Page Fright, The Final Part

Well, not the final final part. You still have to come to my workshop at the Colorado Gold Conference next month. And of course, that isn’t the final lesson, either. As with most skills, reading publicly is a lifelong learning experience that improves with practice.

Speaking of practice, how do you prepare for a reading? If your answer is “I don’t,” please don’t tell me. As writers, whether plotters, pantsers or something in between, we’re always refining our craft. Bring the same level of care to public appearances. Reading without any preparation is akin to showing up to perform without rehearsing, or to teach without lesson-planning. You are doing a disservice to yourself, your work and your audience. For a reading, preparation can be as simple as selecting the piece you’d like to present (along with a back-up in case you have extra time), editing it for a live audience to maximize hook and context, and printing a copy of your pages. In a previous post, I mentioned a printed copy is ideal as bound books tend to be more awkward to hold for an extended period of time, especially if the book is a hardcover epic fantasy—HEAVY—and electronic devices overall look less professional and risk failing in the middle of your reading for a variety of tech-related reasons. However, I’ve seen plenty of authors read successfully from books and devices; ultimately, choose based on your own comfort and confidence.

If you’re ready to take your public appearances to the next level, consider borrowing a few techniques from singers, actors and even (dare I say it) politicians. Practice reading your material aloud: alone, to a friend or family member, to a recording device, in the mirror. I was surprised to find a significant number of readers stumble over their own writing, particularly names of characters and places. Of course, nerves play a role, but if you read your work aloud consistently, you’re less likely to botch it. Before the reading, if possible, visit the site. In nothing else, you’ll know whether you’re going to need additional lighting and the exact location of the bathroom. Bonus if you identify the perfect spot to grab drinks with all your adoring fans and colleagues after the reading.

On the day of the event, prepare like an athlete. Plenty of rest the night before, hydrate, eat small, regular meals, dress for comfort and style. What is your “logo”? A sci-fi t-shirt? Statement earrings? Black lipstick? Western boots? Pick at least one signature item to define your author brand. Mingle with the crowd (even if its just the bookstore rep and your mom) before the reading. Identify a friendly face to make eye contact with a few times throughout the reading to boost your confidence. The more intentional you are about these decisions ahead of time, the less anxious you’ll feel during the reading.

Even the most veteran performer can deliver a lukewarm reading if she skips self-care and preparation. As a writer and performer myself, I find it hard to respect the work if its own creator doesn’t. On the other hand, I’ve bought books I wouldn’t normally choose after a polished, dynamic reading. Think of readings as performative hooks. Regardless of the genre, if you leave your listeners wondering what happens next, they are more likely to buy your work.

I’ll end this series with an invitation, nay, a challenge. Seek opportunities to read your work aloud at least once a month. Consider these two options, both at Colorado Gold: on Friday night I’ll be hosting the open mic/author reading event and on Saturday I’ll invite workshop attendees to share. Come by and show off your mad thespian skills. You couldn’t ask for a more supportive audience than your RMFW community.

Photos by Rachel Dempsey: Jenny Shank at BookBar, Jennifer McMahon at StokerCon and Mark Stevens at Tattered Cover