AudiobookWorm’s Blog Tour of The Splintered Universe Trilogy: Book 1 “Outer Diverse”

front cover only-web-smaller2Audiobookworm Promotions organized an Audiobook series blog tour from January 8th through to January 28th for Nina Munteanu’s “The Splintered Universe Trilogy,” a science fiction detective adventure, starring the indomitable Galactic Guardian, Rhea Hawke.

“Dawn Harvey breathed incredible life into the lead character, Rhea Hawke–both sarcastic and vulnerable at the same time; a detective with a cynical edge, and sultry voice tinged with wiry sarcasm. The story unfolded through Rhea’s narrative like an old film noir as she unraveled mysteries that led to the greatest one: her own.”–Amazon Review

Book 1, Outer Diverse: January 8-14
Book 2, Inner Diverse: January 15-21
Book 3, Metaverse: January 21-28

The tour with blog sites includes spotlights, reviews, audio excerpts, guest posts, interviews of author, narrator (and character Rhea Hawke!)

The tour starts Jan 8-14 with “Outer Diverse“, Book 1 of the trilogy.

coveri03 copyOuter Diverse is the first book of the Splintered Universe Trilogy, set in and around the Milky Way Galaxy. The first book begins as Galactic Guardian Rhea Hawke intestigates the massacre of an entire religious sect, catapulting her into a treacherous storm of politics, conspiracy and self-discovery. Her quest for justice leads her into the heart of a universal struggle and toward an unbearable truth she’s hidden from herself since she murdered an innocent man.

 

“Outer Diverse and its two sequels in the Splintered Universe are like a cross between Star Wars and Game of Thrones with a sprinkling of detective film noir”–Amazon Review

TOUR SCHEDULE for OUTER DIVERSE

Follow the itinerary for “Outer Diverse“, Book 1 of the trilogy (Jan 8-14):

Jan. 8th:
Assorted Nonsense (Author Interview)

Jan. 9th:
Jazzy Book Reviews (Spotlight + Audio Excerpt, Author Interview, “What Kind of Hero Is Rhea Hawke” article, Giveaway)

Jan. 10th:
Dab of Darkness Book Reviews (Review, Author Interview, “What Kind of Hero is Rhea Hawke?” article, character profile)

Jan. 11th:
Book Addict (Review of Outer Diverse, Spotlight + Audio Excerpt, Author Interview, Giveaway)

Jan. 12th:
The Book Addict’s Reviews (Review of Inner Diverse, Audio Excerpt, Narrator Interview, Rhea’s proverbs)

Jan. 13th:
Smada’s Book Smack (Author Interview, Spotlight + Audio Excerpt, Giveaway)

Jan. 14th:
Chapter Break (Spotlight + Audio Excerpt, Author Interview, “What Kind of Hero Is Rhea Hawke?” article)
Lilly’s Book World (Review, Spotlight + Audio Excerpt)

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“A master of metaphor, Munteanu turns an adventure story into a wonderland of alien rabbit holes… a fascinating and enthralling read.” (Craig Bowlsby, author of Commander’s Log)

“A rollicking science fiction plot with all the trappings…Hawke is a maverick in the wild west tradition…a genetic mystery with lethal powers.” (Lynda Williams, author of Okal Rel series)

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Remaining tour continues with Book 2 (“Inner Diverse“) Jan 15-21 and Book 3 (“Metaverse“) Jan 22-28. Come join us and share your thoughts.

Amazing Cover Art, Part 1: Tomislav Tikulin and Costi Gurgu

In my article “Should You Judge a Book by its Cover”, I wrote about the importance of cover art for book sales and to maintain integrity and satisfaction with the story inside. In the article, I pointed out that, “If you don’t know the author of the book, the nature—and implied promise—of the cover becomes even more important. If the book does not deliver on the promise of the cover, it will fail with many readers despite its intrinsic value. A broken promise is still a broken promise. I say cover—not necessarily the back jacket blurb—because the front cover is our first and most potent introduction to the quality of the story inside. How many of us have picked up a book, intrigued by its alluring front cover, read the blurb that seemed to resonate with the title and image, then upon reading our cherished purchase been disillusioned with the story and decided we disliked it and its author?”

