Showing posts with label reading. Show all posts
Showing posts with label reading. Show all posts
Tuesday, November 17, 2009
Saturday, October 24, 2009
Diana Arnold in Monologues
Monologues, an evening of solo performances of monologues, spoken word and hip-hop, explores Jewish identity inspired by a 10-day trip through Israel. It is directed by the Hebrew Mamita (Vanessa Hidary) and written by Taglit-Birthright Israel alumni. All of the stories are original and told by their creators.
Diana told me about this video: "This was one of the first times I told a story instead of reading a poem. it is the story of the steps: the steps we all must climb...the steps it took for me to reach my father again."
Diana told me about this video: "This was one of the first times I told a story instead of reading a poem. it is the story of the steps: the steps we all must climb...the steps it took for me to reach my father again."
Lauren Willig - 3/2/09 Lady Jane's Salon, NYC
Author Lauren Willig reading an excerpt from her NY Times Best Seller book THE TEMPTATION OF THE NIGHT JASMINE at Lady Jane's Salon, Madame X, NYC. March 2, 2009.
Lauren told me about this video: "A valiant crowd battled their way through an unseasonable March snowstorm to attend the second ever meeting of Lady Jane's Salon, New York's first romance reading series. The other writer's plane had been delayed... and delayed... and delayed again, so I wound up having a good deal more time to fill than anticipated. I usually read from the beginning of the book, to set up the story, but this time, with extra time on my hands, and people in need of a laugh on a grim and blustery night, I picked my favorite passage from the middle of the book, in which my modern heroine's best friend attempts to classify the male sex by comparing them to various ice cream flavors. It went over very well. Of course, that might also have been the champagne everyone was drinking... including me!"
Lauren told me about this video: "A valiant crowd battled their way through an unseasonable March snowstorm to attend the second ever meeting of Lady Jane's Salon, New York's first romance reading series. The other writer's plane had been delayed... and delayed... and delayed again, so I wound up having a good deal more time to fill than anticipated. I usually read from the beginning of the book, to set up the story, but this time, with extra time on my hands, and people in need of a laugh on a grim and blustery night, I picked my favorite passage from the middle of the book, in which my modern heroine's best friend attempts to classify the male sex by comparing them to various ice cream flavors. It went over very well. Of course, that might also have been the champagne everyone was drinking... including me!"
Saturday, September 5, 2009
Wednesday, September 2, 2009
Sunday, July 5, 2009
Thursday, March 5, 2009
Tuesday, February 24, 2009
The Inspired Word Reading Series in NYC Debuts March 2nd!
The Inspired Word Reading Series in NYC Debuts Monday Night, March 2nd!
Time: 6:30-8 pm (though you're welcome to stay until the place closes!)
Free wine tasting! Free appetizers! Awesome ambience and food! A great collection of writers and their work!
Scheduled Readers (so far): Caroline Berger, Lea Graham, Alexandra Lukens.
Location: Tierra Sana Restaurant
http://www.tierrasana.com/
100-17 Queens Blvd & 67th Road
Forest Hills, Queens
New York City
By subway, take the local R or V to 67th Avenue stop (and it's right there between 67th Road and 67th Avenue along Queens Boulevard).
All you need to bring is your love for the written word.
Best,
Mike Geffner
Wednesday, February 11, 2009
Reading Your Work in Public
Reading Your Work in Public
By Jeanne Lyet Gassman
Someday in your career as a writer you will be asked to read your work before a live audience. This venue could range anywhere from a lecture hall to a publisher-sponsored book tour. Reading your writing aloud in public is intimidating under any circumstance, but with some practice and preparation, you can make it enjoyable for you and your audience.
Recently, I had the opportunity to participate in a presentation workshop and attend a lecture on this topic at Vermont College of Fine Arts in Montpelier, Vermont. The workshop was conducted by James Navé, of The Writing Salon; the lecture was given by Rebecca Cook, a creative writing and literature instructor at the University of Tennessee Chattanooga. I thought I’d share some of their recommendations with you.
Before the Reading
Selecting Your Material. If you are reading an excerpt of prose, it should have a strong beginning, action and description that move the scene, and a resolution with a hook. Some dialogue is fine in the prose excerpt, but you want your audience to “see” the scene, and this comes from vivid description and taut action. For poetry, select pieces that are short and varied in style. The changes in rhythm and subject matter will keep your audience engaged. Again, think in terms of word pictures. What will the audience “see”?
