In preparation for the creation of my draft for my final major project I did some research into the concept of immersion as that is my main objective with my dramatised audiobook for Thicker Than Blood. To create an immersive audiobook.
My research led me to conclude that the concept of immersion in relation to listening to an audiobook is a multifaceted experience that involves both sensory engagement and cognitive participation. Immersion, as defined by Philips (2014), is the process of sinking completely into an experience or becoming entirely surrounded by it. In the case of audiobooks, this immersion takes the form of a mental journey in which the listener is transported into the narrative, often to the point where the physical medium—the audiobook itself—disappears from conscious awareness (Philips, 2014). This mirrors the idea of immersion in other media, such as video games, where immersion is not simply a passive experience but one that requires active engagement (Philips, 2014). Audiobook listeners, while not interacting in a physically interactive way like video game players, are still actively involved in interpreting the narrative, processing the voice and sounds, and constructing mental images.
The auditory nature of audiobooks, similar to the medium of podcasting, plays a key role in fostering immersion. As Biewen and Dilworth (2017) note, the human voice is a powerful tool that can evoke vivid “movies for the mind’s eye,” encouraging listeners to imagine and emotionally connect with the world and characters of the story. This sensory engagement through sound is further supported by Kim and Biocca’s (2018) definition of immersion, which emphasises the role of sensory channels in engaging the listener’s mind. In audiobooks, the voice, tone, pacing, and soundscapes combine to create a sensory-rich experience that activates both auditory and mental faculties.
In sum, immersion in audiobooks is a dynamic process that involves a deep sensory and cognitive engagement with the narrative, facilitated by the human voice and the listener’s active participation in constructing meaning. This experience is not only about passively absorbing information but also about participating in a mental simulation of the story, where the boundaries between the listener and the narrative blur, creating a rich and immersive auditory experience.
Bibliography
Biewen, J. and Dilworth, A. (2017). Reality radio : telling true stories in sound. University of North Carolina Press.
Dowling, D.O. and Miller, K.J. (2019). Immersive Audio Storytelling: Podcasting and Serial Documentary in the Digital Publishing Industry. Journal of Radio & Audio Media, [online] 26(1), pp.167–184. doi:https://doi.org/10.1080/19376529.2018.1509218.
Fontana, F., Geronazzo, M. and Privitera, A.G. (2024). The Role of Audio in Immersive Storytelling: a Systematic Review in Cultural Heritage. Multimedia Tools and Applications. [online] doi:https://doi.org/10.1007/s11042-024-19288-4.
Kim, G. and Biocca, F. (2018). Immersion in Virtual Reality Can Increase Exercise Motivation and Physical Performance. Virtual, Augmented and Mixed Reality: Applications in Health, Cultural Heritage, and Industry, pp.94–102. doi:https://doi.org/10.1007/978-3-319-91584-5_8.
Nilsson, N.C., Nordahl, R. and Serafin, S. (2016). Immersion Revisited: A review of existing definitions of immersion and their relation to different theories of presence. Human Technology, [online] 12(2), pp.108–134. doi:https://doi.org/10.17011/ht/urn.201611174652.
Phillips, W. (2014). A Composer’s Guide to Game Music. Cambridge, Massachusetts: The Mit Press, pp.22–32.
Salselas, I. and Penha, R. (2019). The role of sound in inducing storytelling in immersive environments. Proceedings of the 14th International Audio Mostly Conference: A Journey in Sound, [online] pp.191–198. doi:https://doi.org/10.1145/3356590.3356619.