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Liquid Silver’s romance / SF cover

Cover art provides an important aspect of writer and publisher branding. Cover artists understand this and address the finer nuances of the type and genre of the story to resonate with the reader and their expectations of story. This includes the image/illustration, typology, and overall design of the cover. A cover for a work of literary fiction will look quite different from a work of fantasy or romance. Within a genre, subtle qualities provide more clues—all of which the cover artist grasps with expertise.

I’ve been fortunate in my history as a professional writer to have had exceptional art work on the books I’ve written or collections and anthologies I’ve participated in (see the mosaic below of many but not all the covers my work has been associated with).

For most of my books, my publisher provided me with a direct link to the cover artist (e.g., Dragon Moon Press, Edge Publishing, eXtasy Books, Liquid Silver Books, Starfire, Pixl Press) and I retained some creative control. I even found and brought in the cover artist for two projects I had with Starfire.

 

Tomislav Tikulin and “The Last Summoner

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Dragon Moon’s SF cover

Croation artist Tomislav Tikulin was the artist my Dragon Moon publisher had found for my 2007 book “Darwin’s Paradox”. For Darwin, I worked closely with Tikulin, who created the compelling hard science fiction cover of “future Toronto” that has attracted readers to the book for years. Tikulin has done cover designs for many publishers and bestselling writers from Ray Bradbury’s Dandelion Wine and Arthur C. Clarke’s Rendezvous with Rama to Amazing Stories Magazine.

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Starfire’s fantasy cover

In perusing Tikulin’s website one day, I was transported by one of his illustrations—of an awestruck knight standing knee deep in a mire within a huge drowned cathedral. Shafts of golden light from the vaulted ceiling angled across, bathing the mire and the bemused knight beneath. There was a powerful story in that image, I thought, and wrote a whole book based on it: “The Last Summoner”. Imagine the feeling when I approached Tikulin to licence the image and then my Starfire publisher to use it—and both agreed! You’ll have to read the book to find out why the image was so important to the overall story. Graphic artist Costi Gurgu took Tikulin’s image and used his typology and design skills to create an extraordinary front and back cover and spine. You can learn more about Tikulin in my interview with him on The Alien Next Door.

 

Costi Gurgu and “The Splintered Universe Trilogy

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Starfire’s SF cover

I met Costi Gurgu and his wife Vali Gurgu at a science fiction convention in Montreal in 2009. Costi and Vali were successful graphic artists working on magazine covers and interiors for top magazines in Toronto. When I eventually moved there to teach at the University of Toronto, I discussed cover design with Costi. I was working on a detective thriller in space with kick-ass female detective and Galactic Guardian, Rhea Hawke. I’d initially envisioned the book as one entire novel with three parts, but it very soon became apparent to me that it was three actual books in a trilogy. The Splintered Universe Trilogy consists of Outer Diverse, Inner Diverse, and Metaverse.

I was intrigued by what Costi designed: a “Triptych” for the three books of The Splintered Universe Trilogy. In an interview I did on The Alien Next Door, I asked him what inspired him to come up with it and what did he like about it? Costi replied:

“Your main character, Rhea, undergoes a certain evolution from a regular human being to… let’s just say something else. And that evolution has three parts, one for each book of the trilogy and it also has a touch of divine. So, the triptych design, so often used for religious paintings, fits like a glove on the entire concept.”

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Starfire’s SF cover

I was very taken by how the design for the triptych carried a powerful image that conjures a portal or gateway into another world (which is what the trilogy is about). The reader is drawn into an infinite landscape, looking in, and Rhea is looking out from within in Outer Diverse, bursting through in Inner Diverse, and walking outside with confidence in Metaverse. Costi explained the meaning behind the symbols and colours he used: “The initial idea was for the red ring to be a sort of mapping device and a radar combined into one, since Rhea travels great distances in her quest. Then I realized it might as well be a portal device on top of everything else and serve all her travelling needs.

