The folks at GraphicAudio just sent me some excellent news: AudioFile Magazine listed their audiobook adaptation of Spider-Man: Drowned in Thunder as one of their Best Audiobooks of 2013 in the “Sci-Fi, Fantasy & Audio Theater” category.
The list is here:
It may take a few moments to load, but the entry is on page 11. And here it is at GraphicAudio’s Facebook page.
I’m really pleased by this. I’ve always been proud of Drowned in Thunder, but the paperback didn’t get as much attention as I’d hoped. I’m glad to see the story getting a new lease on life thanks to GraphicAudio, and I hope this attention may eventually lead to Marvel reissuing the book (since Pocket’s license has lapsed by now).
I really ought to post something about New York Comic-Con, but I’ve been too busy or too tired. I’ll try to keep it concise.
I ended up driving after all due to the cost of plane fare after waiting so long to buy tickets. I planned out my route carefully this time, so it went fairly smoothly — but I set out too early on the second day and had a hard time staying alert. I didn’t really feel recovered until after lunch. So on the way back, I think I’ll spend the morning of the second day in the motel just resting, then get a good lunch, then drive the rest of the way home.
I’ve been staying with friend and fellow author Keith R.A. DeCandido, his fiancee, a family friend, several cats, and a large Golden Retriever. I was nervous about the latter, but he’s a friendly dog and I’ve been getting used to having him around. Indeed, there’s something reassuring about knowing a dog that big is sleeping outside your bedroom door, on sentry duty as it were.
The two days I spent at the con are kind of a blur right now, so to sum up: both my signings on Friday went pretty well. The GraphicAudio booth is in a good location and drew a lot of attention from passersby, and we got to sell a number of copies of my audiobooks, along with free copies of the prose books as a bonus — courtesy of Tor in the case of Only Superhuman, plus a few Spider-Man; Drowned in Thunder copies which I provided myself. I was expecting Tor to be offering the paperback, but their giveaway copies (half of which I took over to GA, the rest of which I signed for them to give out at Tor’s booth) were hardcovers instead. I guess that makes sense — they want to use up the stock now that people will mostly be buying the MMPB. But it made it more of a slog to carry them over to the GA booth through the Comic-Con crowd. Anyway, the giveaway copies moved pretty well, I was told. My A Choice of Futures signing at the SImon & Schuster booth went well too; this time people actually came to see me specifically rather than just happening to pass by.
I got to talk with a number of colleagues — Keith, of course, and the GA people, and fellow Trek author Kevin Dilmore, who works for Hallmark and was manning their display. It was nice to catch up with him. Unfortunately my former Trek editor Marco Palmieri, now at Tor, was too busy to talk much. I also had fun meeting Lilly, a friend of Keith’s who’s a professional balloon artist, and who performed at his booth to attract passersby. It’s an interesting craft, improvisational yet requiring a lot of meticulous manual control and precision.
Today I just stayed in and rested while Keith et al. went in to the con. I needed a day of quiet to recover before undertaking the drive home tomorrow. I did go down to the local pizza place for lunch, though, and had an excellent slice of white pizza with spinach.
That’s all for now. Maybe I’ll mention more details later, if any come to mind.
Sci-Fi Bulletin, a British genre site edited by my former Star Trek Magazine editor Paul Simpson, has just published an essay I wrote for them comparing the writing of Only Superhuman and Spider-Man: Drowned in Thunder, timed to coincide with the release of the OS paperback in the UK. You can read it here:
Oddly enough, it’s indexed on the site under “Fantasy.” I guess that’s because superheroes are generally treated as a subset of fantasy; my hard-SF approach to the subject seems to be pretty unusual, though as the article points out, sometimes there was more science in Stan Lee and his Marvel cohorts’ creations than you might think.
In my last post, I voiced some concern about whether my New York Comic-Con tickets (or badges, I should call them) would arrive in time. I actually e-mailed their customer service over the weekend to ask about the delay, but I only got a response this morning, telling me that they’d been mailed last week and would arrive “any day now.” And a few hours later, there they both were in the mail. So if I’d just been a little more patient… Oh, well. I got a few extra hours of reassurance out of it.
