shop/ Format: abridged Subjects: childrens, classics, fiction, mystery, nonfiction, drama, history, sports, travel
Audio Bookshelf
174 Prescott Hill Rd. Northport, ME 04849 Ph: 800-234-1713 Fax: 207-338-0370 URL: www.audiobookshelf.com Format: unabridged Subjects: childrens, classics, fiction, nonfiction, biography, drama, history, poetry
5858 Wilshire Blvd., Ste. 200 Los Angeles, CA 90036-4521 Ph: 800-266-2834 Fax: 213-939-6436 E-mail: audiobooks@earthlink.net URL: www.audiosource.com Format: abridged and unabridged Subjects: fiction, mystery, science fiction, nonfiction, biography, history, personal growth, spiritual
August House
Audio Literature
370F West San Bruno San Bruno, CA 94066 Ph: 800-383-0174 Fax: 650-580-0235 URL: audioliterature.com Format: abridged and unabridged Subjects: great variety, including fiction, nonfiction, self help, spirituality Distributor: Publisher's Group, Inc., 1-800-788-3123
P.O. Box 3223 Little Rock, Arkansas 72203-3223 Ph: 800-284-8784 Fax: 501-372-5579 E-mail: ahinfo@augusthouse.com URL: www.augusthouse.com Format: abridged Subjects: childrens, folk tales, humor, multicultural, storytelling
22 King St., P.O. Box 659 Hampton Falls, NH 03844-2414 Ph: 800-251-8726 Fax: 603-778-9025 E-mail: tombeeler@aol.com Formats: abridged and unabridged Subjects: classics, fiction, mystery, suspense, western, nonfiction, personal growth
Audio Movies
8295 Happy Camp Rd. Moorpark, CA 93021 Ph: 805-529-4905 Fax: 805-529-5120
2709 Water Ridge Pkwy. Charlotte, NC 28217 Ph: 800-775-1800 Fax: 704-324-8989 E-mail: btinfo@baker-taylor.e-mail.com URL: www.baker-taylor.com Format: abridged and unabridged Subjects: all
BBC Radio
BBC Radio Collection, Rm. A3132 BBC Worldwide
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Subjects: classics, fiction, fantasy, mystery, romance, suspense, western Format: abridged and unabridged Subjects: classics, fiction, mystery, nonfiction, personal growth
Hay House
P.O. Box 5100 Carlsbad, CA 92018-5100 Ph: 800-654-5126 Fax: 800-650-5115 E-mail: hayhousesd@aol.com URL: www.hayhouse.com Formats: abridged and unabridged Subject: personal growth, spirituality
P, D
Library Services 1609 Babcock St., P.O. Box 7900 Newport Beach, CA 92658 Ph: 800-541-5525 E-mail: botlib@booksontape.com URL: www.booksontape.com Format: abridged and unabridged Subjects: childrens, classics, fiction, mystery, nonfiction, biography, history, personal growth
Dove Audio
Brilliance Audio
P, D
New Star Media 8955 Beverly Blvd. Los Angeles, CA 90048 Ph: 800-368-3007 Fax: 310-247-2924 URL: www.doveaudio.com Formats: abridged and unabridged Subjects: childrens, classics, fiction, mystery, science fiction, western, nonfiction, biography, personal growth
1704 Eaton Dr., P.O. Box 887 Grand Haven, MI 49417 Ph: 800-648-2312 E-mail: service@brillianceaudio.com URL: www.brillianceaudio.com Format: abridged and unabridged Subjects: classics, fiction, Harlequin and Silhouette Romance Series, mystery, suspense, nonfiction, biography
HighBridge Co.
1000 Westgate Dr. St. Paul, MN 55114 Ph: 800-782-5756 E-mail: highbridgeaudio@ amertrade.com URL: highbridgeaudio.com Formats: abridged and unabridged Subjects: childrens classics, fiction, mysteries, Star Wars, nonfiction, biography, personal growth, Prairie Home Companion
Highsmith Inc.