There were two options —either we would look with her outside, to whatever target she had, or look towards her. I thought that it would be more powerful if we could look towards her and see her determined face, see the unflinching resolution in her eyes, while she’s pondering her next move and readying herself to use the device once again. But to look towards her and see her in a confining room of a space ship, or such, would have defeated the purpose. So, I needed to have her against the infinite landscape as the backdrop. She is in a continuous journey to discover herself and this journey takes her literally through the infinite spaces of not just one universe.”

Costi also shared some of the process in creating a cover design:

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Starfire’s SF cover

“Technically speaking, I always start with sketches on paper, which I later scan. I mainly use Adobe Photoshop, but for this illustration I had to use Adobe Illustrator as well. Obviously, the layout and the typography were done in Adobe InDesign.”

Costi’s wife, Vali, was the model for Rhea Hawke. Some of the additional shoots can be seen in the Youtube book trailer). Costi shared that, “I had to decide how to treat her image. I could have gone towards a more glamorous, shiny look, like in a fashion image, or I could just simply keep it more realistic… I chose to keep it that way, because I wanted to offer a realistic image of an ex-police officer: a woman who was used to fighting and chasing criminals, rather than taking care of her appearance.”

You can read the complete interview with Costi on The Alien Next Door.

All Nina Munteanu books can be found on most Amazon sites.

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Sampling of publication cover art for works by Nina Munteanu (to 2017)

nina-2014aaaNina Munteanu is an ecologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s recent book is the bilingual “La natura dell’acqua / The Way of Water” (Mincione Edizioni, Rome). Her latest “Water Is…” is currently an Amazon Bestseller and NY Times ‘year in reading’ choice of Margaret Atwood.

Nina Munteanu Interviewed on Splintered Universe Trilogy

I was recently interviewed by writer Simon Rose on my space detective thriller trilogy Splintered Universe, now available in all three formats: print, ebook, and audiobook. 

 

Below is the interview:

My guest today is Nina Munteanu, author of science fiction and fantasy novels, non-fiction books and essays on writing and science. Her latest in a series of prolific works is the recent completion of the audiobook of her science fiction space-thriller trilogy, Splintered Universe.

Can you tell us a little about the Splintered Universe Trilogy?

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Book 1 of Splintered Universe

The Splintered Universe Trilogy is a detective mystery-thriller that explores metaphysical and existential questions through a high-test space adventure. The three books include Outer Diverse, Inner Diverse and Metaverse.

The main character Rhea Hawke is a Galactic Guardian and the only human in an otherwise alien race of 7-foot tall purple-skinned Eosians—who she actually despises (for reasons you find out later). She’s a loner and a misfit in an elite police force tasked with keeping order in the galaxy; Rhea’s unruly tactics grate on them—particularly her boss. In Outer Diverse, Rhea investigates the genocide of an entire spiritual sect; but instead she kills her only lead.

Following the scent of Glitter Dust, Rhea connects the massacre to the murders of several prominent galactic citizens and finally to the deadly Vos, who invaded our galaxy, then disappeared. She realizes that the Vos have quietly returned, infiltrating every aspect of the civilized world—with dark menace in mind. But no one believes her—particularly her boss, who fires her instead for incompetence: badge, Great Coat and MEC weapon confiscated and her sentient ship Benny put in storage. Compelled by an urgency she herself doesn’t understand, she goes rogue and enlists the aid of surprising allies to save the galaxy.

You mention that Splintered Universe explores issues of existentialism and metaphysics. Can you speak to them?

