Gone with the Wind
It tells a story. Hardcover files this book as fiction. A fact, not a factor: it plays no part in our call.
Read it
Both halves point at the page: 11% of the reviews we read called it demanding, and Charlton Griffin’s reading lands in the bottom 12% of our shelf of books, on 597 ratings of the narration.
Length does not decide this
47h 11m to listen, at 1×37h 45m to listen, at 1.25×31h 27m to listen, at 1.5×26h 58m to listen, at 1.75×23h 36m to listen, at 2×about 35 hours to readabout 26 hours to readabout 21 hours to readabout 16 hours to readabout 13 hours to read
The runtime is Audible’s own, shown at the speed beside it. The reading time is our estimate: 1,037 pages at 30 pages an hour, the pace you told us. Ours is 50, about 300 words a page, read at 250 a minute. Treat the reading estimate as a floor on this one: this one runs 2.7 minutes of narration a page against a shelf median of 1.9, so there is more on each page than our 300-word average assumes and it will take you longer than we say.The runtime is Audible’s own, shown at the speed beside it. The reading time is our estimate: 1,037 pages at 40 pages an hour, the pace you told us. Ours is 50, about 300 words a page, read at 250 a minute. Treat the reading estimate as a floor on this one: this one runs 2.7 minutes of narration a page against a shelf median of 1.9, so there is more on each page than our 300-word average assumes and it will take you longer than we say.The runtime is Audible’s own, shown at the speed beside it. The reading time is our estimate: 1,037 pages at 50 pages an hour, which is about 300 words a page, read at 250 a minute. Treat the reading estimate as a floor on this one: this one runs 2.7 minutes of narration a page against a shelf median of 1.9, so there is more on each page than our 300-word average assumes and it will take you longer than we say.The runtime is Audible’s own, shown at the speed beside it. The reading time is our estimate: 1,037 pages at 65 pages an hour, the pace you told us. Ours is 50, about 300 words a page, read at 250 a minute. Treat the reading estimate as a floor on this one: this one runs 2.7 minutes of narration a page against a shelf median of 1.9, so there is more on each page than our 300-word average assumes and it will take you longer than we say.The runtime is Audible’s own, shown at the speed beside it. The reading time is our estimate: 1,037 pages at 80 pages an hour, the pace you told us. Ours is 50, about 300 words a page, read at 250 a minute. Treat the reading estimate as a floor on this one: this one runs 2.7 minutes of narration a page against a shelf median of 1.9, so there is more on each page than our 300-word average assumes and it will take you longer than we say.
If you must listen → dedicated listening only
Easier in audio than The Handmaid's Tale.
About as much work in audio as most of the books we hold.
About as much work in audio as most of the fiction we hold.
About as much work in audio as most of the doorstoppers we hold.
Reading load against listening load
Where that puts this one among the books we hold: in the top 30% of our shelf of books for effort on the page and in the middle 40% of our shelf of books for effort in your ears. The middle of the scale is not the middle of the shelf (most books sit below the average on both), so a book at 0.00 is already in the top 43% for effort on the page. Each of the three is measured against the whole shelf separately, so the bottom figure is not the top two subtracted. It is this book’s own distance from the middle.
What the audio disadvantage is made of. Two things and no others: how fast readers say this one moves, and how demanding the reviews we read found it. There is no third: the structural one has no data source, so it contributes nothing rather than being guessed at. Both directions are declared priors we have never fitted against a real verdict, which is the weakest-evidenced part of the whole model.
How the call was made
Where a bar carries ticks, the grey one is the middle of our shelf and a coloured one is a line we publish, cool where we start backing the page, warm where we start backing the recording. The evidence squares at the foot are a different thing: how far each of our four sources went, hatched where there was nothing to measure at all.
- The audio case
- −1.00It sits in the bottom 17% of our shelf of books for how far the recording outruns the page. Past the line where we start backing the page.
- Narration payoff
- −0.66Charlton Griffin’s reading is less well received than the book it came from: in the bottom 12% of our shelf of books, on 597 ratings of the narration. This is a difference, not a score: it sets the reading against its own book, so a much-loved book with a merely good reading sits low on this shelf even where nobody disliked either. Before we allowed for how many people rated it, the reading stood in the bottom 12% of our shelf of books. The gap between the two places is us declining to let a handful of ratings move a verdict. That is the second mark on the bar, and it is the one our line is applied to: a rule tested on the damped number would pass the same recording at 25 ratings and fail it at 5,000. Asked the other way (how the reading stands against what the book’s own readers made of it, which is a different crowd rating a different thing), it comes out −0.42. We report that one and never score it: two crowds that do not overlap are held together by nothing but the standardising, which is a cost the figure above does not pay.