So now I know I can get into the con, and I registered the badges so they can be replaced if I should lose them, so as long as I don’t have any travel problems, I’m now confident that I’ll be there for my signings on Friday the 11th (GraphicAudio, Booth 838, 11 AM and Simon & Schuster, Booth 1828, 4 PM). I’m still waffling a bit on whether to fly or drive, but I’ll probably fly, since it’s a rather long drive. The main advantage of driving — aside from getting to avoid airport security, which is awfully tempting — is that it’s cheaper. But I got my final advance check for Rise of the Federation: Tower of Babel today, and I have some other work lined up that I can’t talk about yet, so money isn’t particularly tight for me at the moment.
Speaking of tightness, apparently part of the reason NYCC was so unbearably crowded last year was rampant badge counterfeiting and lax security that let lots of people sneak in without badges. That seems to be why badges were in such short supply this year — they’ve really tightened up access. Also they’ve put RFID chips in every badge as a security feature against counterfeiting, hence the online registration. Hopefully this means the crowds will be more manageable this year, but it has put some limits on access. Apparently I’m not the only professional creator who missed their chance to get a pro badge because they ran out prematurely. They should work to refine the system so that doesn’t happen again.
Well, it’s been a bit of a mess trying to make arrangements for New York Comic-Con, since apparently they didn’t have enough tickets or something. They actually sold out of professional passes prematurely, before I could get one, so I had to buy regular tickets, and all they had left were Thursday and Friday tickets. So I’ll only be in attendance at NYCC on those two days — well, assuming my tickets ever arrive. The paperwork said they’d begin mailing them in mid-September, but I haven’t gotten mine yet. But there’s still two weeks to go, so I’m hopeful.
Anyway, I have two signings tentatively scheduled, both on Friday, October 11.
11 AM, Booth 838: GraphicAudio hosts a combined signing for the Only Superhuman audiobook, which will be on sale at the booth, and the mass-market paperback. which will be a free giveaway. There might be copies of the Spider-Man: Drowned in Thunder audiobook on hand too, though I’m not sure.
4 PM, Booth 1828: Simon & Schuster’s booth hosts a Star Trek signing, which was hoped to be a group signing but so far is just me. I assume I’ll be signing copies of Rise of the Federation: A Choice of Futures.
There won’t be any scheduled event for me at the Tor booth (2223), which is why I’ll be doubling up on the MMPB and audiobook at the GraphicAudio event (and I’m very grateful to the GA folks for accommodating me). But I’ll surely be hanging around the Tor booth for a fair amount of time on Thursday and Friday, and there will be signed copies of Only Superhuman there as giveaways. No doubt I’ll drop by the S&S and GA booths on Thursday as well. Ticket gods willing, that is.
If there are any changes to the schedule, I will of course announce them promptly.
I’ve just recently finished listening to my copy of GraphicAudio’s adaptation of Spider-Man: Drowned in Thunder, which was really well-done. Tim Getman did an excellent job as Peter/Spidey, with a voice reminiscent of ’90s animated Spidey Christopher Daniel Barnes and The Spectacular Spider-Man‘s Josh Keaton, and with a good grasp of both Spidey’s wisecracking side and his more angsty, bitter side. Terence Aselford’s Stan Lee-esque J. Jonah Jameson is very different from what I imagined when I wrote the book, but I quickly got used to it and it worked very well. Alyssa Wilmoth, who starred as Emerald Blair in Only Superhuman‘s audio adaptation, played Mary Jane Watson-Parker (the book is set before their marriage was erased from Marvel continuity), and it was interesting to hear how her characterization differed, painting MJ in lighter, subtler strokes than Emry. Lily Beacon was a fantastic Aunt May, reminding me at times of Nichelle Nichols’s voice. The rest of the cast, which has only a few overlaps with the Only Superhuman cast, was effective as well. Here’s the full cast list I was given:
Tim Getman as Spider-Man
Terence Aselford as J. Jonah Jameson
Alyssa Wilmoth as Mary Jane Watson
Lily Beacon as Aunt May
David Jourdan as Electro
KenYatta Rogers as Robbie Robertson
Regen Wilson as Ben Urich and Phineas Mason
Steven Carpenter as Alistaire Smythe
Jeff Allin as Reed Richards
Kimberly Gilbert as Dawn Lukens
Nora Achrati as Marla Jameson and Jill Stacy
Gabriela Fernandez-Coffey as Betty Brant
Mark Halpern as Blush Barrass and Bobby Ribeiro
Ren Kasey as Liz Allan
with Bradley Smith, Joe Brack, Casie Platt, Joel David Santner,
David Harris, Patrick Bussink, Thomas Penny, Christopher Scheeren,
Scott McCormick, Thomas Keegan, and Tim Pabon
Further credits are at the link above.