W5527 Highway 106 PO Box 800 Fort Atkinson, WI 53538-0800 Ph: 800-558-2110 E-mail: service@highsmith.com URL: www.highsmith.com Formats: abridged and unabridged Subjects: childrens, classics, fiction, mystery, western, nonfiction, biography, personal growth
P, D
P.O. Box 1450 Hampton, NH 03843-1450 Ph: 800-621-0182 Fax: 603-929-3890 Format: unabridged Subjects: classics, fiction, mystery, romance, nonfiction, biography
Harper Audio P
Commuter's Library
P.O. Box 3168 Falls Church, VA 22043 Ph: 800-643-0295 Fax: 702-237-3361 Format: unabridged Subjects: classics, spirituality
Harper Collins Publishers 100 Keystone Industrial Park Scranton, PA 18512-4621 Ph: 800-242-7737 Fax: 800-822-4090 URL: harperaudio.com Formats: abridged and unabridged Subjects: fiction, nonfiction, personal growth, also supplies Caedmon
Ingram Audio
Ingram Book Co. 1 Ingram Blvd, P.O. Box 3006 LaVergne, TN 37086-1986 Ph: 800-937-8200 Fax: 800-976-0186 URL: www.ingrambook.com Formats: abridged and unabridged Subjects: All
Harper/Childrens Audio
10 East 53rd St. New York, NY 10022-5299 Ph: 800-242-7737 Formats: abridged and unabridged
ISIS Publishing
P.O. Box 195758 Winter Springs, FL 32719-5758 Ph: 800-523-4773 Fax: 407-696-6065
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McNaughton AudioBound
Brodart Books 500 Arch Street Williamsport, PA 17705 Ph: 800-233-8467 Fax: 570-326-1479 E-mail: bookinfo@brodart.com URL: www.brodart.com Format: abridged and unabridged Services: distribution and lease of audiobooks on a variety of subjects
E-mail: sales@isispublishing.com Format: unabridged Subjects: Bolinda, Oasis, Soundings, classics, fiction, mystery, nonfiction, biography, travel
Formats: abridged and unabridged Subjects: childrens, classics, fiction, mystery, western, nonfiction, personal growth, spirituality, travel
Jimcin Recordings
P.O. Box 536 Portsmouth, RI 02871 Ph: 800-538-3034 URL: jimcin.com Formats: abridged and unabridged Subjects: childrens, classics, fiction, nonfiction, biography, history
2470 Impala Dr. Carlsbad, CA 92008-7226 Ph: 760-431-0060 Fax: 760-431-8110 E-mail: info@pentonoverseas.com URL: www.pentonoverseas.com/ audiobooks/ab.html Subjects: foreign languages, personal growth
LA Theatre Works
681 Venice Blvd. Venice, CA 90291 Ph: 800-708-8863 Fax: 310-827-4949 E-mail: latworks@aol.com URL: www.latw.org Format: unabridged Subjects: live plays on audio
Nightingale Conant
Landmark Audiobooks
4865 Sterling Dr. Boulder, CO 80301 Ph: 800-580-2989 Formats: abridged and unabridged Services: distribution and leasing of audiobooks on a wide variety of topics
7300 N. Lehigh Ave. Niles, IL 60714 Ph: 800-323-3938 Fax: 847-647-7145 E-mail: sales@nightingale.com URL: nightingale.com Subjects: nonfiction, personal growth
Quality Books
LEO Productions
P. O. Box 1333 Portland, OR 97207 Phone: 503-497-9163 Fax: 360-694-8808 E-mail: linda@bigplanet.com URL: www.leopro.com Format: unabridged Subjects: childrens, classics, fiction, mystery, nonfiction, history
P.O. Box 129 Van Wyck, SC 29744 Ph: 800-522-2979 Fax: 803-286-4151 E-mail: jocauthen@infoave.net URL: www.northstaraudio.com/store4/ index.html Format: abridged Subjects: classics, fiction, nonfiction, biography, spirituality
1003 W. Pines Rd. Oregon, IL 61061-9680 Ph: 800-323-4241 Fax: 815-732-4499 E-mail: quality.books@dawson.com Formats: abridged and unabridged Services: distributor of a wide variety of audiobooks
One Park Ave. Old Greenwich, CT 06870 Ph: 800-243-4504 Fax: 800-454-0606 E-mail: moreinfo@listeninglibrary.com URL: www.randomhouse.com/audio Format: unabridged Subjects: childrens, classics
Recorded Books
P, D
P.O. Box 652 Pine Plains, NY 12567 Ph: 800-788-1121 Fax: 518-398-1070 E-mail: liveoak@taconic.net Format: unabridged Subjects: childrens, classics
270 Skipjack Rd. Prince Frederick, MD 20678 Ph: 800-638-1304 Fax: 410-535-5499 E-mail: recordedbooks.com Formats: abridged and unabridged Subjects: childrens, classics, fiction, mystery, nonfiction, biography, history, personal growth
64
Ph: 800-223-2336 Fax: 800-445-6991 URL: simonsays.com/subs/ index.cfm?areaid=45 Formats: abridged and unabridged Subjects: childrens, fiction, mystery, western, nonfiction, history, personal growth, spirituality Subjects: fiction, classics, mystery, science fiction, nonfiction, biography, history, spirituality
37 Commercial Blvd. Novata, CA 94949 URL: soundelux.com/ audiopub/index.html Format: abridged Subjects: childrens, fiction, westerns, nonfiction, biography, history
Dove Audio P
301 North Canon Dr. Beverly Hills, CA 90210 Ph: 310-273-7722 URL: www.doveaudio.com/dove
413 S. Arthur Ave. Louisville, CO 80027 Ph: 800-353-9185 Fax: 303-665-5292 E-mail: info@soundstrue.com URL: soundstrue.com Formats: abridged and unabridged Subjects: nonfiction, history, personal growth, spirituality
210 East 86th St. New York, NY 10028 Ph: 800-813-1271 Fax: 800-221-8551 E-mail: jm@waylandav.com Formats: abridged and unabridged Subjects: childrens fiction, nonfiction, personal growth
Kane Miller
P. O. Box 8515 La Jolla, CA 92038 Ph.: 858-456-0540 Fax: 858-456-9641 Email: info@kanemiller.com URL: www:kanemiller.com
Spoken Arts
8 Lawn Ave. New Rochelle, NY 10801-4206 Ph: 800-326-4090 Fax: 914-633-4620 Format: unabridged Subjects: childrens book and tape sets
Sunset Productions
369 Montezuma, No. 416 Santa Fe, NM 87501 Ph: 800-829-5723 Fax: 505-471-8122 Formats: abridged and unabridged Subjects: childrens, classics, fiction, mystery, western, nonfiction, history
P. O. Box 2085 Olympia, WA 98507-2085 Ph.: 800-454-2767 Fax: 360-357-4964 E-mail: order@librossinfronteras.com URL: www.librossinfronteras.com
Smithsonian Folkways P
955 L'Enfant Plaza, Ste. 7300 Washington, DC 20560 Ph: 800-410-9815 Fax: 202-287-7266 URL: www si.edu/folkways
7405 Alban Station Ct., Ste. A-107 Springfield, VA 22150-2318 Ph: 800-832-2412 Fax: 703-912-7756 URL: www.teachco.com Format: unabridged Subjects: Best college classes on audio. All subjects.
