Five Reasons to Listen to Audio Books You May Never Have Thought Of
The typical hardcover or paperback book is not going anywhere. The format shows no signs of ever dying off, even after considering the many technological advances made in recent years. It would, however, be foolish to deny the obvious and not so obvious benefits of listening to audio books. Here are some ways audio books could be put to use:
1. Do you like reading poetry? Then experience it in the way it was meant to be experienced: with your ears! Back in the good old days, it was not uncommon for poets to recite their works before a swooning audience. The great Irish poet and playwright, W.B. Yeats, was said to have written poetry in such a manner that, when vocalized, it would have a certain effect on the ears of its hearers. If you like the writings of T.S. Eliot, there is actually available a recording, on compact disc, of Mr. Eliot himself reading his own poetry. It’s obviously a fascinating investment for fans of Eliot. It’s only one in a series called The Voice of the Poet.
2. Fight road rage while listening to audio books—seriously. Statistics show that violent crime resulting from what is commonly known as “road rage” has increased tremendously over the past couple of years. If you happen to be one of those individuals with a bit of a mean-streak when behind the wheel, then don’t take to the boulevard without Waitley’s Optimal Stress Reduction in your passenger seat—or simply check out a few of the innumerable audio book titles available from an audio book rental club or in your local book store in the self-help section
3. Revisit the “Golden Age of Radio”. It is now possible to find a vast array of classic radio dramas on compact disc. Fans of The Shadow radio program have known this, and are undoubtedly pleased. Also, if you happen to like The Twilight Zone television series, then try to get your hands on a copy of The Twilight Zone Radio Dramas—Lou Diamond Phillips and Adam West are among the talent contributing to these programs.
4. Struggling in child-rearing? Audio books just might be part of the solution. Harry Potter and the Order of the Phoenix is a hit with the kids (just as every other Harry Potter book has been); and an obvious choice might be an audio book from the Lord of the Rings series—these classic Tolkien works are available in abridged and unabridged editions.
5. Learn another language… in your sleep. When you fall asleep your brain doesn’t just turn off. On the contrary, research has shown that the sleeping brain does receive, process and perhaps even store information. So why not use your good nights sleep effectively by listening to one of the many foreign language audio books. And while this technique may not be the only means of mastering a second or third language, it will make things a little bit easier.
If these uses don’t seem practical to you, they might put you in the mindset to think of your own ways to utilize audio books. And although some may say that listening to audio books is no substitute for reading, the growing popularity of audio book rental services such as Jiggerbug.com may eradicate paper books completely or at least come close!
Showing posts with label book. Show all posts
Showing posts with label book. Show all posts
Wednesday, October 6, 2010
Sunday, July 25, 2010
Mr. Handyman
First thing Saturday morning I decided to fix the washing machine. This decision had not been reached lightly. The cold water pressure was weak so I had checked with two experts at work (i.e., they had both owned washing machines at one time or another) and determined that it was a sticky solenoid. I grabbed my toolbox and told my wife what I was planning.
“It’ll be fixed in ten minutes,” I explain as I head down to the basement. Meanwhile, she is looking up the number of a ‘24 hour emergency plumbing service’ and entering it into the speed-dialing function of the telephone.
“Shouldn’t I call the plumber?” she asks, making it obvious that she doesn’t understand men. Of course, she has her reasons - I’ve had some bad experiences. In fact, I’ve yet to tackle a home improvement project that has actually improved the home.
But today I was feeling confident. I carefully removed every screw from the back of the washing machine only to discover that it still wouldn’t come off. So, using the largest screwdriver I could find as leverage, I applied gentle pressure until suddenly there was a god-awful screech followed by two loud snaps and the back of the washing machine flies off like a cork out of a champagne bottle and smashes against the concrete wall with a thud that shakes the house.
I hear the basement door open above me. “Should I call the plumber?”
“We don’t need a plumber, everything is going according to plan,” I assure her.
Of course, I’m not exactly sure what the plan is. The back of the washing machine is filled with enough wires and hoses to launch the space shuttle and I have absolutely no idea where to begin. So I slowly begin removing parts, looking for anything which might remotely resemble a solenoid, which is a cylindrical object which can be magnetized (I looked it up in the dictionary).
Every hour or so the basement door opens. “Should I call the plumber?”
Finally, with head held low, I humbly tell her, “It’s time to call a plumber.”