Practice and Preparation. Time yourself. Practice reading out loud with a timer in front of friends or family. Rebecca Cook recommends recording yourself to listen for those annoying nervous habits, such as clearing your throat or saying “um” repeatedly. Never, never read longer than your allotted time. Remember the rule of a good actor: Leave them wanting more. For the average reader, it takes approximately five minutes to read 2.5 pages of double-spaced prose aloud. If your work is too long to fit into the time frame, look for places you can cut. You may discover you have a stronger piece.
Know Your Audience. Will you be reading in a public place, such as a bookstore? If so, choose material that’s appropriate for all ages. You can take more risks with most academic venues, reading work that is controversial or experimental. If you write experimental poetry that has an unusual format on the page, however, be aware that it may not translate well to the spoken word. When in doubt about the demographics of your audience, ask.
The Reading
Dealing With the Nerves. Everyone gets nervous reading in public, but remember, your audience wants you to do well. Arrive early for the reading so that you can test the microphone and the set-up of the room. Bring a bottle of water to soothe your dry throat. Singers know that you should breathe from the diaphragm. To find your breath support, take a comfortable stance, with your weight balanced and your legs spread slightly apart. Then place your hands on your abdomen and inhale deeply. You should feel your abdomen expand. James Navé refers to this as the writer’s center, the source of vocal power and emotion. Finally, be sure to stand still when you read. Rebecca Cook points out that not all microphones are omni-directional; they may lose the sound of your voice if you move too far away.
Although it may seem impressive to read from a published book, it’s easier to find your place on a page that is typed in the standard 12 point font and double-spaced formatting. If you make a small mistake (such as skipping a word or two), keep going. For a large mistake (such as leaving out a page), don’t be afraid to stop and start over. What about a ringing cell phone? Rebecca Cook advises you to pause and let the person tend to the phone. Then continue from where you stopped.
Creating Your Audience. It happens: Your big day arrives, and there is no one in the audience. What can you do to prevent reading to an empty room? Ask your friends and family to attend your reading. You should also promote your upcoming event in community calendars and newsletters. If you have a blog or Website, be sure to put up an announcement with times and locations. Some writing sites will let you make announcements as well. Make up some flyers for bookstores, libraries, college campuses, coffee houses, or any other places where writers or readers gather. Be sure to ask permission before you post your flyer.
Engaging Your Audience. In his presentation workshops, James Navé
tells his students that every reading consists of “one-third imagination, one-third text, and one-third audience.” You, the writer, wrote the text on the page. That text was created from your imagination. Your job is to bring the audience into the realm of your imagination, to make them experience the world you have created. How do you do this? Think of your work as having two major elements: motion and emotion. Before you read, visualize the scene. What is your character looking at? What does he feel about what he sees? As your character moves through the scene, how do his feelings change? In a poem, your audience experiences the world from one vantage point and enters your imaginative world to see things from a new perspective. If you concentrate on communicating the imagination of your written creation, the audience will feel the emotion and motion of the piece.
After the Reading. Allow some time for discussion. Be prepared to answer questions about the writing process and about your work. When your time is up, make a graceful exit but give your audience something to remember you by: a bookmark, a pen, or even a chocolate Hershey’s Kiss (always a favorite). If you are reading in a bookstore, don’t forget to sign extra copies of the book for the store to display--a great marketing tool for your work.
My special thanks to: James Navé and Rebecca Cook. The Writing Salon was born from creativity camps Mr. Navé conducted with Julia Cameron, author of The Artist’s Way. Visit The Writing Salon at their site: http://www.thewritingsalon.net
Rebecca Cook has published poetry and prose in New England Review, Northwest Review, and Poet Lore, among others. Her chapbook of poems, The Terrible Baby, is available from Dancing Girl Press.
Happy Reading!
Jeanne Lyet Gassman is an award-winning author whose fiction, creative non-fiction, and poetry have been published in magazines, newspapers (including The Arizona Republic and Pittsburgh Post-Gazette), and anthologies. In 2002, Ms. Gassman was the recipient of an Encouragement Award in Creative Writing from the Arizona Commission on the Arts, and in the 2005 Preditors & Editors Reader’s poll her story, '”Healing Arts,'” was ranked among the Top 10 in the nonfiction category. She also teaches writing classes and conducts workshops in the Phoenix metropolitan area. Please visit her Web site at:
http://www.jeannelyetgassman.com
Click here
By Jeanne Lyet Gassman
Someday in your career as a writer you will be asked to read your work before a live audience. This venue could range anywhere from a lecture hall to a publisher-sponsored book tour. Reading your writing aloud in public is intimidating under any circumstance, but with some practice and preparation, you can make it enjoyable for you and your audience.
