After a conversation with a member of my poetry group last week, I remembered that not everyone is as comfortable speaking on stage as I am. I then discovered it’s been four years since I last covered the topic on this blog.
As such, let’s update it. It’s wise to remember this should be treated as a subjective guide, not a textbook.
Talk with the organisers about what’s required
If the organisers haven’t already told you the plan, it’s worth asking for the following information:
- How long you’ll be asked to speak for
- What type of content is required
- Whether you’re expected to read from paper or perform from memory
- Whether you need to introduce yourself
- Where you should wait before you’re called up
- Whether any fee is payable
Each event has its own particular character. Some events like performers to fill a 15-minute slot. Other events allow performers to go up twice. Slams sometimes mark down poets for reading words from a page.
If it’s an unfamiliar venue, be sure to obtain the exact address and check how to access the building. Don’t forget to arrive in plenty of time.
Think about your own structure
The organisers will take care of the overall structure and running order, but it’s wise to plan your own slot so you don’t miss a step. A typical note-to-self might read:
- Give name, say you’re reading from short story collection The Pie Seller
- Say you’re happy to sign copies
- Briefly mention editor at Law Hill Books
- Tell obesity clinic anecdote
- Read out And an Onion One Too (page 24)
- Thank Tracey Sanders for organising
- Read out The Crust of the Matter (page 12)
It’s a good idea to place the thanks as second-last, not as the final item. That means the audience are more likely to go away with the ending of your work in their head.
Briefly explain if you need to, but don’t apologise
Some pieces do require an explanation; perhaps a work is unfinished, is an extract from a longer work, or was written under certain circumstances. But keep it brief and don’t explain anything that the audience will take or infer from the piece.
If you feel you can’t read a particular piece without apologising or telling a long story, either take it out of your set or work on it until only a short introduction is necessary.
Read out loud and time your words
The best way to identify weak parts in your set is to read it aloud – and that’s the last thing you want to happen in public. So find a room on your own and read it out where nobody can hear you. Are there any long sentences that need to be broken up? Are there words that are difficult to say clearly?
When reading from a book or from sheets of paper, it’s a good idea to turn up the corner slightly or to stick a post-it note as a lever. When using an e-reader or tablet computer, practice tapping the correct area of the screen to turn the page; there might also be a delay on some devices.
Don’t forget to use a stopwatch to make sure all your words fit within the agreed timeslot.
Make sure everyone can hear you
In my experience, smaller readings tend not to use a microphone, so you might need to project. Avoid tilting your head down to read the piece; instead, hold your manuscript higher and off to one side so it doesn’t muffle your words, or look down only with your eyes. Always speak more slowly than you would in normal conversation and don’t be afraid to pause.
If there’s a working microphone, use it. If possible, test it out beforehand. A big annoyance for an audience is a sound level that increases and decreases at random. So whether the microphone is handheld or on a stand, keep it at the same distance from your mouth as you speak. Most are designed to pick up sound from the top, although a few have the pick-up on the side.
Avoid alcohol before the gig
I fully understand why folks need Dutch courage before going on stage. From years of going to the Edinburgh Fringe, though, I’ve found a drunk performer rarely makes a good impression. My rule is not to take alcohol before speaking, only coffee or a soft drink.
Decide where in the room to look
I know a few poets who deliberately look at individual audience members. However, it’s unnerving to make eye contact for most people. I have two alternative methds:
The first is to look between two audience members, so the person on the right assumes I’m looking at the one on the left, and vice versa. The second is to look above the heads of the back row; this has the added advantage of giving you a better posture.
Keep going through distractions and cock-ups
Perhaps the microphone fails, perhaps you forget the words, perhaps a hundred other unpredictable problems crop up. Keep going as best as you can. It might mean cutting a piece short or shouting instead of reading, but the audience are there to see you perform.
A common issue at spoken-word nights is the audience member who keeps talking. Unlike a music gig, you don’t have the advantage of drowning them out with your instruments. A good host will take charge of silencing any chat, but if they don’t, either carry on as you were or – if it’s too distracting – politely ask them to refrain.
Signal when you’ve finished
At the end of a piece, the audience sometimes doesn’t know whether you’re finished or simply pausing for dramatic effect. A good clear signal is to lower your manuscript or to step backwards slightly, or even say ‘Thank you.’ At that point, people should take the hint and applaud.
Listen to the other performers
Unless you’ve arranged otherwise, it’s considered a courtesy to stay and listen to the other performers before and after your set. If you really must disappear straight after the gig, tell the organiser or mention it on stage.
Do it again
It’s a cliché, but the more you stand up and speak in public, the more techniques you’ll learn, like which techniques or always or never provoke a reaction. There are no guarantees that your poetry performances will always be successful, but by following the suggestions above, you can maximise those chances.
Gavin Cameron 