Personally, I believe I was on the verge of figuring the whole thing out, but I could tell that she was starting to get nervous. A short time later Mr. Smarty-pants Plumber arrives and views the carnage.
“What the hell happened here?” he asks in disbelief.
I tell him the only thing that pops into my head. “Vandals. We’ve been having some problems in the neighborhood.”
“Must have been a whole gang of them to have caused this much damage,” he suggests and I can only nod my head in agreement.
He continues to review the scene of destruction, occasionally muttering “Hmmm” under his breath. Somehow, I intuitively know that every “hmmm” is costing me an additional fifty dollars.
Finally, Mr. Overpriced Plumber starts putting everything back together again until, like magic, the washing machine is back in one piece and pushed against the wall.
“Exactly what were you trying to do?” Mr. Couldn’t-make-it-as-an-electrician asks as he’s calculating a bill larger than a small country’s gross national product.
I seize the opportunity to show him he’s not dealing with just any goober who walked in off the street. “The cold water pressure was weak,” I explain. “Sticky solenoid.”
“Uh huh,” he responds and reaches behind the machine and twists off a hose. He taps the nozzle against the palm of his hand until a black, gooey glob of sludge oozes out. Then, with a final twist, he reattaches the hose.
“Your filter was clogged.”
Saturday, May 22, 2010
Comic Books: Our Own Worst Enemy?
Like most comic publishers I spend quite a bit of time thinking about the state of the industry and how to make it better – well, truthfully, how to make my little corner of it better. After spending a lot of time thinking it over and discussing what everyone perceives to be the main elements leading to the downfall of comics (the distributor monopoly, for example), I realized what the biggest problem and killer really is: the industry.
I believe most of the problems that we encounter “in the industry” come from the industry itself. First off, comic companies tend to publish only for those who are already in the industry. Comic publishers usually target their marketing towards those who are already here and creators tend to create product only for those who are already well-versed in industry. Very rarely does the thought of bringing new readers in really ever pop up, which is insane. That would be like Hollywood only creating films for those who work in film and television. As wacky as it sounds, this seems to be the mentality of the industry at large.
Magazines like Cosmopolitan are fashion magazines, but their audience is the average woman (or girl) interested in fashion and not members of the industry itself. Their advertising stretches beyond fashion industry trade publications and into the mainstream itself, where its buyers reside. Why short sell your books only to the 50,000 or so members of the active comic community and not go for millions of people out there who enjoy action movies?
Comic publishers aren’t the only ones to blame, either. Creators themselves are as big a deterrent to new readership as anything else. If you want to know why, take a look at a modern comic versus one from as late as even the mid eighties and you’ll see one very big difference. No, I’m not talking about paper or printing processes. The art itself is the main problem with comics. Solid, clear storytelling has become a thing of the past. A new buyer will find most modern comics unreadable because the solid storytelling of days past (along with gutters – remember, full page bleeds on every page get confusing) is gone.
Do you know why a lot of new readers are picking up Manga titles? It’s because they are easier to read than US ones. Even with the flipped format, most Manga has straight forward enough storytelling that even the most uninitiated reader can follow what is going on and which panel comes next. This can’t be said about most US titles (indy or mainstream). The fact that the current trend in the US is for over rendered, poorly thought out computer coloring, doesn’t help readability at all.
Comics and comic art have become so inbred the only ones who can stomach them are their sister-mothers. But it doesn’t have to be that way.
The general public will read comics if you can get yourself out of the industry mindset and start creating comics for readers instead of for an industry more interested in John Byrne’s latest social blunder than in buying your books.
Some places to consider for your books (depending on its target audience) are non-chain book stores, new age shops, record stores (Tower is starting to have a great selection of indy and small press ‘zines), libraries, corner markets, magazines with a similar areas of interest, schools, local area mailer compilations (such as the little coupon books you get in the mail), area events (concerts are a great spot), swap meets, arcades or game stores. There is an endless list of places that might be willing to carry your work if you let them know it’s out there. You might have to spend some money to advertise. Get used to it. The old adage, “you have to spend money to make money,” is true for any business.
Here are some tips for making your books more accessible to general audiences:
1) Market your books outside of comic-specific areas. Figure out who might be interested in your book and pursue those outlets. There are tons of places out in the world that would be willing to sell your comic…but they have to know it exists first. I’ve had success at art festivals, flea markets, record stores, sci fi magazines and more. Get as creative with your marketing and sales as you do with actually producing your book. It’s worth the extra effort.