Recently, I had the opportunity to participate in a presentation workshop and attend a lecture on this topic at Vermont College of Fine Arts in Montpelier, Vermont. The workshop was conducted by James Navé, of The Writing Salon; the lecture was given by Rebecca Cook, a creative writing and literature instructor at the University of Tennessee Chattanooga. I thought I’d share some of their recommendations with you.
Before the Reading
Selecting Your Material. If you are reading an excerpt of prose, it should have a strong beginning, action and description that move the scene, and a resolution with a hook. Some dialogue is fine in the prose excerpt, but you want your audience to “see” the scene, and this comes from vivid description and taut action. For poetry, select pieces that are short and varied in style. The changes in rhythm and subject matter will keep your audience engaged. Again, think in terms of word pictures. What will the audience “see”?
Practice and Preparation. Time yourself. Practice reading out loud with a timer in front of friends or family. Rebecca Cook recommends recording yourself to listen for those annoying nervous habits, such as clearing your throat or saying “um” repeatedly. Never, never read longer than your allotted time. Remember the rule of a good actor: Leave them wanting more. For the average reader, it takes approximately five minutes to read 2.5 pages of double-spaced prose aloud. If your work is too long to fit into the time frame, look for places you can cut. You may discover you have a stronger piece.
Know Your Audience. Will you be reading in a public place, such as a bookstore? If so, choose material that’s appropriate for all ages. You can take more risks with most academic venues, reading work that is controversial or experimental. If you write experimental poetry that has an unusual format on the page, however, be aware that it may not translate well to the spoken word. When in doubt about the demographics of your audience, ask.
The Reading
Dealing With the Nerves. Everyone gets nervous reading in public, but remember, your audience wants you to do well. Arrive early for the reading so that you can test the microphone and the set-up of the room. Bring a bottle of water to soothe your dry throat. Singers know that you should breathe from the diaphragm. To find your breath support, take a comfortable stance, with your weight balanced and your legs spread slightly apart. Then place your hands on your abdomen and inhale deeply. You should feel your abdomen expand. James Navé refers to this as the writer’s center, the source of vocal power and emotion. Finally, be sure to stand still when you read. Rebecca Cook points out that not all microphones are omni-directional; they may lose the sound of your voice if you move too far away.
Although it may seem impressive to read from a published book, it’s easier to find your place on a page that is typed in the standard 12 point font and double-spaced formatting. If you make a small mistake (such as skipping a word or two), keep going. For a large mistake (such as leaving out a page), don’t be afraid to stop and start over. What about a ringing cell phone? Rebecca Cook advises you to pause and let the person tend to the phone. Then continue from where you stopped.
Creating Your Audience. It happens: Your big day arrives, and there is no one in the audience. What can you do to prevent reading to an empty room? Ask your friends and family to attend your reading. You should also promote your upcoming event in community calendars and newsletters. If you have a blog or Website, be sure to put up an announcement with times and locations. Some writing sites will let you make announcements as well. Make up some flyers for bookstores, libraries, college campuses, coffee houses, or any other places where writers or readers gather. Be sure to ask permission before you post your flyer.
Engaging Your Audience. In his presentation workshops, James Navé
tells his students that every reading consists of “one-third imagination, one-third text, and one-third audience.” You, the writer, wrote the text on the page. That text was created from your imagination. Your job is to bring the audience into the realm of your imagination, to make them experience the world you have created. How do you do this? Think of your work as having two major elements: motion and emotion. Before you read, visualize the scene. What is your character looking at? What does he feel about what he sees? As your character moves through the scene, how do his feelings change? In a poem, your audience experiences the world from one vantage point and enters your imaginative world to see things from a new perspective. If you concentrate on communicating the imagination of your written creation, the audience will feel the emotion and motion of the piece.
After the Reading. Allow some time for discussion. Be prepared to answer questions about the writing process and about your work. When your time is up, make a graceful exit but give your audience something to remember you by: a bookmark, a pen, or even a chocolate Hershey’s Kiss (always a favorite). If you are reading in a bookstore, don’t forget to sign extra copies of the book for the store to display--a great marketing tool for your work.
My special thanks to: James Navé and Rebecca Cook. The Writing Salon was born from creativity camps Mr. Navé conducted with Julia Cameron, author of The Artist’s Way. Visit The Writing Salon at their site: http://www.thewritingsalon.net
Rebecca Cook has published poetry and prose in New England Review, Northwest Review, and Poet Lore, among others. Her chapbook of poems, The Terrible Baby, is available from Dancing Girl Press.
Happy Reading!