Anyway, I took notes while I listened so I could update my novel annotations to include the audio edition as well, as I recently did with Only Superhuman. I’ll have to listen again sometime so I can experience it with fewer interruptions. The annotations can be accessed from my Marvel Fiction page here:
I’m going to be doing a signing at GraphicAudio’s booth at New York Comic-Con next month, probably on Friday Oct. 11, although we’re still sorting out the schedule. I’ll post the info when I can.
By the way, while listening to the DiT audiobook so soon after my most recent listen to the OS audiobook, I realized something. Both Only Superhuman and Drowned in Thunder have scenes where an elderly female relative of the protagonist gives a speech that explains the thematic significance behind the novel’s title and contains a paraphrase thereof. I didn’t realize I was repeating that trope. Well, it’s surely not the only trope I’ve repeated in my career.
The interview I did for GraphicAudio’s “All in Your Mind” newsletter/podcast is now available. I had a nice chat with directors Richard Rohan and Nanette Savard about Only Superhuman, Spider-Man: Drowned in Thunder, my work in general, and other stuff, running a bit under 40 minutes.
Here’s the direct link:
And if that doesn’t work, there’s also an MP3 link:
Look what just got delivered to my door:
It looks good. I’m a bit surprised that the spine is still green, since I’ve gotten used to the brown background of the front cover.
The books officially go on sale tomorrow (8/27), so there may be some on bookstore shelves even now.
And now that I have my copies of the MMPB, I’ll be able to double-check the page numbering and go live with my expanded annotations, which will encompass the hardcover, paperback, and audiobook editions of OS. There are a few minor textual adjustments, meaning that the paperback is now slightly more final and authoritative than the hardcover (although we’re talking, like, three single-word factual errors corrected, a missing number in the appendix restored, and a couple of typos fixed).
Here are some ordering links:
And here’s the link for the audiobook:
I do hope the book performs well in MMPB. I always felt it was more a paperback sort of tale anyway.
Like a streak of light, he arrives just in time! GraphicAudio’s fully dramatized adaptation of my 2008 novel Spider-Man: Drowned in Thunder is releasing at midnight tonight, August 25 (or technically the very start of Monday, August 26).
Just to be clear, this is coming out in Blu-Ray format which will ship in late September, but buyers can download a free digital copy starting at midnight. At least, that’s what it says on the site. I’m a little unclear on what formats it’ll be available in; I’m sure that more information will be available at the link above come midnight.
EDIT: Ahh, now that it’s out, I see it’s available in multiple options, including a 5-CD box set, the Blu-Ray disc, and direct download in various formats, just like Only Superhuman (except that doesn’t have the Blu-Ray option).
Here’s the very exciting trailer for the book:
And here’s a sample from the opening scene:
I’d expected the podcast interview I did with the GraphicAudio folks to be available by now, but nothing yet. I’ll keep you posted.
Here’s to Drowned in Thunder‘s new lease on life!
Here I am visiting GraphicAudio’s studio in Bethesda, Maryland on Monday, August 5th:
As I’ve mentioned, I was able to arrange this visit because I was staying with cousins half an hour’s drive from the GA studio. Based on their recommendations, I decided to take the Beltway route out there and the more direct East-West Highway back — but cousin Barb loaned me their GPS, and it kept trying to direct me to East-West on the way out and the Beltway on the way back! So I relied more on Google Maps printouts.
