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First Time Reading in Public?

You are likely brilliant and competent in your career, family, and social life. But there are times when we face the prospect of being a complete beginner.  The first watercolor class, the first taiko drum attempt, the first time in a long time you experience not knowing.  It’s called Beginner’s Mind, or just being, once again, a beginner. It’s good for us.  Really.   
 
I facilitate a small bi-weekly writing workshop.  Yesterday was the first day we shared our work with the group.  For some, the prospect was nerve wracking, for others – terrifying.  Sleep-loss terrifying.  
Reading what began as a private work out loud to almost strangers is very scary. It’s also bold and courageous.  You need faith and confidence  in your work to read out loud,  when you’re finished you’ll need even more patience and self-esteem to  politely suffer through helpful advice.  
 
Here are the required roles for a first time reading
 
The Artist
For your first reading, choose work that isn’t excruciatingly personal.  If you are considering two essays, and one is about abuse and the other is about the dog, choose the dog.   
Share that is this your  very first reading and you are nervous. I know, in our professional worlds, showing vulnerability is such a risk no one ever, ever does it.  But in the creative world, the audience members understand nerves and fear and you are already applauded by authentically connected. 
   
Just say – wow, first time for me and I’m really nervous.  Know that every member in that audience has a story about their own first reading experience – it’s burned in their brain.  They will not only be sympathetic, they are 100% supportive.  
It’s okay to not look up.  Keep your eyes on your devise or paper.   If your hands  are shaking use a notebook to help steady the paper.  If there is a podium, use it, and hold onto the edges to steady yourself, forget the Toastmaster rules, stay steady on your feet.   Today you are  jumping  feet first into a very deep pool, use as many personal flotation devises as you need.
After you finish, some enthusiastic audience members may assault you with suggestions and ideas. They are not insulting the work and they are not criticizing your efforts, far from it.  They are only  excited about your work and see great potential.  Their ideas are a expressions of praise and generosity.  Nod, smile and breath. Thank your listeners for their support and bask in the triumph of getting through your first reading without vomiting.
 
The Facilitator
 
Shut up.    Facilitators, workshop leaders, teachers, professors, coaches love to help, that’s why we are here.   For this reading – don’t. 
 
For this beginner, the whole  point was reading the work.  Your job as a facilitator was to hold space for her to get it all out.  This is the triumph, and the only thing that needs to be celebrated.   Make a note of the reader’s emotional state and her nerves and save those impressions so when she reads for the second time, you can tell her how much she’s improved! 
The Audience
The audience  holds space for the reader.  We smile if he or she manages to look up from her trembling paper.  We stay quiet.
When she finishes, we are profusely enthusiastic at the end, congratulating her on the performance and for sharing her words.  (If this sounds like all the rules for parents must follow. while attending their five-year-old’s first ballet performance, you are correct.)
If the audience is invited to comment (not necessarily a good thing) begin with compliments, in fact, that’s the exclusive category for this reading.  Be specific:  I liked the phrase XXX.  The line XXX gave me chills.  You really captured XXX.  And that’s all.  Oh, then Shut Up.
 
First readings are not the moment to help refine and make suggestions about the work even if it’s a compliment (wow, you’ve started a wonderful Imagist Poem, if you expand on this phrase and add these words you will have a poem to submit).  Even I shut up. Another beginner’s first.   
 
Of course, the common wisdom and suggestions to first time readers is to just do it.  Sure. You may lose sleep, you may be terribly nervous.  But if you wait to eat lunch or dinner until after your reading, and have faith in the generosity of your audience, you will get through it.    Good luck!  You will be amazing.
 

CatharineBramkamp

Catharine Bramkamp is a successful writing coach and author. She has published over 300 newspaper and magazine articles in publications like Modern Maturity (AARP), SF Chronicle and Santa Rosa Magazine. She was a contributor to two Chicken Soup Books and has published anthologies of her work, non-fiction works and novels. Her work has also appeared in a number of poetry and fiction anthologies. She has experimented with the self-publishing world since 2001. She has published and self-published seven books through companies like Author House, author assist companies like 3L Publishing and through traditional publishers like Write Life. Her poetry collection, Ammonia Sunrise, will be released in August 2011 by Finishing Line Press and her mystery novel, In Good Faith will be released by Write Life in 2011. Catharine holds a BA in English from UCSB and a MA in English from Sonoma State University. She is a 25 year member of California Writer’s Club. She is an adjunct professor for the University of Phoenix. She works with authors of both fiction and non-fiction to make their dream of producing a book come true. For more information on that, visit her at www.YourBookStartsHere.com Catharine has lived in Sonoma County for 25 years and considers wine a food group. She is married to an adorable and very patient man who complains he’s never featured in any of her books. Her grown children who are featured in a few of her books have fled the county.

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