Since the last time I updated this blog, three new audiobooks have been released at Audible.com, another is in audio review, and one more is still awaiting final approval by the publishers. I'm currently working on three more.
Published books include Diamond Nester's Reasons Not to Buy a Sugar Glider: A Short Guide to What to Expect When Purchasing One of These Amazing Marsupials, Go Entertain's The Battle of Britain and the Heroes of the Skies, and my own Shakespearean Performance: A Beginner's Guide. Go Entertain's The History of the Royal Navy should hit the stores in a week to ten days, once Audible finishes their review and formatting process.The first one, I should point out, isn't nearly as discouraging as the title seems to suggest. The author obviously loves his own sugar gliders, but points out that keeping a nocturnal marsupial as a pet involves a good deal of effort, and it helps to know what you're getting yourself into.
The Shakespeare title includes a bonus chapter in the audiobook version, which contains a number of soliloquies and speeches that aren't included in the Kindle edition. This is for the rather obvious reason that, in the Kindle version, you wouldn't be able to hear them read, which is the whole point of such a chapter in a book whose purpose is to serve as a sort of primer for neophyte Shakespearean actors. Frankly, it's the sort of book that really should exist only as an audiobook, but the way things are set up you can't do that. There has to be a print or Kindle edition to link to.
I'm also working on turning The Sixth Victim & Other Plays into an audiobook. This is a bit more complicated than usual, as this is a play collection, which means everything in it is very short on description and very long on dialogue. Instead of simply reading each play myself, they're being cast as if they were being staged, with the characters performed by different actors. Or, in the case of To Kill a King, with several actors performing multiple roles. It's really the only practical way to keep track of who's saying what (other than reading the character name before each line of dialogue, which tends to get irritating).
The other two books I'm working on, my own Blackout and Other Stories, and a British murder mystery, are being done in the conventional way, with me reading everything. The mystery naturally takes priority, as that was written by someone else and has a deadline. My own books don't.
I have to admit, I'm having a ball reading these books. The editing part, perhaps not so much. For every hour spent reading, I find I'm spending two or three (or more) editing the raw audio file into something usable. Part of this is that you inevitably make mistakes, so you may end up with a half dozen different versions of the same sentence or paragraph and have to eliminate the bad ones. You also have to cut out the odd little clicks and pops that always seem to find their way into any pauses or other silences. Here and there an adjustment may be needed to volume levels. Audible has a fairly strict set of standards to which the file must conform.
On other fronts, The Comedy of Errors has closed. It was a lot of fun, even considering the Duke is one of those "Fantine" type roles, where you do something right at the beginning, then disappear until the end of the final act. Comedy is a lot shorter than Les Mis, of course, so I wasn't napping backstage nearly as long. Everyone survives, too, which you can never say about anything based on Hugo.