Writing Reviews for Audiopolis

Audiopolis is a podcast of audiobook reviews.  Published by AudioFile Magazine, these reviews are recorded, not written.  And they also include clips from the audiobook to demonstrate points the reviewer makes about the audio production.  Never heard one of our podcasts?  Go back to the main page and click on the yellow Audiopolis button.  Listen a bit and then come back to read the rest of this guide. 

Most of our "sound" reviewers have prior experience as reviewers for AudioFile, but that is not a requirement.  However, if you are currently a reviewer for AudioFile, that will get you off to a good start.  But writing the soundreviews heard on the podcast requires a different approach than composing the print reviews. With podcasts, you are writing for radio, for a podcast is basically Internet radio. The following tips will help you write an audio review that grabs listeners' attention and won't let go.

You are writing for the ear, not the eye

  • Sentences should be relatively short and flow when spoken.
  • Use a conversational style that's easy on the ear.
  • Don't try to impress by using unfamiliar words or words with lots of syllables.
  • You want listeners to easily understand what you are saying.

You'll be reading your review out loud.

  • Remember - you'll be recording as well as writing your review.  Use your writing style to make the job of recording as easy as possible. 
  • Your sentences may look beautiful on the page, but are they easy to pronounce?  
  • Are sentences too long?  Can you read them without running out of breath?
  • Words that begin with some letters, like p for example, may be difficult to say without making a puffing noise into the mic. This phenomenon is called popping p's. It is so common that there's even a piece of equipment, called a pop shield, that can be placed in front of the mic to lessen the problem.
  • When writing, try to to over-use words in any one sentence that begin with the letter p. The letters h and s can also be problematic behind the mic.
  • It's OK (and necessary) to use words beginning with these letters - just remember that alliteration is not always your friend - especially with the letter p. 
Clips are the most important element in your review.
  • Each review can have up to 3 minutes of audio clips to demonstrate observations about the book.
  • Think of clips as an audio movie trailer. Pick the most interesting clips. When movie producers create trailers, isn't that what they do?
  • Be sure to pick clips with the most action, the best narrative, the most daring vocal acrobatics.
  • Don't worry so much about spoilers - worry more about using boring clips.

Write around the clips.

  • Once you've decided on clips, structure your review around the clips.
  • Sure, your script may discuss the book's plot, style, performance, and any number of other elements - but let the clips illustrate the points you make in your narrative.
  • The REAL work of the reviewer is done in selecting good clips. All of the things you listen for to write about in a written review, you listen for to demonstrate in a clip.
  • Your script should support the clip - not detract from it.  From the listener's point of view, the script simply provides the set-up for the next clip. 

Use Transitional Phrases/Sentences

  • When possible, explain the significance of the clip to the listener, especially when focusing on the narrator's performance.  Just because you know why the clip is significant, doesn't mean the listener will know.  Examples include the following:
  • Listen as (narrator's name) differentiates characters by using ....
  • (Narrator) engages the listener by ........
  • (Narrator) builds tension with his use of ....
  • In this dramatic scene ........
  • In this emotional scene .......
  • The following clip illustrates (pick an element of plot, character, or narration)

Listen to How It Sounds.

  • After selecting your clips and writing the script, put it all together and just listen.
  • Does your script deliver smooth transitions between the clips?
  • Do the clips make sense standing alone? Remember, you know the context of the clips, the listener will not.  Listen as if you've not heard the book before.  
  • Do you need to provide more background or explanation in your narrative for the listener to understand the significance of the clips?
  • Is the length correct? Each review should be between 3.5 and 4.5 minutes long. You can use only up to 3 minutes of audiobook clips, but the 4.5 minute limit means you probably won't be able to use up an entire 3 minutes of clips.  A review that is about half clips and half script is about right.  Some reviews require the narrative to be a little longer, so there's even less time for clips.  
  • Is it interesting?  Soundreviews are about entertaining as much as informing.  Sure, you want to inform listeners about the book, but you're also able to share part of the listening experience with them.  That's something a written review can't do - so take full advantage of the opportunity to get their attention.  

