You have to have ITunes on your computer. Once that's done, it's a cake-walk. Put your audio CD into the computer's CD drive. I-tunes should open automatically. One of the features (under FILE) is "import audio CD". Click on that, and it'll transfer the contents of the CD to your I-tunes folder. Then, when you "synch" your I-pod with the computer, the new "files" (audio files) will automatically be added to your I-pod. Easy as pie. :)

Thank you Frances and Janalyn! These "senior moments" are killing me! Now I can't even do a proper google search :( I did find in the advanced search mode on audible.com that you can enter a name for narrator, which turned up two Shakespeare plays that she's involved in, so thankyou very much! Now over to the movie forum to find out what films she's appeared in!

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A narration shouldn't sound as dramatic as a radio play but different vocal tones are used so that a listener can distinguish when a different person is speaking in a conversation (and who that person is). I found that I had to "learn" through practice how to effectively listen to an audio book. It wasn't automatically easy or comfortable for me, but that came with more time and experience. I generally agree that authors often make poor readers for their own books. An exception I recently came upon was the author David McCullough reading his book "The Wright Brothers". Most of you know him from his longtime association with shows on Public TV, though his main gig through the years has been writing award winning non-fiction books. His exceptional voice and intonation put most audio readers to shame, it was as good a book to listen to as I can remember. As for living and retired authors and estate managers who authorize ghost writers and "co-authors" to continue the production of books in another's name, I think the practice is outrageous. It's an inexcusable demonstration of greed. I stop reading any work of an author who begins that practice, I don't care who it is. Imagine what the reaction would be if it were announced that new books from Mark Twain and Charles Dickens would be written by Bob Robertson and released next year. Or four new paintings by Van Gogh, or by Renoir, or by whomever, were to be produced by Fred Funk and released in the spring. People would be outraged by that. Why is it an acceptable practice for authors?