The Call of the Wild
It tells a story. Hardcover files this book as fiction. A fact, not a factor: it plays no part in our call.
Listen to it
Both halves point the same way: 11 readers call it fast and only 5% of the reviews we read called it demanding, and Pablo Schreiber’s reading is better received than the book it came from (in the top 30% of our shelf of books, on 9,238 ratings of the narration). About as clear as this gets.
Length does not decide this
3h 22m to listen, at 1×2h 42m to listen, at 1.25×2h 15m to listen, at 1.5×1h 55m to listen, at 1.75×1h 41m to listen, at 2×about 6 hours to readabout 4½ hours to readabout 3½ hours to readabout 2½ hours to readabout 2 hours to read
The runtime is Audible’s own, shown at the speed beside it. The reading time is our estimate: 172 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 ceiling on this one: this one runs 1.2 minutes of narration a page against a shelf median of 1.9, so its pages are lighter than the average we divide by (verse, dialogue, wide margins), and it will go quicker than we say.The runtime is Audible’s own, shown at the speed beside it. The reading time is our estimate: 172 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 ceiling on this one: this one runs 1.2 minutes of narration a page against a shelf median of 1.9, so its pages are lighter than the average we divide by (verse, dialogue, wide margins), and it will go quicker than we say.The runtime is Audible’s own, shown at the speed beside it. The reading time is our estimate: 172 pages at 50 pages an hour, which is about 300 words a page, read at 250 a minute. Treat the reading estimate as a ceiling on this one: this one runs 1.2 minutes of narration a page against a shelf median of 1.9, so its pages are lighter than the average we divide by (verse, dialogue, wide margins), and it will go quicker than we say.The runtime is Audible’s own, shown at the speed beside it. The reading time is our estimate: 172 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 ceiling on this one: this one runs 1.2 minutes of narration a page against a shelf median of 1.9, so its pages are lighter than the average we divide by (verse, dialogue, wide margins), and it will go quicker than we say.The runtime is Audible’s own, shown at the speed beside it. The reading time is our estimate: 172 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 ceiling on this one: this one runs 1.2 minutes of narration a page against a shelf median of 1.9, so its pages are lighter than the average we divide by (verse, dialogue, wide margins), and it will go quicker than we say.
Slot → commute-safe
About as demanding in audio as Slaughterhouse-Five.
Easier to hear than 80% of the books we hold.
Easier to hear than 78% of the fiction we hold.
About as much work in audio as most of the short books we hold.
Reading load against listening load
Where that puts this one among the books we hold: in the bottom 20% of our shelf of books for effort on the page and in the bottom 20% 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
- 1.24It sits in the top 13% of our shelf of books for how far the recording outruns the page. Past the line where we start backing the recording.
- Narration payoff
- 0.45Pablo Schreiber’s reading is better received than the book it came from: in the top 30% of our shelf of books, on 9,238 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 1.88. 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
- −1.18It sits in the bottom 9% of our shelf of books for how well the print crowds think of a book: not a book the crowds are precious about, so there is less to protect and we can be relaxed about it. Blended across 487,564 Goodreads ratings and 734 on Hardcover, each scored inside its own population first, and never added together.
For the page
- 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
- An easy listen anyway
- 9,238 listeners behind it
So the case for the recording 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 reading9,238 people have rated this reading: as good as it getsThe second sourceHardcover knows this book, with 734 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.
Neither crowd brings any of the three up more often than its own crowd usually does. Whatever this book asks of you, its listeners are not saying the format is what makes it hard.
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
10,426 ratings · performance and story, as the shop pools them
the performanceAudible
the performance, against Audible’s own crowd
How often this goes badly0.7% of the people who rated the performance gave it one or two stars. Fewer than most recordings here. The middle of our shelf is 2.0%, and half of it falls between 1.0% and 3.1%.
69 of 9,272 listeners gave the performance one or two stars
The shape of the room
- United, this one
- Warm
- Split
- Lukewarm
A united room: 83% of the listeners gave the performance five stars. A room that agrees this far leaves little to gamble on.
9,272 ratings
the story, as heardAudible
the story, as heard, against Audible’s own crowd
9,238 ratings
the book itselfGoodreads
the book itself, against Goodreads’ own crowd
487,564 ratings
Every reading we hold
5 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.
- Pablo Schreiberour pick3h 22m2h 42m2h 15m1h 55m1h 41m · One voice · Audible UK and US
Performance 4.79 · Story 4.69 · 9,238 rated the reading · 0.7% 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
- John Leetoo few ratings to judge3h 26m2h 45m2h 17m1h 58m1h 43m · One voice · Audible UK
Only 55 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
- Neil Shahtoo few ratings to judge3h 16m2h 37m2h 11m1h 52m1h 38m · One voice · Audible UK
One person has 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
- Patrick K. Shannontoo few ratings to judge3h 03m2h 26m2h 02m1h 45m1h 32m · One voice · Audible UK
Nobody has rated this one in either shop, so we have nothing to go on.
Hear it · Audible’s clip, its length read from them on load
- William Hopetoo few ratings to judge3h 36m2h 53m2h 24m2h 03m1h 48m · One voice · Audible UK
Nobody has rated this one in either shop, so we have nothing to go on.
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
- Finn Den Hertog, Melody Grove, Robert Jack, Robin Lane, Nick Underwood, full cast56 min45 min37 min32 min28 min · 3 ratingsNot a straight reading of the book
The recording we mean
- Runtime
- 3h 22m at 1×
- Read by
- Pablo Schreiber
- Kind
- One voice
- ASIN
- B07DPTG427 · Audible UK
- Rated in
- Audible UK and US · 635 + 8,637 ratings of the performance
- Judged on
- 9,238 ratings of the narration
- Published
- Audible Studios · 2018
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 3h 22m, 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.