 

Inner-diverse-front-cover-WEB copy

Book 2 of Splintered Universe

The Splintered Universe Trilogy explores the fractal fabric of paradox, where the flow of particle, energy, wave and intention embrace: black holes, quasars, neutrinos, intuition, déjà vu, clairvoyance, altruism, faith…

The prediction by Gnostic priest Raphael Martinez (The coming of the Suntelia Aeon will be signified by the joining of twin souls) weaves many disparate threads of existence to Atlantis and the Eosian alien race (who resemble the Bible’s Nephilim), the sacred vishna tree (part of L’Ordre de l’Arbre Sacré in Quebec) and the precious mythical metal Orichalcum used by the Eosians. The prediction ties to an ancient knowledge that describes our very existence through déjà vu, synchronicity, sacred geometry, phi and the golden mean and the notion that “diverses” are mirror universes linked through dreams. The key is Rhea herself—who discovers that she is not who or what she thinks.

You’re a bit known for your world building. Tell us a little about that in this trilogy.

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Book 3 of Splintered Universe

I’m an ecologist, so world building with realistic ecosystems is more than fun for me. I enjoy doing the research to create realistic and meaningful worlds. I consulted authorities in the areas of space exploration and habitable zones, AI, biotechnology, sleep biology, neuroscience, and ecology to design alien worlds and systems, populated with extremophiles.

In her pursuit of justice, Rhea travels to all parts of the galaxy and encounters some very strange worlds. In Book 1, Rhea pursues dust trafficker V’mer to the sulphurous AI-run water planet (Mar Delena), located inside the hole of the gaseous “donut” of Fomalhaut; it’s always raining acid. That’s where Book 1 starts: acid rain painfully spattering Rhea’s face as she lies injured and waiting to be dusted (with a lethal dose) by V’mer, surrounded by the oily fur-covered rodent-like Delenians—all dust addicts.

Rhea almost drowns in a high-speed skipboat chase of the murderer of a spiritual sect on the icy moon, Uma 1, (orbiting 47 Uma b of 47 Ursae Majoris b). The moon is mostly ocean beneath a thick layer of ice with thermal vents that provide the inhabitants—a spiritual sect called the Schiss—a home.

NinaMunteanuHalfPage-AD-Astra47 Uma a (also called Horus) was colonized in ancient times by the Khonsus, a raptor-like biped race with mind-probing capability. It is also the home of the ancient migrating trees, ammuts (giant flying insects), and the weeping mountains with their narcotic boiling seas used by the giant apophus to attack and set its millions of babies to devour Rhea in Book 1.

Virgil 9 is a tidally locked moon that orbits the gas giant 70 Virginis b; day and night last for weeks while water swings the extreme from deluge flood to desert conditions. In Virgil City, Rhea does commerce with information broker Shlsh Shle She, a moody amoeba-like photosynthetic Ngu who is just a pseudopod of a larger hive-entity.

Sekmet is a bog planet, where the raw materials of dust are harvested by the Rill, bulbous short smelly bog creatures with tube eyes, webbed limbs and large sexual organs; and who Rhea pretty much wipes out with her MEC weapon. Sekmet is also the location of a galactic penal colony (Hades) where Rhea is sent in Book 2. When she tries to escape, she must contend with other native creatures of Sekmet such as the giant crocodile-like sobeks and the terrifying kepry—giant flying crustaceans.

In Book 3, Rhea returns to Earth, transformed by Eosian settlers from its former polluted state dominated by urban concrete cities to an entirely natural world, now unpolluted and featuring the ancient purple vishna tree and a crystal symbiotic organic technology.

 

Rhea on Iota Hor

Rhea on Iota Hor b

Worlds always have cool bling associated with them. What technologies or devices are featured in Splintered Universe?

I created an entire fleet of ships, all run on various technologies, from crystals, to wave-energy to dreams. That was fun to create. Two main ship builders include: Zeta Corp from Earth and Tangent Shipping run by the Fauche from Sigma Draconis. Rhea’s own ship, Benny, is an old ray class Fauche-built corvette, a two-man hybrid organic/nano-tech vehicle with folding wings and fuel scoops (so it can mine energy fuel from gas giants). Benny is a sentient ship that jacks the particle-stream and with whom Rhea has an interesting relationship. The ship serves essentially as butler, administrator, companion, and rescuer.

