[COMPLETE] The Blue Poetry Book- icequeen

[LCaulkins]

Thanks so much!

[aniroo]

Prooflistener does need to watch the souce book to make sure poems are assembled in the proper order.

I'm not exactly sure how to do this.

Any suggestions?

aniroo

[LCaulkins]

Prooflistener does need to watch the souce book to make sure poems are assembled in the proper order.

I'm not exactly sure how to do this.

Any suggestions?

aniroo

Yeah, it's a little different from normal projects.

The only files you need to PL are the ones that get posted under the portion of the MW called "Completed Audiobook Sections." And each time a file is placed in that portion, I'll include a link in the Note box that will take you right to the spot in the source book where that section begins. While you're listening to the file, watch that source and make sure each new poem that comes up in the audio is the next poem on the book's page.

(Everything from the heading for "Working Zone," down to the bottom of the MW, you can totally ignore.)

Here's what we're doing, and why we need you to watch that source while listening:

Lang didn't divided this poetry book into any chapters or sections, so the entire book is just one long string of poems for some 340ish pages! And there was no way to tell where good section breaks would fall for the finished audiobook sections, so we don't know yet just how many sections there will be in your portion of the DPL. (Although I'd guess we'll land between 14 and 16 by the end of the book.)

As you noticed on "Section One," (which is currently occupying line 3 of the MW), we are rotating one reader per poem, and are doing that for the entire book.

To facilitate this, we are recording off of Google documents that are color-coded scripts - copy/pasted from the source, then colored - which makes it easy for us as readers to find exactly which poems we're each supposed to record.

When I have all four reader's files for the next division of poems (which holds the book's next 50 pages), I will cut and paste them together into new tracks, about thirty minutes each, that hold the rotation of voices. The poems on those new tracks should be in the exact order as they are in the book, if I did the editing correctly. Since I'm cutting/pasting portions of four reader's recordings into a new track, it is possible that I might accidentally paste a poem into the wrong order (maybe I accidentally scooped up two poems instead of one, and got un-meticulous enough to not catch that) - even though I'm referring to the text while working. It shouldn't happen without me realizing it did, but it's a possibility.

So that's why this project has the "Special" Proof-listening level - specifically, being an eyes-on project where the DPL does have to watch the original source while listening - so that you can holler at me if I put something out of order. And I will greatly appreciate notes about bumpy spots with volume, spacing, or tempo, since we're switching voices every poem.

"Standard" DPL duty does not actually require the DPL to keep their eyes on the source while listening, though most of us do watch, anyway, as that's how you know if the reader slipped a different word in that can change the meaning, or accidentally left out a bit. Some DPL's don't necessarily watch while listening, and they won't want to sign up for a project where that is required the whole way through. That's why I noted that this project needs the DPL to watch the source.

[aniroo]

Prooflistener does need to watch the souce book to make sure poems are assembled in the proper order.

I'm not exactly sure how to do this.

Any suggestions?

aniroo

Yeah, it's a little different from normal projects.

The only files you need to PL are the ones that get posted under the portion of the MW called "Completed Audiobook Sections." And each time a file is placed in that portion, I'll include a link in the Note box that will take you right to the spot in the source book where that section begins. While you're listening to the file, watch that source and make sure each new poem that comes up in the audio is the next poem on the book's page.

(Everything from the heading for "Working Zone," down to the bottom of the MW, you can totally ignore.)

Here's what we're doing, and why we need you to watch that source while listening:

Lang didn't divided this poetry book into any chapters or sections, so the entire book is just one long string of poems for some 340ish pages! And there was no way to tell where good section breaks would fall for the finished audiobook sections, so we don't know yet just how many sections there will be in your portion of the DPL. (Although I'd guess we'll land between 14 and 16 by the end of the book.)

As you noticed on "Section One," (which is currently occupying line 3 of the MW), we are rotating one reader per poem, and are doing that for the entire book.

To facilitate this, we are recording off of Google documents that are color-coded scripts - copy/pasted from the source, then colored - which makes it easy for us as readers to find exactly which poems we're each supposed to record.

