Sonic art concerns itself with the experience of listening, a sense perception markedly different to the visual. However the majority of commentary on sonic art utilises historical and taxonomical approaches dependent on theoretical structures that are inherently retinal. Expanding on Salomé Voegelin’s proposal for a writing that stems from a ‘sonic sensibility’ (2010, 2014) this paper proposes a tomographic (as opposed to a topographic) approach, one that is generated from the embedded and embodied nature of the sonic experience. It is proposed that this tomographic subjectivity forms part of a ficto-critical writing methodology, in which creative and critical modes are intermingled. Ficto-criticism allows for an interplay of percept and concept that is proposed as a suitable match for sonic art in which these similar tensions play out. A number of texts by writers identified as using tomographic and ficto-critical strategies will be used to illustrate this approach including Daniela Cascella, Kodwo Eshun and Joanna Demers. This paper reflects the first stage of doctoral research that will continue, by analysis and enaction, to develop a legitimate place for fictocritical writing as a rigorous contribution to cultural commentary about sonic art.