Jeanne Lyet Gassman is an award-winning author whose fiction, creative non-fiction, and poetry have been published in magazines, newspapers (including The Arizona Republic and Pittsburgh Post-Gazette), and anthologies. In 2002, Ms. Gassman was the recipient of an Encouragement Award in Creative Writing from the Arizona Commission on the Arts, and in the 2005 Preditors & Editors Reader’s poll her story, '”Healing Arts,'” was ranked among the Top 10 in the nonfiction category. She also teaches writing classes and conducts workshops in the Phoenix metropolitan area. Please visit her Web site at:
http://www.jeannelyetgassman.com
Click here
Monday, February 9, 2009
Sunday, February 8, 2009
Sylvia Plath Interview/Parts 1 & 2/Reading Poem “Lady Lazarus”
Sylvia Plath is interviewed by Peter Orr of The British Council.
Saturday, February 7, 2009
Event Alert: Laurie Sheck's A Monster's Notes
Laurie Sheck will read excerpts from A Monster’s Notes (Knopf, May 2009), a hybrid work that re-imagines the unnamed monster in Mary Shelley’s Frankenstein. Sheck is also the author of five books of poems, most recently Captivity.
Date: Wednesday, February 11th, 4:00 p.m.
Location: Lillian Vernon Creative Writers House, 58 West 10th Street, between 5th and 6th Avenues, Manhattan, New York City.
Laurie Sheck's hybrid work, A Monster's Notes, will be out from Knopf in May. She is the author of five books of poems, including Captivity (2007), and The Willow Grove, which was a finalist for the Pulitzer Prize. She has been a Guggenheim Fellow, a Fellow at the Radcliffe Institute for Advanced Study at Harvard, and, most recently, a Fellow at the Cullman Center for Scholars and Writers at the New York Public Library. Her work has appeared in The New Yorker, the New York Times, The Paris Review, Pushcart Prize, Best American Poetry, and elsewhere.
Date: Wednesday, February 11th, 4:00 p.m.
Location: Lillian Vernon Creative Writers House, 58 West 10th Street, between 5th and 6th Avenues, Manhattan, New York City.
Laurie Sheck's hybrid work, A Monster's Notes, will be out from Knopf in May. She is the author of five books of poems, including Captivity (2007), and The Willow Grove, which was a finalist for the Pulitzer Prize. She has been a Guggenheim Fellow, a Fellow at the Radcliffe Institute for Advanced Study at Harvard, and, most recently, a Fellow at the Cullman Center for Scholars and Writers at the New York Public Library. Her work has appeared in The New Yorker, the New York Times, The Paris Review, Pushcart Prize, Best American Poetry, and elsewhere.
Friday, February 6, 2009
Tip of the Day
Read to learn.
The next time you read a good book or magazine article or newspaper story, go back and read over the parts that really moved you, touched you, made you laugh or smile. Try to dissect it, analyze it. What did the writer do to achieve such results? What made the picture vivid for you? How did the writer set scenes, use dialogue or quotes, describe people and things that made it special to you?
Thursday, February 5, 2009
The Inspired Word: Passionate Readings of Poetry & Prose in NYC
The Inspired Word: Passionate Readings of Poetry & Prose in NYC
Please join us for extraordinary nights of literary fun:
http://www.facebook.com/group.php?gid=53630861231&ref=mf
Click here
Saturday, January 31, 2009
The Susan Orlean Reading
Went to the Susan Orlean reading last night down in the West Village. Held in cozy little box of a room within a brownstone on 10th street, a place call the Lillian Vernon Creative Writers House. Must've been 40 people crammed in there, all utterly glued to the this tiny red-headed lady behind the podium. As usual, Susan was drolly funny, but it was her passion for words, for storytelling, still so strong after all these years of writing, that was truly inspiring. She made me want to write better, want to try harder to get it right. And I know--I'm certain, in fact--that if I told her this, she would be positively thrilled.
Thursday, January 29, 2009
Susan Orlean Reading in New York City on Friday Night
Susan Orlean, a friend of this blog and the brilliant staff writer for The New Yorker, will be be reading along with Judith Baumel as part of New York University's Friday Happy Hour Series on Jan. 30th between 5-6pm.
Where: New York University Lillian Vernon Creative Writers House, 58 West 10th Street, New York, NY 10011.
And if you go, look for me. I'll be there!
Friday, January 23, 2009
Event Alert: Susan Orlean Reading in New York City
Susan Orlean, longtime staff writer for The New Yorker and a friend of this blog, will be reading in NYC on Friday, January 30, 5pm – 6pm.
Where: New York University Lillian Vernon Creative Writers House, 58 West 10th Street, New York, NY 10011.
Where: New York University Lillian Vernon Creative Writers House, 58 West 10th Street, New York, NY 10011.
Sunday, January 4, 2009
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