I also created a wide range of weapons, based on which alien race created them and for what purpose. Rhea gained some notoriety with her own created weapon, the MEC (short for Magnetic-Electro Concussion) pistol, a versatile wave-weapon that can target DNA signatures and do almost anything you want with a single sweep. Her proprietary MEC design is coveted by many groups—from shady crime syndicates such as Eclipse to her own Guardians.

I hear that the last audiobook (the third book) in the trilogy is finally out this January. That means that all three books of the Splintered Universe are now available in print, ebook and audiobook format. How does it feel to have a trilogy available in three complete formats?

It feels great! I’m so excited that readers can now obtain my trilogy in those different ways. It speaks to our different ways of consuming story. Some prefer to settle back by the fire or our favourite place to read with a “real” book; others like a mobile ebook so we can read while we travel and play; and then some like to lean back in the car and listen to a great story.

What was your experience with the narrator of the three books?

Dawn-Harvey

Dawn Harvey of “Dawn of Voice”

The experience was truly cosmic. When Iambik took on the books as audiobooks, they provided me with three voice artists to audition. I chose Dawn Harvey because I could visualize my main character through her voice, and given that the entire trilogy is told in the first person, the narrator’s voice had to be just right. Dawn’s voice is dark and sultry like coffee. It is sexy and irreverent with a hidden vulnerability and sensitivity that perfectly captured the main character Rhea Hawke. What I didn’t realize then was how well Harvey would represent the 30-odd other characters, mostly aliens—one who spoke through several mouths.

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Audiobook of Outer Diverse

Working with Dawn was a pleasure. Dawn is a dedicated professional; she created unique and consistent voices for the book’s thirty-odd mostly alien characters. She ensured that each character had the appropriate vernacular, tone, accent and cadence. Then she did proofs and confirmed them with me. She also tackled the “alien” vocabulary; Rhea’s universe is full of strange and foreign terms (I have a comprehensive glossary at the back of each book). Dawn sent me a list to make sure she was pronouncing everything correctly—mostly made-up words. Dawn is a professional dedicated to her craft and her art. She literally breathed life into Rhea Hawke and all the other characters. The result is three audiobooks that will blow your socks off. I mean it. If you like audiobooks, get the first one and tell me different. When I first listened to Outer Diverse in the car on my way to Nova Scotia, I lost myself in her storytelling and forgot that I’d written it.

Where can people find the Splintered Universe Trilogy?

The best place, of course is Amazon (Amazon.ca or Amazon.com). All three formats are available through Amazon. The Audiobooks are currently available for free through Audible on Amazon. The books are also available through Barnes & Noble, Chapters/Indigo, Kobo, and many other book selling sites and brick and mortar stores.

When you’re not writing what do you do?

These days I’m mostly on the University of Toronto campus, teaching health science and engineering students how to write. When the students find out that I write science fiction, they get all excited. It’s a lot of fun. I also teach a science fiction writing coarse at George Brown College. When I’m not teaching or writing, I’m doing something in Nature, usually by the water. I’ve always had an interest in water. I studied and researched freshwater ecology as a limnologist for three decades. I’m a bit of an environmentalist these days, hoping to raise awareness and action for water. My latest novel—hopefully coming out next year—arose from my nature walks and my research in water. The story chronicles the lives of four generations of women and their relationship with water.

TALKING-AUDIOBOOKS2 copyYou can also listen to the Podcast interview of Dawn Harvey and Nina Munteanu by Casey Trowbridge of Talking Audiobooks on the process of their collaboration. Learn more about the process between writer and voice artist narrator:

The trilogy has received a fair bit of acclaim from reviewers and readers:

Martha’s Bookshelf
Speculating Canada
Dab of Darkness
Goodreads
Amazon
Amazon Canada

“Rhea Hawke is a Galactic Guardian, and I love to say her name. Her name alone let’s you know that there is a bad ass super hero of a woman on site. I can picture her boots, her great coat, and her side arms. I want to be her when I grow up. Obviously, you can tell I developed some hero worship for her by the end of this book. I really got wrapped up in this novel.”–Goodreads Review of Outer Diverse

 