Appendix
Highsmith, Inc.
W5527 Highway 106 P.O. Box 800 Fort Atkinson, WI 53538-0800 Ph: 800-558-2110 Fax: 800-835-2329 E-mail: service@highsmith.com URL: www.highsmith.com Products: all types of library equipment and supplies, display shelving, media packaging
NEXPAK
6370 Wise Ave. NW Canton, Ohio 44720 Ph: 800-442-5742 Fax: 330-490-2010 E-mail: info@nexpak.com URL: www.nexpak.com Products: media packaging
Brodart Co.
1609 Memorial Ave. Williamsport. PA 17705 Ph: 800-233-8959 Fax: 800-283-6007 URL: www.brodart.com Products: general library materials, media packaging, display shelving
Vinylweld
2011 W. Hastings Chicago, IL 60608 Ph: 800-444-4020 Fax: 312-942-0693 E-mail: Vinylweld.@aol.com URL: www.vinylweld.com Products: media packaging
Demco
P.O. Box 7488 Madison, WI 53707-7488 Ph: 800-356-1200 Fax: 800-245-1329 URL: www.demco.com Products: general library suppliers, display shelving, media packaging
Gaylord
P.O. Box 4901 Syracuse, NY 13221-4901 Ph: 800-448-6160 Fax: 800-272-3418 URL: www.gaylord.com Products: general library supplies, display shelving, media packaging
65
Appendix
C
Kliatt: Reviews of Selected Paperback Books, Educational Software and Audiobooks
33 Bay State Rd. Wellesley, MA 02181 Ph./Fax: 617-237-2577 Reviews audiobooks for children and young adults.
Library Journal
245 West 17th St. New York, NY 10011-5300 Ph: 212-463-6819 URL: ljdigital.com Reviews popular abridged and unabridged audiobooks.
Publishers Weekly
249 W. 17th St. New York, NY 10011 Ph: 800-278-2991 URL: www.bookwire.com Contains excellent articles on the audiobook industry, as well as reviews (abridged and unabridged) and best seller lists (audiocassettes and CDs). Publishes the winners of the annual Listen Up and other industry awards. Be sure to read Audio Bits containing short news pieces.
Booklist
50 E. Huron Street Chicago, IL 60611 Ph: 630-892-7465 URL: www.ala.org/booklist Reviews of adult and juvenile audiobooks. Annual Editors Choice awards to best audiobooks.
Words on Cassette
R. R. Bowker 121 Chanlon Rd. New Providence, NJ 07974 Ph: 800-521-8110 Fax: 908-665-6688 This annual version of Books in Print for abridged and unabridged audiobooks offers access by author, subject, title, and narrator. Audiobook produc-
66
Audiobook Classics
The following is a selected list of classic audiobooks recommended for inclusion in libraries. A code indicating the publisher and/or distributor is listed following each entry. Refer to the key to interpret the code, and Appendix A for the address or telephone number of the publisher or distributor.
Appendix
D
LE, RB]
Jewett, Sarah Orne. A White Heron and Other New England Tales.
A wonderfully presented selection of New England Americana. [AB]
. Great Expectations.
Travel through the ever-changing life of Pip as he grows up AP, BL, BM, BOT, BR, CC, LE, RB
67
68
Shakespeare, William. Collected Works.
The magnificent narration recreates the times. [AB, ABC, DH, High, LA, LL,
NS, RB]
Key to Distributors
[AB] Audio Book [ABC] Audio Book Contractors [AF] Audio Forum [AH] August House [AP] Audio Partners [AR] Audio Renaissance [Ba] Bantam [BDD] Bantam Doubleday Dell [BE] Beeler [BL] Blackstone [BM] Books in Motion [BOT] Books on Tape [BR] Brilliance [Cae] Caedmon [CC] Cover to Cover [CH] Chivers [CL] Commuters Library [DD] Dual Dolphin [Der] Dercum [DH] Durkin Harp [FA] Fine Arts [Ha] Halvorson [Har] Harper Audio [High] Highsmith [Highbr] Highbridge [Jim] Jimcin [KT] KidTel [LA] L.A. Theatre [LE] Literate Ear [LL] Listening Library [LO] Live Oak [LP] Listen for Pleasure [NS] New Star [OH] Olivia and Hill [Peng] Penguin [PP] Piglet Press [RB] Recorded Books [SS] Simon & Schuster [Sou] Soundelux [TW] Time Warner [UL] Ulverscroft
Childrens Audiobooks
The following is a selected list of recommended childrens audiobooks appropriate for all libraries that serve children. The age level for these titles is PK5th grade, unless otherwise indicated. A code indicating the publisher and/or distributor is listed following each entry. Refer to the key to interpret the code, and Appendix A for the address or telephone number of the publisher or distributor. Avi. Blue Heron.