When I arrived, I also got a bit lost, since I went in by the stairs and the signs there only directed me to the upper floor where the processing and packaging is done. I needed to find someone to escort me down to the studios the floor below. There I was met by producer Richard Rohan, who turned out to have played Hanuman Kwan in Only Superhuman. He was aware I’d imagined Roddy MacDowall when writing the character, but said he didn’t have that voice in his repertoire. When I mentioned his performance reminded me of Tony Randall (which worked almost as well), he said he’d have to think about developing a Randall impression. I also met Nanette Savard, the audiobook’s director and narrator, and when I mentioned that I’d felt Greg Tai and Sally Knox had been perfectly cast, Nanette revealed that she had played Sally! I also briefly met Colleen Delany, who played Psyche Thorne, and who turns out to have a rather Psyche-like smile, very wide and bright. But I just missed a chance to meet Zephyr’s portrayer Thomas Keegan, with whom Nanette had just been finishing up a session when I arrived.
I was shown into the editing room where the above photo was taken, and I got to hear the opening scene of the Spider-Man: Drowned in Thunder audiobook, plus a couple of other scenes later on. It was pretty well-done. The actor they’ve got playing Spider-Man (I don’t know his name yet) sounds not unlike Christopher Daniel Barnes, who played the role in the ’90s series that made me a Spidey fan, and whose voice I imagined when writing the book. Their version of J. Jonah Jameson isn’t anything like what I imagined (which was Ed Asner from the ’90s show), since they based their version on the fact that Stan Lee always wanted to play the role himself. No, they didn’t hire Stan, but their actor gives JJJ a very Stan-like quality. I also learned that Mary Jane Watson-Parker will be played by Alyssa Wilmoth, the same actress who played Emerald Blair — appropriate, since they’re both redheads.
I learned a lot of this from the trailer they played during the podcast interview, which made the story sound really exciting. I was listening in awe and thinking, “I wrote that?!” Anyway, Richard and Nanette interviewed me inside a cozy recording booth and we had a nice talk about both books. The podcast should be out within the week, and I’ll link to it when it’s available. They even let me go back in and do a retake when I belatedly remembered I’d forgotten to plug the upcoming Only Superhuman paperback. After the interview, they showed me the rest of their facility — mostly one big room where the directors and engineers work at a bunch of computers around the walls, but with some private offices for the producers and a couple of secondary recording booths. They had me sign a couple of copies of the audiobook as well as the OS poster in their lobby, and they gave me a green coffee mug with the company logo on it (though more lime green than emerald green).
Unfortunately they didn’t have any copies of DiT ready to give me, since Marvel hasn’t given final approval yet and they haven’t even printed any CDs. The box I’m holding in the above photo is a mockup they finished just moments before. But it sounds like it’ll be really cool, and I hope it’s a big seller. As I’ve mentioned before, I won’t get any more money from this, but I’m proud of the story and I want it to get more exposure. Plus it could attract more interest for Only Superhuman, and that could benefit me financially.
Speaking of which, I asked if I could have a fuller cast list than the one given on the audiobook, crediting who played what for more than just the lead roles. Nanette provided a list for me, so now I can give a fuller cast list for Only Superhuman, the audio:
- Nanette Savard: Narrator, Sally Knox
- Alyssa Wilmoth: Emerald Blair/Green Blaze
- Colleen Delany: Psyche Thorne
- Thomas Keegan: Zephyr, Taurean
- Elliot Dash: Eliot Thorne
- Ken Jackson: Javon Moremba
- Evan Casey: Gregor Tai
- Yasmin Tuazon: Koyama Hikari/Tenshi
- Tracy Lynn Olivera: Bast, Lydia Muchangi/Lodestar, Detective Barbour
- Barbara Pinolini: Rachel Kincaid-Shannon
- Richard Rohan: Jahnu Kwan/Hanuman, Erich Krieger/Wulf
- Christopher Scheeren: Yukio Villareal/Sensei
- Michael Glenn: Richard Shannon
- Kimberly Gilbert: Bimala Sarkar, Elise Pasteris/Tin Lizzy, Ruki Shimoda/Hikkaku
- David Coyne: Sanjay Bhattacharyya/Cowboy
- Eric Messner: Vijay Pandalai/Arjun
- James Konicek: Arkady Nazarbayev/Medvyed
- Elizabeth Jernigan: Lyra Blair, “Banshee” Starlet
- Nora Achrati: Maryam Khalid/Hijab, Dr. Monica Railey
- Joe Brack: Juan Lopez/Jackknife, Aaron Donner/Blitz, Daniel Weiss/Overload
- Nick Depinto: Marut Pandalai/Bhima
- Terence Aselford: Ken Auster/Paladin, Jorge Santiago
- Additional voices by Thomas Penny, Michael John Casey, James Lewis, Joel David Santner, and Steven Carpenter
Hopefully I’ll have a cast list for Drowned in Thunder as well once that comes out.