- What is at stake
- 0.73It sits in the top 24% of our shelf of books for how well the print crowds think of a book: well enough regarded that a wasted first encounter costs more, so we lean towards protecting the page. Blended across 1,271,805 Goodreads ratings and 535 on Hardcover, each scored inside its own population first, and never added together.
For the page
- The voice lets the book down
- The print crowds think highly of it
For the recording
- Audio is neither helping nor fighting this one
- 597 listeners behind it
So the case for the page won it.
A bigger dot counted for more: the voice and the ear are sized by their share of the sum above, the other two by how much stands behind them. A hatched square is a reason that did not apply here, which is not the same as one that counted for little.
- Evidence
- 1.00How much of the picture we actually have, out of 1.00: four questions, each answered as far as the source could answer it, less anything taken off for reading fewer reviews than we aim to.The reading597 people have rated this reading: as good as it getsThe second sourceHardcover knows this book, with 535 readers there: as good as it getsThe matchHow sure we are that the recording we scored is this book: as good as it getsThe reviewsWe read 300 reviews to judge how demanding it is: as good as it gets
What each crowd complains about
In the reviews we read, how often readers brought it up and how often listeners did, each against what is usual for that same crowd across our whole shelf, which is the grey tick. The track stops at 4×. Listeners are only ever compared with listeners.
Listeners of this book bring up the pace about one and a half times as often as listeners usually do, while readers of it bring it up about as often as readers usually do.
What the two crowds said
Showing the stars as each shop prints them. The two crowds are not measured from the same place: on our shelf Audible’s listeners average 0.35 of a star above Goodreads’ readers, so a recording that is ordinary for Audible can still out-star a book that is genuinely well liked for Goodreads. Switch the toggle to take that difference off.Showing each figure as its distance from its own crowd’s middle on our shelf, in standard deviations, so 0 is a typical book for that crowd. Listeners start 0.35 of a star up, partly because anyone who finishes a twenty-five-hour recording chose it deliberately, and this takes that off. It is not a claim that audio is better, the story figure is still Audible’s own (people rating a story they heard), and none of it moves the verdict above.
overallAudible
overall, pooled by the shop, so we hold no ruler for it
666 ratings · performance and story, as the shop pools them
the performanceAudible
the performance, against Audible’s own crowd
How often this goes badly3.4% of the people who rated the performance gave it one or two stars. More than most recordings here. The middle of our shelf is 2.0%, and half of it falls between 1.0% and 3.1%.
20 of 597 listeners gave the performance one or two stars
The shape of the room
- United, this one
- Warm
- Split
- Lukewarm
A united room: 80% of the listeners gave the performance five stars. A room that agrees this far leaves little to gamble on.
597 ratings
the story, as heardAudible
the story, as heard, against Audible’s own crowd
597 ratings
the book itselfGoodreads
the book itself, against Goodreads’ own crowd
1,271,805 ratings
Every reading we hold
Two complete readings of it, and one call above for the book: the verdict is a claim about format, not about a voice. Which voice to press play on is the next question, and this is our answer to it. Below 250 ratings of the reading we name a recording and decline to rank it.
- Charlton Griffinour pick47h 11m37h 45m31h 27m26h 58m23h 36m · One voice · Audible UK and US
Performance 4.67 · Story 4.81 · 597 rated the reading · 3.4% of the people who rated the performance gave it one or two stars
Hear it · Audible’s clip, its length read from them on load
- Liza Rosstoo few ratings to judge43h 06m34h 29m28h 44m24h 38m21h 33m · One voice · Audible UK
Only 39 people have rated this reading, short of our published bar of 250, so we name it and print no scores for it.
Hear it · Audible’s clip, its length read from them on load
1 other listing we set aside, listed with the reason for eacheach one is sold as this book and is not a complete reading of it
- Clare Perkins, Samantha Dakin, Jacob Fortune-Lloyd, Laurel Lefkow, Rebekah Murrell, Finlay Robertson, Clare Corbett, Full Cast2h 50m2h 16m1h 53m1h 37m1h 25m · 2 ratingsNot the whole book, only 6% of the full reading
The recording we mean
- Runtime
- 47h 11m at 1×
- Read by
- Charlton Griffin
- Kind
- One voice
- ASIN
- 1603691634 · Audible UK
- Rated in
- Audible UK and US · 446 + 151 ratings of the performance
- Judged on
- 597 ratings of the narration
- Published
- Audio Connoisseur · 2019
Audible sorts a search by newest, so ours may not be the first one you are offered. The runtime is the check: if the one in front of you says 47h 11m, that is the reading these numbers describe. “Judged on” is the crowd behind every judgement we make about this reading: the smaller of the performance and story counts, which is why it is a little under the two shop counts added. We do not link out to a shop, and we take nothing if you buy there.