A moving story of a twelve year old girl who confronts death, a stepmother and a gorgeous bird. [RB]
Appendix
E
the Nazis. [RB]
69
70
Rylant, Cynthia. The Henry and Mudge series.
Laugh along with Henry and his big dog Mudge as they face the day-to-day problems and triumphs of childhood.
[CH, LL, RB]
Key to Distributors
[AB] Audio Book [ABC] Audio Book Contractors [AF] Audio Forum [AH] August House [AP] Audio Partners [AR] Audio Renaissance [Ba] Bantam [BDD] Bantam Doubleday Dell [BE] Beeler [BL] Blackstone [BM] Books in Motion [BOT] Books on Tape [BR] Brilliance [Cae] Caedmon [CC] Cover to Cover [CH] Chivers [CL] Commuters Library [DD] Dual Dolphin [Der] Dercum [DH] Durkin Harp [FA] Fine Arts [Ha] Halvorson [Har] Harper Audio [High] Highsmith [Highbr] Highbridge [Jim] Jimcin [KT] KidTel [LA] L.A. Theatre [LE] Literate Ear [LL] Listening Library [LO] Live Oak [LP] Listen for Pleasure [NS] New Star [OH] Olivia and Hill [Peng] Penguin [PP] Piglet Press [RB] Recorded Books [SS] Simon & Schuster [Sou] Soundelux [TW] Time Warner [UL] Ulverscroft
Appendix
F
confront the reality of South African apartheid. [RB]
Haddix, Margaret Peterson. Dont You Dare Read This, Mrs. Dunphrey.
Trish, an abuse victim, uses her personal journal to soothe her pain. [RB]
. Ironman.
After coping with child abuse, Bo Brewster channels his energy into the ironman triathalon. [RB]
Gallo, Donald R., ed. Sixteen Short Stories by Outstanding Writers for Young Adults.
Big name authors realistically relate the joys and sorrows of being young and growing up. [LL]
71
72
Lipsyte, Robert. Contender.
A young high school dropout follows his dreams to become a boxing champion. [RB]
Poe, Edgar Allan. The Fall of the House of Usher and Other Tales.
Andrew Sachs reads Poe classics. [Peng]
Key to Distributors
[AB] Audio Book [ABC] Audio Book Contractors [AF] Audio Forum [AH] August House [AP] Audio Partners [AR] Audio Renaissance [Ba] Bantam [BDD] Bantam Doubleday Dell [BE] Beeler [BL] Blackstone [BM] Books in Motion [BOT] Books on Tape [BR] Brilliance [Cae] Caedmon [CC] Cover to Cover [CH] Chivers [CL] Commuters Library [DD] Dual Dolphin [Der] Dercum [DH] Durkin Harp [FA] Fine Arts [Ha] Halvorson [Har] Harper Audio [High] Highsmith [Highbr] Highbridge [Jim] Jimcin [KT] KidTel [LA] L.A. Theatre [LE] Literate Ear [LL] Listening Library [LO] Live Oak [LP] Listen for Pleasure [NS] New Star [OH] Olivia and Hill [Peng] Penguin [PP] Piglet Press [RB] Recorded Books [SS] Simon & Schuster [Sou] Soundelux [TW] Time Warner [UL] Ulverscroft
Appendix
G
London orphan who descends on the chaotic lives of her country cousins in her time of grief. [CH]
Delany, Sarah, and A. Elizabeth. Having Our Say: The Delany Sisters' First 100 Years.
One of the best books and audiobooks of the century. [BOT]
Binchy, Maeve. The Copper Beech, Dublin 4, Evening Class, The Lilac Bus, London Transports.
This set includes some of Binchys best, all splendidly read by Kate Binchy. [CH]
73
74
[CH]
. Passing On.
A heartbreaking story of a middle aged brother and sister and their lives after the death of their domineering mother. [DD]
Naylor, Gloria. The Men of Brewster Place, The Women of Brewster Place.
Each of these novels is presented by talented narrators who are perfectly suited to Naylors writing. [RB]
. Waiting to Exhale.
In this proud, poignant tale, four thirty-something African-American women rely on one another for love and support. McMillans portrait of these friends, who struggle with differing aspects of loneliness, is indelibly etched with love and understanding.
[BOT]
75
Weldon, Fay. The Shrapnel Academy.
A hilariously cynical look at race and class from Weldons jaundiced view.
[RB]
. The Origin.