2) Get rid of full page bleeds on every page. Don’t be afraid of negative space around your pages. It will actually open up your pages and keep them from looking cramped.
3) Don’t forget the gutters! Overlap panels are interesting from time to time, but gutters help to keep the art readable and from blending together. They’re also great for pacing in your storytelling.
4) If you’re going to color your books, don’t go for the over-rendered look that most comics use. It’s muddy and unclear. Look at animation or places like Disney Adventures for reference on coloring. Most “cartoony” books are well colored because they want to make sure the work is readily accessible to readers of all ages. Not every panel needs to be a fully digitally painted work of "art."
5) Think of storytelling. The most important thing in a comic is that you do not lose your audience. If at any point your readers get confused as to where to read next, then you’ve failed at your job as a storyteller. And, remember, “style” is no excuse for poor storytelling (or poor artwork in general, but that’s a rant for another time)
6) Don’t have large blocks of text or dialogue in each panel. There’s an old unwritten rule in mainstream comics (and one that has been largely forgotten or ignored): never have more than 26 words in any balloon or caption box. Anything more than that and the words will run together, potentially causing readers to skip over sections of what is on the page.
7) This one is going to cause any comic collector to cringe: get rid of issue numbers. Or, if you just have to have them, place them in the indicia only. Issue numbers are one of the big obstacles for new readers, especially in periodical product like comic books. A reader needs to be able to come in on any issue and not have to worry about having to read 10 back issues to know what’s going on. Sure you can let them know there are other stories they can read (and, which will be available in trade paperback), but don’t make those stories required reading. Follow Cosmo’s lead (or Playboy’s) and just have the month and year on each cover. Comics should be entertainment first and foremost. Get out of the collectible mindset.
8) Forget the mantra, “comics aren’t just for kids anymore.” It’s old, played out and is part of the death sentence of the industry. Creators have spent so much time trying to prove that comics can be for adults that they’ve forgotten to build the next generation of fans by only making comics for older fans who are already in comics. Without young readers there is no future in the industry. As a second part of this thought, just because your comic has adult language, nudity and graphic violence doesn’t automatically make the book for adults. Vertigo and “Ultimate” writers take note.
9) Be prepared to get your hands dirty and do some work. Publishing is a business and, at first, you may find yourself putting in as much time marketing as you do creating. That’s not a bad thing.
My heresy will end with this statement: the only way to save comics may be to let the comic industry, as it exists right now, shrivel up and die. It’s on the road as it is, with everyone racing to tear whatever pieces they can get from its still (barely) living corpse. The industry isn’t the heart of comics and didn’t make them, so dare to be different. Put down the latest issue of the comic industry death watch, Wizard. Ignore the party line that an indy book will sell less than 250 copies – there is a world outside of the Geppi chokehold.
A bit of inspiration for you: Nifty's main title, the Cadre, sells over 5000 copies per issue and 90% of that is outside of the comic industry. Not bad for a black and white, mainstream style super hero comic.
The world is a big, beautiful place full of potential new readers. You just have to venture out and find them.
I believe most of the problems that we encounter “in the industry” come from the industry itself. First off, comic companies tend to publish only for those who are already in the industry. Comic publishers usually target their marketing towards those who are already here and creators tend to create product only for those who are already well-versed in industry. Very rarely does the thought of bringing new readers in really ever pop up, which is insane. That would be like Hollywood only creating films for those who work in film and television. As wacky as it sounds, this seems to be the mentality of the industry at large.
Magazines like Cosmopolitan are fashion magazines, but their audience is the average woman (or girl) interested in fashion and not members of the industry itself. Their advertising stretches beyond fashion industry trade publications and into the mainstream itself, where its buyers reside. Why short sell your books only to the 50,000 or so members of the active comic community and not go for millions of people out there who enjoy action movies?
Comic publishers aren’t the only ones to blame, either. Creators themselves are as big a deterrent to new readership as anything else. If you want to know why, take a look at a modern comic versus one from as late as even the mid eighties and you’ll see one very big difference. No, I’m not talking about paper or printing processes. The art itself is the main problem with comics. Solid, clear storytelling has become a thing of the past. A new buyer will find most modern comics unreadable because the solid storytelling of days past (along with gutters – remember, full page bleeds on every page get confusing) is gone.
