November 21st, 2011%
Goodbye Love draft annotated for an author reading
Reading a story outloud changes the way it was written as much as grinding your own coffee changes the way your coffee tastes. Experience heightens awareness.
I read Goodbye Love, an unpublished monologue, at the 2011 Tin House Summer Writer’s Workshop student readings because I wanted to feel what it would be like to be this character and tell this story.
I wanted to tell it really slow as if the character was editing her memory of the event before she spoke. If I did it right, it would feel like a poem and the audience would experience some discomfort as the character finished the story.
I constructed a quick backstory using the following factors which would influence and guide my tone:
- Time of Day
- Place
- Audience
- Time Elapsed Since Story Occurred
I read and re-read the story outloud four or five times prior to the actual reading, sometimes to other people in the workshop to get feedback on timing and pace. Underlined words got more of a pause. Certain words changed when I read.
I planned to stay flexible during the final reading, especially in the parts that didn’t seem to have a definitive wording.
After the reading, one of my fellow workshop participants whispered in my ear, “did that really happen to you?” I steal bits and pieces from reality, but the story happens for the character, not me.
August 19th, 2010%
As far as I know, people don’t trade bootleg recordings from author readings like they do for Phish or Grateful Dead shows. We should. I’ve seen some amazing readings.
Writer and writing are usually kept separate. You can like one or the other or both or neither. We hear about writers who read their work outloud as the ultimate pre-publishing joie de vivre. It’s heroic. It’s oh-my-God.
Author readings make me nervous. Uncomfortable chairs. People not used to being around other people. The author walks to the front, maybe says something to confirm they’re not a robot, and starts reading.
Are they going to breathe life into the story with their deep understanding of how all the pieces fit together? Will we know a little more after the reading? Does the author still enjoy connecting with their story?
Or will it be this:
Da-ta-da da-da blah, blah, blah, thank you, I’ll sign your copy of my book.
July 14th, 2010%
Throughout the Tin House Summer Writer’s Workshop, participants can sign-up for 8-10min slots to read their work. I asked Charles D’Ambrosio and several workshop participants for tips on how to prepare for my reading.
Recommended Preparation:
- Selection. Choose something that doesn’t have a lot of action or dialogue. Something written in 1st person with a strong voice will work well.
- Edit. Whether you’re reading excerpts from a longer piece or the first part of a short story, you’ll need to edit. Take out extraneous information. Streamline the selection by reading it aloud a few times to identify what becomes unnecessary.
- Practice. Few minds will follow a quickly read piece. Practice slowing down. Know when to pause.
- Prepare. What do you need to tell the audience before you read? How will you establish your presence and connect with your listeners?
With this preparation, I hope you will be able to avoid falling into the stereotypical cadence of a writer who reads their work as if they are editing it for print rather than reading to an audience.
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