Join Darwin on the Beagle and let your imagination sail away as you listen to this fantastic story based on fact. [BOT]
Key to Distributors
[AB] Audio Book [ABC] Audio Book Contractors [AF] Audio Forum [AH] August House [AP] Audio Partners [AR] Audio Renaissance [Ba] Bantam [BDD] Bantam Doubleday Dell [BE] Beeler [BL] Blackstone [BM] Books in Motion [BOT] Books on Tape [BR] Brilliance [Cae] Caedmon [CC] Cover to Cover [CH] Chivers [CL] Commuters Library [DD] Dual Dolphin [Der] Dercum [DH] Durkin Harp [FA] Fine Arts [Ha] Halvorson [Har] Harper Audio [High] Highsmith [Highbr] Highbridge [Jim] Jimcin [KT] KidTel [LA] L.A. Theatre [LE] Literate Ear [LL] Listening Library [LO] Live Oak [LP] Listen for Pleasure [NS] New Star [OH] Olivia and Hill [Peng] Penguin [PP] Piglet Press [RB] Recorded Books [SS] Simon & Schuster [Sou] Soundelux [TW] Time Warner [UL] Ulverscroft
Appendix
H
lives and destinies of five people. [BOT]
Drucker, Peter F. Managing for the Future: The 1990s and Beyond.
A major work on management by the single most influential writer on people and organizations in our time. [BL,
BOT, NS]
Falkner, David. Great Time Coming: the Life of Jackie Robinson, From Baseball to Birmingham.
A splendid biography that is also an excellent history of the civil rights movement in America. [RB]
Bryson, Bill. A Walk in the Woods: Rediscovering America on the Appalachian Trail.
A sparkling trailside adventure full of wisdom and humor. [BOT, CH]
Chang, Iris. Rape of Nanking: The Forgotten Holocaust of World War II.
The authors thorough research reveals this World War II atrocity and this dark moment in Japanese and Chinese history. [BL]
Goldman, Peter, and Tony Fuller. Charlie Company: What Vietnam Did to Us.
Sixty-five members of a unit called Charlie Company describe the war from their personal perspectives. [BOT]
Coles, Robert. The Moral Intelligence in Children: How to Raise a Moral Child.
The author gives thorough and thoughtful context to how children learn moral codes and develop their
Kozol, Jonathan. Amazing Grace: The Lives of Children and the Conscience of a Nation.
The author tells the stories of a hand-
76
77
Miller, Merle. Plain Speaking: An Oral Biography of Harry S. Truman.
Millers interviews reveal the great depth of President Trumans character
[BOT]
ful of children who havethrough the love and support of their families and dedicated community leadersnot yet lost their battle with the perils of life in Americas most hopeless, helpless, and dangerous neighborhoods. [BR]
Moore, Thomas. Care of the Soul: A Guide for Cultivating Depth and Sacredness in Everyday Life.
The author, an internationally renowned theologian and former Catholic monk, offers a philosophy for living that involves accepting our humanity rather than struggling to transcend it. [BOT]
Lapierre, Dominique. The City of Joy: An Epic of Love Heroism and Hope in the India of Mother Teresa
Made into a movie starring Patrick Swayze, this is the inspiring story of an American doctor who experienced a spiritual rebirth in an impoverished section of Calcutta. [NS]
Masson, Jeffrey Moussaieff. When Elephants Weep: The Emotional Lives of Animals.
A somewhat controversial but interesting study of animals and emotions. [BOT]
Key to Distributors
[AB] Audio Book [ABC] Audio Book Contractors [AF] Audio Forum [AH] August House [AP] Audio Partners [AR] Audio Renaissance [Ba] Bantam [BDD] Bantam Doubleday Dell [BE] Beeler [BL] Blackstone [BM] Books in Motion [BOT] Books on Tape [BR] Brilliance [Cae] Caedmon [CC] Cover to Cover [CH] Chivers [CL] Commuters Library [DD] Dual Dolphin [Der] Dercum [DH] Durkin Harp [FA] Fine Arts [Ha] Halvorson [Har] Harper Audio [High] Highsmith [Highbr] Highbridge [Jim] Jimcin [KT] KidTel [LA] L.A. Theatre [LE] Literate Ear [LL] Listening Library [LO] Live Oak [LP] Listen for Pleasure [NS] New Star [OH] Olivia and Hill [Peng] Penguin [PP] Piglet Press [RB] Recorded Books [SS] Simon & Schuster [Sou] Soundelux [TW] Time Warner [UL] Ulverscroft
Appendix
Motivational
Joe Torres Ground Rules for Winners, by Joe Torre, Henry Dreher, narrated by Joe Torre Simon & Schuster Audio
Solo NarrationFemale
Bridget Jones Diary, by Helen Fielding, narrated by Barbara Rosenblat Recorded Books, LLC
Fiction, Unabridged
I Know This Much is True, by Wally Lamb, narrated by George Guidall Recorded Books, LLC
Children's Title
The Golden Compass, by Philip Pullman, narrated by Philip Pullman and a full cast Listening Library/Random House
Mystery, Fiction
The Breaker, by Minette Walters, narrated by Robert Powell Chivers North America
Inspirational/Spiritual
Reason for Hope, by Jane Goodall, Phillip Berman, narrated by Jane Goodall Time Warner AudioBooks
Classics
The Screwtape Letters, by C.S. Lewis, narrated by John Cleese Audio Literature, an imprint of NewStar Media Inc.