Take This Advice!

Veteran radio producer Nancy Updike gives some excellent advice about writing for broadcast. Keeping her words in mind will help you with every review you write for Audiopolis. "Writing for radio is also great discipline. I've always been a bit literal-minded, and until I started writing radio stories, I don't think I got what people meant by "voice" when they talked about writing. With radio, I had to stop writing the way I thought I should, and start writing closer to the way I think and speak." 

Many radio announcers find it helpful to imagine they are talking to one person - a single individual who is pre-disposed to be interested, but not necessarily knowledgeable about what they are saying. Using this same technique in writing your reviews may help you develop a style that's more casual and relaxed.

Creating a Review

Let's take a look at the creation of a review for The Miraculous Journey of Edward Tulane.  It might help if you hear how it was put together. 

As you can see, selecting clips is very much like putting together an audio puzzle.  You'll do fine as long as you focus on clips that fall into one of the four following categories:

Acting - Clips that showcase the vocal abilities of the narrator.

Action - Scenes which engage listeners in physical drama.

Emotion - Either the narrator or the text have an emotional impact on the listener.

Setup - The clip explains, better than you,  the main focus of the plot or a pivotal scene, drawing listeners into the story.  Often, this is the clip that helps you get started and may be the first clip in your review.

Sample Script - For those unfamiliar with scripting around clips, below is the script for the Edward Tulane review.

Welcome to Audiopolis, audiobook reviews from AudioFile magazine. For this review we’re listening to The Miraculous Journey of Edward Tulane, by Kate DiCamillo, read by Judith Ivey.  Edward Tulane is a beautiful china rabbit. Standing almost 3 feet tall, with fully jointed limbs - and ears made of real rabbit fur, Edward is a work of art. His young mistress, Abeline, dresses him in the finest clothes and loves him dearly. Unfortunately, Edward does not return that love, for he loves only himself.

When Edward accompanies the Tulane family on an ocean cruise, he is mortified as two thoughtless boys snatch him out of his lounge chair and begin tossing him around the deck.

Clip 1.

So begins a series of adventures which will ultimately reshape the rabbit’s cold, selfish heart. Edward encounters a variety of characters along the way, giving narrator Judith Ivey the opportunity to demonstrate her considerable vocal talents. For example, there’s Ernest, the garbage king.

Clip 2

In her latest book for children, Kate DiCamillo tackles the subject of love lost and found with sensitivity that is not sugar coated. Sometimes there is sadness, sometimes despair, and sometimes – salvation. Edward loses hope when he is used as a make-shift scarecrow, but the narrator’s tender interpretation of the rabbit’s rescue by farm boy Bryce packs an emotional punch.

Clip 3

Each person who possesses Edward teaches him something about love. Ocassionally, it’s not only humans that have a lesson to share. An old antique doll sitting next to Edward on the toy store shelf offers good advice for anyone when she asks him if he is looking forward to someone coming to take him home.

Clip 4

Like all good children’s stories, Edward will delight adults as much as children. DiCamillo’s text is filled with memorable characters and situations that will pull at your heartstrings. Ivey brings the story to three dimensional life with her narration of this 2 hour, unabridged title. No doubt, the kids will want to hear it again and again. The Velveteen Rabbit had better watch out - there’s a new bunny on the block and he’s a real show-stopper!

You’ve been listening to The Miraculous Journey of Edward Tulane, by Kate DiCamillo, read by Judith Ivey. Reviewing for AudioFile, I'm Susan Dunman.  For more reviews and audiobook information, visit audiofilemagazine.com.

Parting Shot

Don't re-tell the story, do make the review entertaining for both yourself and the listener, and strive to give an accurate representation of the overall content of the audiobook (it's easier than you might think to take things out of context when selecting clips).   And finally, if you are working on both a written and a soundreivew for the same title, it will probably work better to do the soundreview first - at least until you've done a few soundreviews and become comfortable with the format. 

If you think you'd like to try one of these reviews, then just drop me an email at sdunman@gmail.com.