Reading Your Writing

Yes, that's me in the photo: reading an excerpt from Transformation Summer earlier this month at the late-winter edition of the Don't Forget Your Art series, which I've really come to enjoy. I'm most grateful to have had the chance to participate this time around.

I've given about a half-dozen readings since my book came out (not including the one where nobody showed up and instead I wound up chatting with the bookstore owner and staff assistant, which was actually quite delightful), and I have to say, they've been a lot of fun. But then I've always rather liked public speaking, even back in elementary school when we had to give book reports or other presentations in class. Maybe it's genetics -- my parents were college professors, which meant they gave lots of lectures -- or some insatiable need for attention. Maybe I'm just weird.

In case anyone starts to wonder out loud, and loudly, if I'm about to give some unsolicited advice on How to Do a Book Reading, the answer is no, not as such. I've simply found the thought process that goes into it to be interesting -- a challenge, certainly, but also fun.

The thing about book readings is that, yes, they are a vehicle for which to promote your book. Not so much an advertisement as a preview, a sampler, an album track. You get the idea. Of course, the excerpt you read should be as representative as possible of the book, and of your writing, so your prospective customers get a sense of what they could be in for if they lay their money down.

And since this is just an excerpt, you might like to give the folks some context for what they're about to hear: a general overview of the plot, and of the character(s) involved, and some kind of scene setting. Maybe they'd even appreciate knowing a little about the inspiration for the book, and what in the world possessed you to go on this crazy venture anyway.

But it's not as if you have unlimited time in which to accomplish this and, chances are, your audience probably doesn't want you to act like you do. So I've found it quite helpful to practice what I want to say and read, and see if I stay within my allotted period, which thus far has ranged from seven minutes to 15 minutes to as long as an hour (which left lots of time for Q&As and drinks).

Thus far, I've read three different selections from the book, and I feel each one achieved its purpose. The first one was a whole chapter, one which gives a lot of backstory and detail to the setting where most of Transformation Summer takes place: a kind of DIY personal-growth camp near Big Sur. It also introduces the two characters who will come to represent the good/bad polar opposites of this experience as recounted by our protagonist and narrator, Seth.

When I had to choose a shorter passage, I decided to go for a dialogue between Seth and Rafe, the resident wise-ass -- except here we see a more vulnerable side to Rafe, and an indication of how much Seth has gained his trust, even if he wasn't necessarily trying to. It also has some lines that I'd hoped people would find humorous, and much to my immense relief, they did.

Realizing that the excerpt I planned to read at the event included a vulgar word, I did what any self-respecting author would do. I asked the organizer if it was OK.

Needing to go with an even shorter excerpt, I settled on a brief section that nonetheless represents a significant plot point in terms of Seth's adjustment to the camp. This one was challenging in that there are several different characters speaking, and I felt compelled to vary my voice somewhat to represent each of them. Also, the section ends with a rather vulgar word, so I contacted the organizer -- to whom I'd given a copy of the book -- and asked him if he thought it would be inappropriate for the event; he didn't think there would be a problem, and there wasn't.

The biggest revelation about reading what you've written is hearing how it sounds, even if your voice is the medium. For months, then years, I experienced the text of Transformation Summer almost exclusively in my head, other than very occasionally reading a sentence or two out loud to figure out if it made sense, grammatical or otherwise. But appearing at an event like DFYA gives you an opportunity to externalize your writing in a public forum, to make it seem real, almost corporeal, as if you are a Dr. Frankenstein of letters and you have brought your creature to life -- hopefully not to menace and terrify the nearby villagers, but that's your business.

At the same time, reading your book out loud also can prompt some post facto editing, at least in your mind: Does the sarcasm in Seth's remark in that conversation really come through? Could I have described that particular location in the camp better? Did I sneak in enough pop culture references -- or were there too many, and too obvious?

So, I guess this is a very elaborate, roundabout way to let you know that I am ready, willing, and available (depending on date, time and location, of course) for public readings. I'll even let you know in advance if there'll be any swear words.

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