By the way, here’s the list of GA’s DC Comics cast members. Turns out Richard Rohan plays Batman — and the Joker! (That must make for some interesting recording sessions.) Nanette Savard is Lois Lane, Colleen Delany is Wonder Woman, and James Konicek, who played Arkady, is their Superman.
Before I left, they let me know that they had plans to attend the New York Comic-Con in October. I plan to be there to promote the OS paperback, so I’ll be sure to visit their booth and maybe do some promotion of their adaptations. I’ll be sure to post information about my appearance schedule once it’s arranged.
Good news! GraphicAudio, the company that produced the well-regarded, fully dramatized audiobook adaptation of Only Superhuman, is doing the same for another of my books, Spider-Man: Drowned in Thunder, scheduled for August 2013. GA has adapted a number of DC Comics superhero novels before, both novelizations of comics series (many by Only Superhuman‘s editor Greg Cox) and original DC-based novels, but this is apparently only their second Marvel production and their first based on a prose novel (their previous one was a Civil War adaptation). I’m privileged that they chose my book to adapt. It suggests they were pleased with OS.
I’m glad to see Drowned in Thunder getting a second shot at life, because it’s one of my favorite things that I’ve written, and yet it’s my lowest-selling paperback novel to date. To be honest, Pocket Star’s Marvel novels probably didn’t get the kind of promotion they needed, and their cover designs (using a generic font rather than the familiar character/series logos) may have made them harder to spot on the shelves — though the striking cover art for DiT is one of the best covers any of my books has ever had:
So I’m hopeful the audiobook will bring renewed attention to DiT, and encourage more people to track down copies of the paperback, though those may be hard to find. There’s actually no financial profit for me in this; I wrote my Marvel novels (this and X-Men: Watchers on the Walls) for a flat fee with no royalties. But I just want more people to experience the story, because I’m really proud of it. And it should be interesting to hear it brought to life (although the voices I hear in my head when I read the book — and when I wrote it — are those from the ’90s animated series).
It should be noted that this book came out before the One More Day/Brand New Day reboot in the Spider-Man comics. It’s set during the era when Peter Parker was still married to Mary Jane Watson, and before he joined the Avengers. I assume the audiobook will also be set in that era; I don’t see any way to update its story to fit the current status quo. Anyway, there’s more information about the novel on my website here.
Well, I finally got my author copies of the Only Superhuman audiobook adaptation from GraphicAudio. It’s been getting uniformly 5-star reviews at their site, which is nice to see. Here’s what it looks like:
(There are seven discs, in four two-pocket sleeves. No liner notes or anything, just a GraphicAudio catalog and a promotional postcard for a couple of their other products.)
So what does it sound like? Pretty good. Naturally my experience of it is going to be different from most people’s, since I’ve had my own idea about what the major characters sound like for years, and can’t help comparing the voice cast and their performances against the soundtrack in my head. And naturally, a number of the voices and performance choices are different from what I imagined. But considering that I had no input into the production, it’s actually gratifying how close it comes to what I had in mind.
GraphicAudio is apparently based in the DC area, since (as far as I can Google) many of their actors seem to be stage performers from that area. Unfortunately, the end credits only list the five lead performers by role, so I can’t identify who played the rest of the characters.
The director and narrator is Nanette Savard (who also plays Lois Lane for the company’s DC Comics adaptations), who has a voice quality a bit like how I imagine Emerald’s voice — not much, but enough to make her an appropriate choice to narrate a book told mostly from Emry’s POV. (And enough to spark the idle thought that maybe the narrator is an older Emry, or maybe a descendant, telling the story in retrospect.) She does a solid job, striking a good balance between detachment and emotional expressiveness.