When I have all four reader's files for the next division of poems (which holds the book's next 50 pages), I will cut and paste them together into new tracks, about thirty minutes each, that hold the rotation of voices. The poems on those new tracks should be in the exact order as they are in the book, if I did the editing correctly. Since I'm cutting/pasting portions of four reader's recordings into a new track, it is possible that I might accidentally paste a poem into the wrong order (maybe I accidentally scooped up two poems instead of one, and got un-meticulous enough to not catch that) - even though I'm referring to the text while working. It shouldn't happen without me realizing it did, but it's a possibility.

So that's why this project has the "Special" Proof-listening level - specifically, being an eyes-on project where the DPL does have to watch the original source while listening - so that you can holler at me if I put something out of order. And I will greatly appreciate notes about bumpy spots with volume, spacing, or tempo, since we're switching voices every poem.

"Standard" DPL duty does not actually require the DPL to keep their eyes on the source while listening, though most of us do watch, anyway, as that's how you know if the reader slipped a different word in that can change the meaning, or accidentally left out a bit. Some DPL's don't necessarily watch while listening, and they won't want to sign up for a project where that is required the whole way through. That's why I noted that this project needs the DPL to watch the source.

Thanks. I'm pretty sure I was watching the few sections I Ok'd but I"ll be sure to do it for the rest. I noticed a few "See PL NOtes" that have gone to PL OK. Do you want me to do the sections needing editing or is someone else doing that?

aniroo

[LCaulkins]

Thanks. I'm pretty sure I was watching the few sections I Ok'd but I"ll be sure to do it for the rest. I noticed a few "See PL NOtes" that have gone to PL OK. Do you want me to do the sections needing editing or is someone else doing that?

aniroo

I'm doing those - everything below the Working Zone heading. It actually helps me with the editing stage to PL the working files.

[aniroo]

Thanks. I'm pretty sure I was watching the few sections I Ok'd but I"ll be sure to do it for the rest. I noticed a few "See PL NOtes" that have gone to PL OK. Do you want me to do the sections needing editing or is someone else doing that?

aniroo

I'm doing those - everything below the Working Zone heading. It actually helps me with the editing stage to PL the working files.

Thanks again

[Ciufi]

Here's section 6, pink, 13:25. And may I nae meet Kinmont Willie agae.

https://librivox.org/uploads/icequeen/bluepoetry_6th_pink_128kb__.mp3

[LCaulkins]

Here's section 6, pink, 13:25. And may I nae meet Kinmont Willie agae.

https://librivox.org/uploads/icequeen/bluepoetry_6th_pink_128kb__.mp3

Thanks, Ciufi! It's PL OK

[LCaulkins]

I've finished putting together our Section Two of The Blue Book of Poetry.

It is ready for aniroo.

[aniroo]

I've finished putting together our Section Two of The Blue Book of Poetry.

It is ready for aniroo.

I've listened to section 2 and everything is in it's proper order. I did notice one word substitution mistake but I'm not sure if it needs fixed since this wasn't listed as "word perfect" In the Wreck of the Hesperus it was read "The rattlling shrouds all SHATTERED in ice and it should be all SHEATHED in ice. Should I mark that as Check PL NOTES or just OK it? Everything else about the section was perfect" ORder, volume, pacing everything.

aniroo

[aniroo]

Section #2 PL NOTES

The section is almost perfect, great job everyone.

But in the Wreck of the Hesperus on stanza 19 I heard " the rattling shrouds all SHATTERED in ice" and I should have heard "the rattling shrouds all SHEATHED in ice" it is a minor thing, but I think it changes the image I have of the ice.

As I said, Wreck of the Hesperus, about 19th stanza at 26:55 in the file.

aniroo

[LCaulkins]

Thanks, aniroo! Sure appreciate your help

[JVoxMachina]

Hello! I was just working on editing my file for Script 3 and I'd like to get a second opinion about The Flowers O' the Forest. It's another Scots poem and, as such, I've done some research on the pronunciation. Most sources I'm able to find drop the "g" from spoken words ending in "ing" (i.e., milkin', sabbin', scornin', jeerin', etc.). I'm just wondering if that's still acceptable/preferable, even though they are not the exact written words. I'm nae leanin' either way. Thanks!

[LCaulkins]

I would think it is fine for you to drop the g's for producing the accent. You're able to make it sound nice, rather than forced, and this looks like one of his clearly-Scottish poems.

[Ciufi]

Here is the 7th section, pink (17:38*:

https://librivox.org/uploads/icequeen/bluepoetry_7th_pink128kb.mp3