Do you know why a lot of new readers are picking up Manga titles? It’s because they are easier to read than US ones. Even with the flipped format, most Manga has straight forward enough storytelling that even the most uninitiated reader can follow what is going on and which panel comes next. This can’t be said about most US titles (indy or mainstream). The fact that the current trend in the US is for over rendered, poorly thought out computer coloring, doesn’t help readability at all.
Comics and comic art have become so inbred the only ones who can stomach them are their sister-mothers. But it doesn’t have to be that way.
The general public will read comics if you can get yourself out of the industry mindset and start creating comics for readers instead of for an industry more interested in John Byrne’s latest social blunder than in buying your books.
Some places to consider for your books (depending on its target audience) are non-chain book stores, new age shops, record stores (Tower is starting to have a great selection of indy and small press ‘zines), libraries, corner markets, magazines with a similar areas of interest, schools, local area mailer compilations (such as the little coupon books you get in the mail), area events (concerts are a great spot), swap meets, arcades or game stores. There is an endless list of places that might be willing to carry your work if you let them know it’s out there. You might have to spend some money to advertise. Get used to it. The old adage, “you have to spend money to make money,” is true for any business.
Here are some tips for making your books more accessible to general audiences:
1) Market your books outside of comic-specific areas. Figure out who might be interested in your book and pursue those outlets. There are tons of places out in the world that would be willing to sell your comic…but they have to know it exists first. I’ve had success at art festivals, flea markets, record stores, sci fi magazines and more. Get as creative with your marketing and sales as you do with actually producing your book. It’s worth the extra effort.
2) Get rid of full page bleeds on every page. Don’t be afraid of negative space around your pages. It will actually open up your pages and keep them from looking cramped.
3) Don’t forget the gutters! Overlap panels are interesting from time to time, but gutters help to keep the art readable and from blending together. They’re also great for pacing in your storytelling.
4) If you’re going to color your books, don’t go for the over-rendered look that most comics use. It’s muddy and unclear. Look at animation or places like Disney Adventures for reference on coloring. Most “cartoony” books are well colored because they want to make sure the work is readily accessible to readers of all ages. Not every panel needs to be a fully digitally painted work of "art."
5) Think of storytelling. The most important thing in a comic is that you do not lose your audience. If at any point your readers get confused as to where to read next, then you’ve failed at your job as a storyteller. And, remember, “style” is no excuse for poor storytelling (or poor artwork in general, but that’s a rant for another time)
6) Don’t have large blocks of text or dialogue in each panel. There’s an old unwritten rule in mainstream comics (and one that has been largely forgotten or ignored): never have more than 26 words in any balloon or caption box. Anything more than that and the words will run together, potentially causing readers to skip over sections of what is on the page.
7) This one is going to cause any comic collector to cringe: get rid of issue numbers. Or, if you just have to have them, place them in the indicia only. Issue numbers are one of the big obstacles for new readers, especially in periodical product like comic books. A reader needs to be able to come in on any issue and not have to worry about having to read 10 back issues to know what’s going on. Sure you can let them know there are other stories they can read (and, which will be available in trade paperback), but don’t make those stories required reading. Follow Cosmo’s lead (or Playboy’s) and just have the month and year on each cover. Comics should be entertainment first and foremost. Get out of the collectible mindset.
8) Forget the mantra, “comics aren’t just for kids anymore.” It’s old, played out and is part of the death sentence of the industry. Creators have spent so much time trying to prove that comics can be for adults that they’ve forgotten to build the next generation of fans by only making comics for older fans who are already in comics. Without young readers there is no future in the industry. As a second part of this thought, just because your comic has adult language, nudity and graphic violence doesn’t automatically make the book for adults. Vertigo and “Ultimate” writers take note.
9) Be prepared to get your hands dirty and do some work. Publishing is a business and, at first, you may find yourself putting in as much time marketing as you do creating. That’s not a bad thing.
My heresy will end with this statement: the only way to save comics may be to let the comic industry, as it exists right now, shrivel up and die. It’s on the road as it is, with everyone racing to tear whatever pieces they can get from its still (barely) living corpse. The industry isn’t the heart of comics and didn’t make them, so dare to be different. Put down the latest issue of the comic industry death watch, Wizard. Ignore the party line that an indy book will sell less than 250 copies – there is a world outside of the Geppi chokehold.
A bit of inspiration for you: Nifty's main title, the Cadre, sells over 5000 copies per issue and 90% of that is outside of the comic industry. Not bad for a black and white, mainstream style super hero comic.
The world is a big, beautiful place full of potential new readers. You just have to venture out and find them.
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