Emerald herself is played by Alyssa Wilmoth Keegan (billed here as Alyssa Wilmoth). She’s not exactly what I had in mind (she’s mezzo rather than full soprano), and she’s not the screamer Emry’s described as in the text (which might’ve been too hard on the actress’s voice, granted), but she’s actually quite a good choice for the role vocally, with the right kind of rough edge and attitude, and she does a good job of capturing Emry’s blend of street-hardened toughness and youthful vulnerability. I’m really quite pleased with her performance, especially in some of Emry’s big emotional speeches in the final chapter or two. Wilmoth’s husband Thomas Keegan plays Zephyr, and he’s almost exactly what I was going for — a mellow baritone with a very human, laid-back, amiable delivery, rather than something more robotic as I feared we might get. Having a married couple play Emry and her devoted ship is a good choice chemistry-wise.
Eliot Thorne is played, coincidentally, by Elliot Dash, who’s very effective in the role. Dash’s voice took me a bit of getting used to, since I’ve always imagined Thorne as sounding like Avery Brooks or Keith David’s Goliath from Gargoyles, a smooth, controlled basso, while Dash’s voice reminds me more of Paul Winfield’s, and he imparts the role with more passion and less reserve than I imagined. Still, he gives the role the gravitas, intensity, and oratorical splendor it deserves.
I’m afraid I wasn’t quite as impressed by Colleen Delany (also GraphicAudio’s Wonder Woman) as Psyche. She has broadly the right type of voice and does an okay job, but her performance is a bit too polished and announcer-like to be entirely convincing for me. Perhaps the problem is that the bar in my mind is set so very high. Psyche’s supposed to have an incredibly beautiful, warmly seductive voice, a smooth and mellow alto — my ideal voice-casting choice would be Gina Torres. It would’ve been difficult to find anyone who really lived up to my hopes.
As for the rest of the cast, there are more hits than misses, and I wish I could match the actors to the roles. The performers playing Greg Tai and Sally Knox are ideal. The portrayers of Emry’s parents splendidly capture their personalities; Lyra’s pitch is lower than what I had in mind, but that was probably a better choice in terms of casting a maternal voice. Arkady Nazarbayev turned out very well; I didn’t have a clear voice for him in my head, but they cast an actor who sounds uncannily like Clancy Brown, which is just the sort of voice-casting choice I might’ve made myself had it occurred to me. Javon Moremba is very close to what I wanted, and in fact the way their actor delivered the line “But I loved this car!” was almost exactly what I hear in my head. And while there was no hope of getting Hanuman Kwan to sound like he does in my head (because I wrote him with Roddy McDowall’s inimitably wonderful voice in mind, despite claiming he was Australian), their actor, while more of a Tony Randall-ish baritone, captured the delivery and personality I had in mind quite well. Plus, though it’s a tiny role, Blitz is handled better than I ever imagined, sounding almost like a Mark Hamill villain voice. Other supporting characters like Rachel, Lodestar, and Hijab are solidly handled.
There are a few choices that don’t work as well for me. I feel their Koyama Hikari was miscast; the actress’s voice and delivery would’ve worked well for Ruki Shimoda but just aren’t right for Kari. I’m not crazy about their Cowboy, whose accent is too goofy; granted, it’s supposed to be a corny affectation that Emry finds ludicrous, but they took it too far and I feel it undermines the character’s menace. And their Sensei Villareal is just completely wrong. Sensei is supposed to be a wise, charming mentor figure, a respected hero renowned for his integrity, an aging swashbuckler and Latin lover. (My mental model for the character was Henry Darrow, who played Zorro in two early ’80s shows and Zorro’s father in a ’90s show.) The actor here doesn’t come close to conveying any of that, and has a stilted and unconvincing delivery. It’s the one performance that works against, not only my own intentions and expectations, but what’s actually there in the spoken text.
Still, given how many voices they had to cast, and given my total lack of input beyond what’s on the page, it’s impressive that there were so few misses.