Humor
How Paul Robeson Saved My Life, by Carl Reiner, narrated by Carl Reiner NewStar Media Inc.
Fiction, Unabridged
A Widow for One Year, by John Irving; narrated by George Guidall. Random House AudioBooks
Non-Fiction, Abridged
The Endurance: Shackletons Legendary Antarctic Expedition, by Caroline Alexander, narrated by Michael Tezla, Martin Rubin HighBridge Company
Poetry
Realms of Gold, The Letters and Poems of John Keats, by John Keats, narrated by Samuel West, Matthew Marsh Naxos AudioBooks UK
Mystery, Fiction
The Breaker, by Minette Walters; narrated by Robert Powell. Chivers, North America
Non-fiction, Unabridged
'Tis, by Frank McCourt, narrated by Frank McCourt Simon & Schuster Audio
Classics
The Grapes of Wrath, by John Steinbeck; narrated by Dylan Baker. Penguin Audiobooks
Short Stories/Essays/Collections
Malice Domestic 6, by Edward Marston, Peter Lovesey, Dorothy Cannell, Peter Robinson, David Williams, Simon Brett, Catherine Aird, Marjorie Eccles, Jan Burke, Sarah Caudwell, Jon L. Breen, narrated by Patrick Macnee, Juliet Mills, Judy Geeson, Christopher Cazenove, Stephanie Beacham, Reed Diamond, William Windom NewStar Media Inc.
Personal Development
How Men Have Babies, by Alan Thicke, narrated by Alan Thicke The Audio Partners
Nonfiction, Abridged
The Professor and the Madman, by Simon Winchester; narrated by Simon Jones. Harper Audio
Business Information
Beer Blast, by Philip Van Munching, narrated by Philip Van Munching Audio Book Club Publishing
Nonfiction, Unabridged
Full Circle, by Michael Palin; narrated by the author. Chivers North America
Solo NarrationMale
The Fencing Master, by Arturo Perez-
78
79
The Audio Partners Publishing Corporation
Personal Development
The Energy of Money, by Maria Nemeth, Ph. D.; narrated by the author. Sounds True
Motivational
Sales Closing for Dummies, by Tom Hopkins; narrated by the author. Harper Audio
Educational
French in a Box, by Donald S. Rivera; narrated by the author. Penton Overseas
Childrens
Lilys Crossing, by Patricia Reilly Giff; narrated by Mia Dillon. BDD Audio Publishing
Inspirational
Still Me, by Christopher Reeve; narrated by the author. Random House AudioBooks
Humor
Ranting Again, by Dennis Miller; narrated by the author. Bantam Doubleday Dell Audio Publishing
Best Audio
All Through the Night Simon and Schuster Audio
Poetry
A Night Without Armor, by Jewel; narrated by the author. Harper Audio
Talkies, sponsored by the Spoken Word Publishing Association (UK) 1999 Awards
Unabridged Fiction Classic
Gone with the Wind, by Margaret Mitchell, narrated by Lisa Ross. Isis Unabridged Modern Fiction The God of Small Things, by Arundhati Roy, narrated by Carole Boyd
Solo NarrationMale
City of Darkness, by Ben Bova; narrated by Harlan Ellison. Dove Audio, an imprint of NewStar Publishing
Solo Narration-Female
Bridget Jones Diary, by Helen Fielding; narrated by Miriam Margolyes.
Isis
Appendix
80
81
1.
Textbooks The Oak Lawn Public Library provides materials supplemental to, or correlative with, various courses of instruction, but does not attempt to purchase materials required for course work of elementary or secondary schools or of institutions of higher learning. Genealogy The Oak Lawn Public Library purchases general guides to help the people of Oak Lawn trace their ancestry. In so doing, some specialized genealogical services are purchased. Foreign Language The Oak Lawn Public Library does not attempt to collect materials in foreign languages exhaustively. The Library recognizes the needs of residents to have access to materials in their native languages and will attempt to meet these needs through services such as interlibrary loan.
2.
3.
