Prompt Response Week 11

Whether or not the change in medium from physical to digital or audio formats has affected appeal factors depends on who you ask. According to Dunneback, "the digitization of books and stories on appeal factors is most prominently felt with pacing" (2011, p. 328). Without a physical copy, the reader can lose track of how much he/she has read or has left to read. Pacing is also tied to how much text is visible on a given page and the way it appears. Is there a lot of dialog or white space (an indication of a quick pace) or are there full paragraphs, small font, and little white space (indicating a slower-pace)? E-books, depending on the font size being utilized and the size of the e-reader's screen, do not always provide the visual indications of pace (Dunneback, 2011). 

One person I chatted with about this topic, however, indicated that the e-book format has had no affect on the books' appeal factors, at least in her experience. Further, she notes, "I think font, line spacing, and the color of the text, as well as the color of the pages, are just personal visual preferences when reading an e-book...in my experience, these do not affect the pacing or tone of the book." 

From my own experience, however, I struggle reading digital formats. I love the feel and smell of the physical book and the sense of accomplishment when I insert my bookmark and see how much I've read (and how much more I have left!). I can much more easily engage with a physical format than a digital one (in fact, I print out most of the readings  for class because I don't like reading on the screen). The opposite rings true for others, however, as one of my interviewee's noted, "Who wants to carry a heavy book or books around when you can carry one lightweight device with thousands of books?" I get that too! The degree to which a physical copy of a book affects one's reading experience and knowledge of what he/she is reading often depends on the reader.

E-audio, however, due to the presence of narration, narrative styles, and sound elements has an extra layer of appeal considerations that are non-factors when it comes to e-books or physical books.

Cahill and Moore (2017) note the important role of of narration in audio formats: "...decisions about tone, voice, and emphasis can be the determining factor in a listener becoming engrossed in or disengaged from the listening experience" (p.24).  Both of my interview subjects commented on this point. "If I don't like a narrator's voice or find them hard to understand, I will stop listening. Similarly, if I feel that the narrator's voice does not represent my idea of how a character should sound, I will likely stop listening." The sound elements incorporated into audio formats are often positively received. A narrative style with a full caste of characters and music, says Interviewee #1, creates an immersive experience and can really contribute to setting the tone. On the downside, she admits, such additions can limit the use of one's own imagination, in much the same that a screenplay minimizes the imaginative roles of viewers. Interviewee #2 described the audio format's ability to bring the story to life in an otherwise complicated and difficult-to-understand text. She compared the e-book version of "Dune" (which she could not understand at all) with the audio version: "The audiobook is so much better in my opinion. Music, sound effects, and a cast of different narrators help to differentiate between characters, plots, sub-plots, and different sections of the novel." 

I'm going to include this last paragraph of miscellaneous points I learned from my two interviewees - things I found rather interesting. Kelli is a neurodivergent e-audio consumer. She notes that this format is extremely appealing to her because it allows her to occupy her mind and body with two different activities simultaneously. She calls this "paired action." While she struggles concentrating on physical texts, audio formats allow her to remain physically active which helps her brain engage with the story she is listening to. Further, the fact that she doesn't have to stop and put a book down keeps her reading despite her deficits with attention. With audio, she doesn't have to set a book down and disengage from it. She can continue to listen while going about her daily tasks, and this has helped her tremendously. Juliana, by contrast, while she does enjoy e-audio, says that sometimes her mind wanders when listening to a story. "I do feel that, with fiction audiobooks, it can sometimes be more difficult to stay focused when listening. Personally, I find non-fiction audiobooks much easier to comprehend. To me, it's like listening to a podcast. Sometimes, with fiction audiobooks, if I'm not paying close attention, my mind drifts and I have to hit rewind." For some readers, fiction and non-fiction play out differently in audio formats.

It would seem that the variety of formats available to our patrons is a good thing. Digital materials appeal to certain people for various reasons, while they might be off-putting to others. The most important thing is that readers' advisors be aware of the appeal factors, benefits, and drawbacks of these e-formats as they apply to individual readers' needs and interests. 

Resources

Cahill, M., & Moore, J. (2017). A sound history. Children & Libraries: The Journal of the Association for Library Service to Children, 15(1), 22–29. 

Dunneback, K., & Trott, B. (2011). E-books and readers' advisory. Reference & User Services Quarterly, 50(4), 325-9.