(Other “voices in my head” that guided me as I wrote: For Emry, Lenore Zann, the voice of Rogue from the ’90s X-Men animated series — though I often thought Bernadette Peters would be a good alternative, and lately I’ve felt that Amy Jo Johnson’s voice would be a great fit. For Tai, Daniel Dae Kim. For Javon, Khary Payton. For Bast, Julie Newmar or Eartha Kitt. For Zephyr, I’ve always tended to imagine Kevin Conroy doing a deeper version of his Bruce Wayne voice, but I’ve never been sure that was the best choice; Zephyr’s supposed to have a voice women find really sexy, and that’s not something I’m particularly qualified to assess. Thomas Keegan actually sounds a lot like Conroy, though with a bit of David Hyde-Pierce mixed in.)
I do wish they’d consulted me on a couple of pronunciations, though, as well as some of the casting choices. They use Americanized pronunciations for “Villareal” and “Lydie Clement” (they rhyme “Lydie” with “Heidi”) when I intended them to have, respectively, Spanish and French pronunciations. On the other hand, I realize that I’ve been Americanizing the pronunciation of “Arkady” all these years, saying it like “arcade-y” when the Russian A is pretty much always pronounced “ah.” So the audiobook has set me straight on that one.
So what about the adaptation of the text? At nearly 8 hours, it’s fairly thorough, but not comprehensive; a significant amount of stuff is trimmed out. In particular, Kari’s scenes are heavily cut down, making her a considerably more minor character here than in the original. (Ironic, since I’ve grown very fond of Kari and intend to feature her heavily if there are sequels.) In general, supporting characters’ backstories are glossed over, so a lot of the personal detail — as well as some of the technical detail and exposition — is absent. Action scenes are streamlined, which makes sense from a pacing standpoint; and most of the sex is trimmed down or omitted, though a lot of the nudity remains (and there’s even one point where the streamlining of the text results in more nudity than there was originally). A few of the cuts are a bit awkward, though, deleting a scene but leaving in a later reference to something from that scene. (In particular, Kari’s battle peace and personal guilt are mentioned even though the explanations for both are deleted.) There are a couple of points where lines are assigned to the wrong character, but they’re ambiguous enough that they kind of still work that way. Also, it’s not based on the final copyedited draft of the manuscript; there are some details and word choices that I remember altering in the final version, and my last-minute addition of Kari using high-tech tessen fans as weapons is missing.
There are a couple of sound-editing choices that surprised me, but I realize it’s because of the lack of stage directions I gave. One is the scene in chapter 3 where someone notifies Lyra Blair of an incident young Emerald was involved in, which I wrote as dialogue-only for effect; I always assumed it was someone coming to Lyra’s front door, but here it was interpreted as a phone call. That probably makes more sense, come to think of it. And the brunch scene with Emry and Grandma Rachel (here called lunch instead) was supposed to be a very private, personal conversation in Rachel’s home, but they did it with restaurant ambience in the background. I guess I needed to make the setting clearer than I did. It’s a common failing of mine, writing a scene with too little description of the setting. Or maybe they chose to change it for acoustical variety. I suppose their interpretation could work if the characters were in a private booth or balcony of some sort, isolated enough that they wouldn’t be overheard by other diners.
But while there are some details that could’ve been improved if I’d been consulted (something I should try to negotiate for in future contracts), overall it’s an impressive work. The majority of the actors are appropriately cast and give good, convincing performances, and the sound effects and Foley work are good (although I’m not crazy about the use of sound effects for things happening in vacuum, particularly when they were being described in narration anyway). The music seems to be drawn from a stock library spanning a variety of styles, but it mostly fits fairly well and is used in appropriate places. All told, this is certainly the most lavish audiobook production I’ve ever heard.
In sum, this is a good supplement to the novel, but not an exact, unabridged equivalent to the prose version. Rather, it’s an adaptation, an alternative take on the story. To those who’ve only bought the audiobook, I’d recommend getting the novel for the complete, canonical story; if you don’t want to spring for the hardcover or e-book, the paperback’s only 6 months away, or at least you could look for it at the library. As for those who’ve bought the novel, I’d say the audiobook is still worth getting, a good interpretation of the novel, capturing the essentials of what I created (mostly) but putting a different spin on it, thus adding another dimension to the experience. Besides, I don’t know if there will ever be a movie adaptation (Hollywood doesn’t seem interested in female-led superhero films these days), so this may be the only dramatization the story ever gets.