“Ms. Harvey manages to enthuse the personality of the characters into each voice. The wise, gentle Ka has a soft, strong sound that reminds you of a wise old bird. Shlsh She She, a slippery, slimy creature has a slurry, garbled voice like a mouthful of mushy, wet food. Dawn’s reading conveys the loneliness in Rhea, the sexiness of Serge, the frustrated friendliness of Bas, and the faithful coziness of Benny. She is able to bring emphasis to the action or romance, weariness or fear elements of the story. The narration never takes over the story; but rather enhances it.”–Martha’s Bookshelf on Outer Diverse Audiobook

The excellent cover art for all three books is done by Toronto graphic artist and SF author Costi Gurgu (author of RecipeArium). People keep asking me who the model for the covers is; you’ll have to corner Costi at the next spec fiction con and ask him yourself.

nina-2014aaaNina Munteanu is an ecologist, limnologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books.

 

 

 

The Resurgence of Oral Storytelling: the Audio Book

OLYMPUS DIGITAL CAMERAGriot. Raconteur. Bard. Jongleur. Seanchai. Skop. Troubadors and minstrals. Spinner of yarns. Any way you call them they are storytellers. And storytellers have shaped our societies and reflected our cultures for all of recorded history, and before—from the time of cave paintings, songs and campfires.

Because oral storytelling is told through memory it spreads with a fluid and dynamic quality whose effect is alive, immediate and visceral.

Being Romanian Helped…

When I was a young girl, I wanted to be an actress. I enjoyed telling stories to my brother and sister. My sister and I shared a bazillion adventure stories (most of them twisted and funny) about two twin brothers and sisters who solved mysteries in outer space. Because our cast and stories were epic, we dispensed with the limitations of set (not enough dolls and stuffed animals) and went straight into the oral storytelling tradition: we liberated ourselves and shared our stories anywhere and anytime we chose. While I never did participate in theatre or drama in school, I did cultivate the art of oral storytelling. An art I may have come by quite honestly as a Romanian. Romanians are consummate storytellers; the country is brim with imaginative and compelling folktales, myth and supernatural phenomena.

Romanian oral epic includes a large body of heroic songs, fantastic and mythological songs, haiduc songs (on the exploits of heroic social outlaws), and balladic narrative songs of a more lyric nature.

When my son was growing up, I used to read him stories at bedtime. It was a time of incredible bonding: sharing stories and laughter. I did all the voices and sound effects. It didn’t stop there; soon I was making up scenarios all my own with a cast of hundreds and my son leapt in with both feet. It was like when I was younger, creating stories with my sister. My son and I created worlds peopled by fantastic characters; there was “little girl” (me) and there was Baby Poopy and Baby Bang Bang (him) and a host of others. My son played some parts (usually the rational ones) and I played others (usually the silly ones). Using Leggo, we even created a whole new twisted StarWars universe where Luke Skywalker had a falsetto voice and Darth Vader had given up his evil ways and turned into an old grumpy hermit with a flatulence problem, growing beans in his garden. There were no boundaries to our imaginative play.

The Age of Oral Storytelling

Oral storytelling is an ancient tradition and the most personal and intimate form of storytelling. The storyteller and the listeners are physically close and, through the story connection, psychically close. Storytellers bring their own personality and character to the story; they ultimately reveal and share themselves through their telling and the listeners reveal and share themselves through their reception of the story. The intimacy and connection is deepened by the flexibility of oral storytelling which allows the tale to be molded to each audience and location or environment where it’s being told. Listeners experience the immediacy of a creative process taking place in their presence and, even more than that, they experience the empowerment of being a part of that creative process (which is often interactive).

Early storytelling combined stories, poetry, music, and dance. Storytelling was natural for everyone but those who excelled at it became the entertainers, educators, cultural advisors and historians of their community. The history of a culture was handed down from generation to generation through its oral storytellers.

The 9th century fictional storyteller Scheherazade in “1001 Arabian Nights” saves herself from execution by telling tales. Centuries before Scheherazade the storyteller Vyasa at the beginning of the Indian epic Mahabharata says, “If you listen carefully, at the end you’ll be someone else.”