E. Gift Materials The Oak Lawn Public Library gratefully accepts gifts of books, periodicals, pamphlets, and audiovisual materials with the understanding that they will be added to the Library collection when they meet the same standards of selection which are applied to regular library purchases. The Library reserves the right to utilize gifts as it sees fit. When the Library receives a cash gift for the purchase of materials, whether as a memorial or for any other purpose, the general nature or subject area of the materials to be purchased is usually based upon the wishes of the donor. Selection of specific titles, however, is made by the Library staff in accordance with the needs and selection policies of the Library. Special collections and memorial collections are accepted with the understanding that they will be integrated into the general collection. Memorial gifts are identified by a gift plate. F. Withdrawal of Materials The Oak Lawn Public Library is not a library of historical record, except in the area of local history. To ensure a vital collection of continued value to the community, books which have outlived their usefulness are withdrawn. The continuous review of library materials is necessary as a means of maintaining an active library collection of current interest of users. In the process, materials may be added, and physically deteriorated or obsolete materials may be replaced or removed. Continued evaluation is closely related to the goals and responsibilities of this Library and is a valuable tool of collection development. This procedure is not to be used as a convenient means to remove materials presumed to be controversial or disapproved by segments of the community. G. Non-Removal of Challenged Materials The Board of Trustees of the Oak Lawn Public Library reaffirms its adoption of the statement on Non-Removal of Challenged Library Materials. Censorship A. Responsibility The responsibility of the Library is to serve all the community, not to promoteand above all, not to censorany particular political, moral, philosophical, or religious conviction or opinion. It is not the purpose of the Library
82
to stimulate nor to cater to antisocial, prurient, or immoral interests. But no one, least of all a free public library, has the right to judge what another may or may not read, hear, or view. History shows that many materials which have been most controversial or objectionable to some persons or groups have in due course been recognized to be among those which most belong in public libraries. If an idea is truly dangerous or evil, the best protection against it is a public which has been exposed to it and rejected it. The worst protection is a public which has been shielded from exposure to it by official or self-appointed guardians. Although it is occasionally necessary to restrict access to certain materials to prevent theft or mutilation, this Library will not segregate materials on the basis of controversial subject matter. B. Intellectual Freedom It is recognized to be a responsibility of the Library to guard against encroachments upon intellectual freedom, no matter the source or sociopolitical persuasion. Intellectual freedom promotes no causes, furthers no movements, and favors no viewpoints. The Library provides for free access to all ideas through which any and all sides of causes and movements may be expressed, discussed, and argued. C. Service to Young People This Library maintains a Youth Services Department with staff and collection dedicated to the needs of children up to the age of 14. However, children are not restricted to the use of that department nor its collection. This Library has a responsibility to ensure that young people have access to a wide range of information and recreational materials and services. In recognition of the fact that no library serves in place of the parents, the Oak Lawn Public Library does not restrict access to library materials and services and believes that it is only the parents who may restrict their children from access to library materials and services. D. Reconsideration of Library Materials While the selection of materials appropriate to the needs of the community is one of the basic duties of the professional library staff and of the Director, it is not possible to read every book added to the Librarys collection. It is recognized that a resident of Oak Lawn may find an item personally objectionable. Complainants are encouraged to bring their concerns regarding any specific title or item in the Librarys collection to the attention of the appropriate department head or the Director in either an informal discussion or through a formal complaint process. The formal complaint process may only be instituted by residents of Oak Lawn. The formal complaint process shall be explained to complainants wishing to use this procedure, which is handled in the following manner. Formal complaint process: Provide a copy of the following to the complainant: 1. 2. 3. 4. Material Selection Policy of the Library Freedom to Read Statement Library Bill of Rights Citizens Request Form for Reconsideration of Library Material
83
for Reconsideration of Library Material: [See Chapter 6.] 1. 2. 3. The Director shall notify the Board of Trustees upon receiving a completed Reconsideration of Library Materials form. The Director will appoint an ad hoc committee of staff librarians to review the material in question. Following a decision by the ad hoc committee, the Director shall promptly notify the Board of the committees action regarding the complaint and send a letter informing the person instituting the complaint of the committee decision. This letter must inform the patron of their right to bring the matter before the Board of Trustees if they are unsatisfied with the committee ruling. (See following section.)
E. Request for Full Board Ruling on Complaints In the event that the decision made by the ad hoc committee is not satisfactory to the patron, the patron has the right to present the complaint to the Board of Trustees. This shall be accomplished by written request to the President of the Board, with a copy to the Library Director, asking that the patron be allowed to address the Board regarding the decision at a regular Board meeting. The President of the Board shall then schedule this within a two-month period of time, and shall provide written notice to the requester of the date and time of the meeting at which the Board will consider the matter. The Board shall review the matter in question and base their final decision about the reconsideration of materials request on the criteria outlined in the librarys book selection policy. The person making the complaint shall receive written notice of action taken by the Board.