And heck, it’s just impressive that a bunch of actors and other folks got together to put on a performance of something I wrote, to bring it to life. And that most of them really seemed to get it, just from what was on the page. Both of those are quite heartening, and I’m grateful for the hard work and care the creators and performers put into this adaptation.
I just checked Amazon’s page for the Only Superhuman audiobook, and it says they’ve nearly sold out — only 3 left in stock — and have had to order more copies. That’s a nice thing to see. Of course I don’t know how many copies they ordered to begin with, but demand exceeding supply has got to count as good performance in any case.
And if Amazon does sell out, the audiobook can always be ordered (in CD or download form) from GraphicAudio itself.
Unfortunately I still haven’t managed to get a copy of the audiobook myself. Hopefully that can be arranged soon.
It’s here! GraphicAudio’s page for their Only Superhuman audiobook now has purchasing links active:
It’s available in two formats: A set of 7 CDs available for a new-release price of $13.99 USD (regular $19.99) and an MP3 download for $12.99. Note that the run time has been revised to approximately 8 hours.
They also have credits available, though they don’t specify who’s playing whom:
Directed by: Nanette Savard
Starring: Nanette Savard, Alyssa Wilmoth, Colleen Delany, Thomas Keegan, Elliot Dash, Ken Jackson, Evan Casey, Yasmin Tuazon, Tracy Lynn Olivera, Barbara Pinolini, Richard Rohan, Christopher Scheeren, Michael Glenn, Kimberly Gilbert, David Coyne, Eric Messner, James Konicek, Elizabeth Jernigan, Nora Achrati, Thomas Penny, Michael John Casey, Joe Brack, Nick Depinto, James Lewis, Joel David Santner, Terence Aselford and Steven Carpenter
Book Adapted for GraphicAudio by: Johann Dettweiler
Dialogue Editor: Nathanial Perry
Sound Designer: Nathanial Perry
Additional Original Music by: Thomas Hogan and Dan Sondak
Producers: Richard Rohan and Duane Beeman
Executive Producer: Anji Cornette
There’s a sample clip from the audiobook now available at GraphicAudio’s site:
The clip doesn’t feature much dialogue, but the actress they’ve cast as Emerald Blair (not sure if it’s the same woman doing the narration, and the credits aren’t up yet) is reasonably close to what I had in mind. She actually sounds kind of like Tara Strong, one of my favorite voice actresses, who doesn’t sound quite like I imagine Emerald but who’s enough in the ballpark that I’d actually considered her as a candidate for Emerald’s voice if there was ever an audiobook. (Although I think my ideal choice would be Amy Jo Johnson. The voice I originally heard in my head for Emry was Lenore Zann, who played Rogue on the ’90s X-Men animated series, but Johnson’s work on Flashpoint has won me over.) As it turned out, I had no input into casting on the audiobook, so I was a little nervous about whether they’d cast Emerald appropriately. I’m much more reassured now.
I read along in the book as the clip played, and it’s not a complete, word-for-word rendition of the text, but most of it is there. Honestly, there were some bits of description that maybe they could’ve trimmed more. My rather verbose style actually sounded a little odd to me spoken aloud.
I’m finally able to announce that GraphicAudio, a company that produces fully dramatized audiobook adaptations of novels, is doing an audio edition of Only Superhuman. As announced on their site, it’s scheduled for release in February 2013. As I understand it, this will be a full-cast audio drama complete with music and sound effects, more like old-time radio dramas than your typical audiobook. I’ve listened to some of the samples they have at their site, and they sound good. They appear to have their own repertory company of performers to handle the voices.
To be honest, having somewhat inherited the voice — and the hamminess — of my radio-announcer father, I’ve always kind of hoped I’d get to narrate my own audiobook. I’ve quite enjoyed it when I’ve gotten to do dramatic readings from my work at the Shore Leave convention. But it’s worth passing that up to get to hear the story fully realized in this way.