During the Middle Ages storytellers told their stories in market places and became honored members in royal courts. According to storyteller Ruth Sawyer, Medieval storytellers were expected to know all the current tales. They were expected to “repeat all the noteworthy theses from the universities, to be well informed on court scandal, to know the healing power of herbs and simples (medicines), to be able to compose verses to a lord or lady at a moment’s notice, and to play on at least two of the instruments then in favor at court.”

The Age of Audiobooks and iPhone

An audio book is a recording of the contents of a book read aloud. They have been around for over 70 years, but their popularity has swiftly grown to an all time high.

Ubiquitous mobile devices like iPods, iPhones have made audiobooks much more accessible and easy to download and portably listen to. Audiobooks are also valuable learning tools due to their format. They are convenient in multi-tasking scenarios.

Audiobooks on cassette or CD are typically more expensive than hardcovers because of the added expense of recording and the lack of the economy of scale in high “print” runs that are available in print book publishing. However, downloadable audiobooks cost less than hardcovers and can even be less than their paperback equivalents. Market penetration of audiobooks is still substantially lower than for their printed counterparts despite the high market penetration of the hardware (MP3 and WMA players) and despite the massive market penetration achieved by audio music products. But this is changing.

Downloadable audiobooks don’t carry mass production costs; they don’t require storage of a large inventory, physical packaging or transportation and even if “returned” don’t require a cost of physical return or destruction/disposal. Like the downloadable ebook, audiobooks are taking the storytelling industry by storm.

Amy Harmon of the New York Times recounts this scenario: “Jim Harris, a lifelong bookworm, cracked the covers of only four books last year. But he listened to 54, all unabridged. He listened to Harry Potter and “Moby-Dick, Don DeLillo and Stephen King. He listened in the car, eating lunch, doing the dishes, sitting in doctors’ offices and climbing the stairs at work.” Harmon recounts how 53 year old Mr. Harris, a computer programmer in Memphis, hadn’t read that much since he was in college. Of course, for some diehard literary types “listening” isn’t the same as “reading”.

Fortunately for Mr. Harris, the ranks of the reading purists are dwindling, says Harmon. “Fewer Americans are reading books than a decade ago, according to the National Endowment for the Arts, but almost a third more are listening to them on tapes, CD’s and iPods and iPhones.”

For a growing group of devoted listeners, the popularity of audio books is redefining the notion of reading, which for centuries has been centered on the written word. Audio books, says Harmon, have seduced members of a literate but busy crowd by allowing them to read while doing something else. “Digital audio that can be zapped onto an MP3 player is also luring converts. Audio books, which still represent only about 3 percent of all books sold, do not exactly herald a return to the Homeric tradition. But their growing popularity has sparked debate among readers, writers and cultural critics about the best way to consume literature.”

For me, the audiobook represents more. Audiobooks aren’t just another aspect of our convenient, fast-paced, multitasking culture. Audio books provide a different form of creative storytelling that is both refreshing and thoroughly engaging.

Of course, some books are better told this way than others and the storyteller’s role is paramount. Inflection, cadence, passion and voice all play a critical role in the oral narrative.

My Audiobooks

OuterDiverse-audiobook-IambikMy space detective adventure book “Outer Diverse” was originally released by Iambik Audiobooks as an audiobook, narrated by Dawn Harvey. It and its second “Inner Diverse” (and soon third book “Metaverse” of the Splintered Universe Trilogy) are now available on Audiobook.com, through Amazon and on iTunes. And I am ecstatic! When I first listened to the proof, I was blown away. It was as though Dawn had created a whole new story, as though she’d breathed life into Rhea Hawke and the myriad of alien characters in Rhea’s universe. Dawn had applied cadence, inflection, joy and humor into each character and set. Remember how Orsen Wells created mass hysteria with his rendition of “War of the Worlds”?

Give the gift of pure joy with audiobooks.

 

Nina Munteanu is an ecologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books.