ADOPTED REVISED REVISED REVISED REVISED REVISED 9/10/85 6/08/86 6/09/87 6/21/88 10/16/90 3/12/91 REVISED REVISED REVISED REVISED REVISED REVISED 3/26/91 5/21/91 10/08/91 10/19/93 10/17/95 10/20/98
Index
A
abridged titles 1819, 28, 39, 56 accents 6, 16, 19, 32, 3435, 50 adult selection 7377 Amazon.com 57 American Library Association (ALA) 6, 17, 21, 24, 40, 44 anecdotal information 50, 54 Association for Independent Music 44 Audie Awards 10, 27, 42, 44, 66, 78 Audio Publishers Association (APA) 6, 910, 27, 44, 5657, 66, 78 AudioFile 2, 27, 32, 3536, 4244, 66 author/narrator 33 awards 6, 10, 22, 27, 42, 44, 59, 78
E
Earphone Award 44 e-books 5860 Ebert, Roger 4243 Edison, Thomas 9 English as a second language (ESL) 16 Entertainment Weekly 36 evaluation 24, 48, 5455
N
narration 3236, 78 narrators 5, 22, 3236 National Academy of Recording Arts and Sciences 44 National Library Service (NLS) 910, 16 National Public Radio (NPR) 42 The New York Times 42 Newsletter on Intellectual Freedom 40 nonfiction selection 14, 17, 19, 27, 3637, 46, 4950, 52, 5455, 76, 78 Notable Childrens Recordings 2324, 44
F
family listening 37 fees 37, 57 fiction selection 10, 12, 14, 17, 19, 27, 3738, 46, 52, 5455, 73, 78 Fiction Catalog 15, 27 fines 39 focus group 4950 Freedom to Read 40 Friends of the Library 14, 17 future trends 5660
O
Oak Lawn (IL) Public Library 2, 56, 14, 1718, 4041, 50, 8184 online bookstores 57 ordering 15, 2526 output measures 49 Outstanding Audiobooks for Teens 21
B
Berliner, Emile 9 best of lists 4445 bestsellers 19, 27, 54, 59 Blind and Physically Handicapped (Division of the Library of Congress) 9, 11 bookpack 28 Books on Tape (term and company) 10, 15, 17, 20, 38, 5152, 54, 56, 62 Bowker Audio Title Selector 36, 57, 66 budgeting 15, 27 buy vs. rent 18
G
garbled sound 29 genre 14, 17, 49, 55, 58 Gutenberg, Johannes 9
P
packaging 1920, 25, 28, 57, 60, 65 planning 1217, 48 Planning and Role Setting for Public Libraries 48 Planning for Results 48 policy 14, 26, 30, 34, 3741, 59, 8083 procedures 30, 3741, 4647 processing 28 programs 2021, 4446 Public Library Association (PLA) 48 Public Library Catalog 15, 27 Public Library Data Service 49 publishers 10, 1516, 2227, 43, 48, 5859, 6164 Publishers Weekly 19, 24, 47, 55, 60, 66
H
Hints for better listening 30
C
cassette player 30, 60 cassette tapes 56 cataloging 37 CD (compact disc) 23, 3739, 43, 56, 58, 60 celebrity narrators 33 censorship 37, 40 Chicago Tribune 42 childrens selection 17, 2223, 34, 37, 69 circulation policies and procedures 30 classics 10, 1415, 22, 27, 47, 54, 67 cleaning kit 30 community surveys 5055 costs 30, 37, 60
I
Indie Awards 44 industry growth 11, 17, 54 interlibrary loan 38 Internet 5660
J
jobbers 2526
L
large print 16, 43 Library Bill of Rights 40 Library Journal 16, 20, 24, 26, 31, 39, 41, 57, 60, 66 listeners 32, 3435, 42, 4446, 5051, 54, 56, 5859 listening station 43 loan period 3839, 50
R
readers 13, 16, 20, 3235, 47, 53, 59 reconsideration of library material 4041 Recorded Books (Company) 10, 15, 21, 23, 51, 56, 63 recorded books (term) 1011, 21, 55, 58 records (phonograph) 910 rent 10, 18, 54, 5859 repair 28, 30 replacement 2526, 2830, 5657, 59 rewind 2930, 39
D
damage 2530, 38, 49, 59 demagnitizer 30 Digital Compact Cassettes (DCC) 56 Digital Versatile Discs (DVD) 56 discounts 15, 2527, 59 discussion group 4546, 57, 59 distributors 22, 2426, 57, 59, 6164 donations 39
M
maintenance 28, 37 marketing 23, 42, 45 mission statement 1213, 17, 4041 MP3 58, 60 Muller, Frank 35, 51
S
sampling 50, 54 school 10, 18, 2022, 24, 42, 47
84
Index
85
T
Talkie Awards 44 talking books 9 teens 10, 2021 trends 15, 27, 48, 5354, 5660
School Library Journal 20, 24, 66 security 39 selection policies and procedures 5051, 40, 8083 shelving 19, 28, 37, 43 Sony Walkman 9 Spoken Word Publishers Association (UK) 44 standing order 15, 26 statistics 10, 32, 4849 suggestion box 1517, 27 surveys (patron) 17, 5055
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videos 1516, 3839, 43, 45 voice pad 29
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Walkman 910, 20 The Washington Post 42 website 22, 44, 5659 Whitten, Robin 2, 32, 36, 66 wholesalers 2526, 59 Words on Cassette 3536 young adult selection 1011, 15, 1718, 2021, 24, 27, 38, 4344, 49, 7172
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unabridged titles 10, 1819, 28, 35, 56 United Kingdom (UK) 18, 24, 63, 74, 7879 USA Today 42 used audiobooks 3031, 58
Susan G. Baird is head of Patron Services for the Oak Lawn Public Library in Illinois. She began selecting audiobooks for the Oak Lawn Public Library in 1988, after successfully convincing the Friends of the Library to fund a core audiobook collection. She has served as a reviewer for AudioFile magazine since 1992 and has been a judge for three Audio Publishers Association (APA) Audie Awards. Ms. Baird also serves on the APAs Library Outreach Committee. She has an MLS from the University of MissouriColumbia.
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