Outlander
It tells a story. Hardcover files this book as fiction, and its readers there call it adventurous, emotional and dark. Facts, not factors: neither plays any part in our call.
Either. Don't overthink it
It comes out level, but not because nothing is happening: Davina Porter’s reading is better received than the book (in the top 28% of our shelf of books, on 57,694 ratings of the narration), and audio makes it harder work than most books we hold (in the top 20% of our shelf of books for extra work in audio). Those two cancel out, leaving the audio case between the bottom 31% and the top 42% of our shelf of books for how far the recording outruns the page, the band where this figure settles nothing on its own. These are forces pulling against each other rather than a book that asks nothing of you. Pick whichever you will actually finish.
Length does not decide this
32h 37m to listen, at 1×26h 06m to listen, at 1.25×21h 45m to listen, at 1.5×18h 38m to listen, at 1.75×16h 19m to listen, at 2×about 28 hours to readabout 21 hours to readabout 17 hours to readabout 13 hours to readabout 11 hours to read
The runtime is Audible’s own, shown at the speed beside it. The reading time is our estimate: 850 pages at 30 pages an hour, the pace you told us. Ours is 50, about 300 words a page, read at 250 a minute.The runtime is Audible’s own, shown at the speed beside it. The reading time is our estimate: 850 pages at 40 pages an hour, the pace you told us. Ours is 50, about 300 words a page, read at 250 a minute.The runtime is Audible’s own, shown at the speed beside it. The reading time is our estimate: 850 pages at 50 pages an hour, which is about 300 words a page, read at 250 a minute.The runtime is Audible’s own, shown at the speed beside it. The reading time is our estimate: 850 pages at 65 pages an hour, the pace you told us. Ours is 50, about 300 words a page, read at 250 a minute.The runtime is Audible’s own, shown at the speed beside it. The reading time is our estimate: 850 pages at 80 pages an hour, the pace you told us. Ours is 50, about 300 words a page, read at 250 a minute.
Slot → dedicated listening only
About as demanding in audio as The Handmaid's Tale.
Harder work in audio than 80% of the books we hold.
Harder work in audio than 78% 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 middle 40% of our shelf of books on both counts (effort on the page and 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
- −0.12It sits between the bottom 31% and the top 42% of our shelf of books for how far the recording outruns the page. Inside the band where neither side has made its case on this number alone, so the call is settled by what else is on the page.
- Narration payoff
- 0.50Davina Porter’s reading is better received than the book it came from: in the top 28% of our shelf of books, on 57,694 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. 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 0.03. 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
- 0.17It sits between the bottom 27% and the top 33% of our shelf of books for how well the print crowds think of a book: middling regard, so this barely moves the call either way. Blended across 1,186,237 Goodreads ratings and 922 on Hardcover, each scored inside its own population first, and never added together.
For the page
- A hard text to follow by ear
- The crowds’ regard did not reach the line where we protect a first read, this reason did not apply
For the recording
- The voice beats the book
- 57,694 listeners behind it
Neither column won it: the two came out level, which is the answer above.
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 reading57,694 people have rated this reading: as good as it getsThe second sourceHardcover knows this book, with 922 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.
Readers of this book bring up the pace about 2.2 times as often as readers usually do, while listeners of it bring it up about as often as listeners 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
68,667 ratings · performance and story, as the shop pools them
the performanceAudible
the performance, against Audible’s own crowd
How often this goes badly2.3% of the people who rated the performance gave it one or two stars. About typical for the shelf. The middle of our shelf is 2.0%, and half of it falls between 1.0% and 3.1%.
1,338 of 57,892 listeners gave the performance one or two stars
The shape of the room
- United, this one
- Warm
- Split
- Lukewarm
A united room: 82% of the listeners gave the performance five stars. A room that agrees this far leaves little to gamble on.
57,892 ratings
the story, as heardAudible
the story, as heard, against Audible’s own crowd
57,694 ratings
the book itselfGoodreads
the book itself, against Goodreads’ own crowd
1,186,237 ratings
The series
Outlander
Finished · The reading changes hands
9 books numbered on Goodreads’ list, with 4 novellas or companions filed between them. The last one came out in 2021 and Goodreads lists nothing further. Five quiet years is where we start using that word.
The reading changes hands across the 13 volumes Audible names in our records: Allan Scott-Douglas reads book 0.5, Davina Porter books 1 and 2, Jeff Woodman book 2.5, Davina Porter books 3–5, and 4 more credits after that.
From Goodreads’ own series index, checked on 11 September 2026.
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.
- Davina Porterour pick32h 37m26h 06m21h 45m18h 38m16h 19m · One voice · Audible UK and US
Performance 4.72 · Story 4.57 · 57,694 rated the reading · 2.3% 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
- Kristin Athertontoo few ratings to judge29h 57m23h 58m19h 58m17h 07m14h 59m · 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
The recording we mean
- Runtime
- 32h 37m at 1×
- Read by
- Davina Porter
- Kind
- One voice
- ASIN
- 1705015328 · Audible UK
- Rated in
- Audible UK and US · 3,103 + 54,789 ratings of the performance
- Judged on
- 57,694 ratings of the narration
- Published
- Recorded Books · 2020
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 32h 37m, 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.