Public Speaking to Enhance Branding III

A shortened version of this blog first appeared on  https://hometownauthors.com, which offers a variety of articles from guest authors of who are members of Hometown Reads.

This is the third blog in a series addressing an author’s public speaking engagements [see Effective Materials for Public Speaking andAll the World’s a Stage] Today we’ll explore making these events more than a presentation of an author’s books, for public speaking can be one of the most important aspects of any creative professional’s branding program

It’s time to hit the road!  You’ve prepared for speaking opportunities by shaping marketing materials, bios, introductions, and handouts for varied audience.  Your media releases require only the details of Who, What, When, and Where You’ve verified venue features and obtained equipment necessary for this and future appearances.  

All you have to do is pack everything and hit the road…right?  Not quite.

PREPARING TO BE A PUBLIC SPEAKER
I hope you’ve been vocalizing daily—in song [for those who can], vocal exercises, and oral readings.  Many events place a time limit on speakers, so timing readings can ensure completing your presentation with a generous Question and Answer segment.

Next, consider your appearance. You can’t lose weight quickly, but how are your hair, skin, and nails?  Do your clothing and accessories look good on you…and travel well? Perhaps you’ve worked with a stylist to determine your optimal color palette, hairstyle, clothing designs, and accessories to maximize expressing your personality…

Look professional, knowing you can remove a tie, loosen a collar, or remove a jacket. [See Resume and Career Tips.  Because my work centers on Hawai`i [especially with the Natalie Seachrist Hawaiian Mysteries], I wear dresses in tropical greens and jackets with Asian or floral designs.  Depending on the neckline, I affix a name badge (with magnet) and avoid necklaces (which can become uncentered).  To minimize distraction and sound interference, I don’t wear dangling earrings or loose bracelets.  I complete my theme with an artificial orchid for my hair—since fresh flowers don’t last through multi-hour events. 

MULTIPLE PRESENTERS
Panel discussion speakers are usually seated at a table or in a semi-circle or line of chairs. Whenever you’re in plain view, be aware of your attire and stance…to insure you’re not providing a less-than desired floor show! A dress that looks lovely when I’m standing, may not look professional when I’m seated. Male or female, check out other participants’ attire to harmonize overall appearance. For samples of color combinations, please visit Plays on Color.

CALLING FOR ATTENTION
~ Event organizers may generate Media Releases, as can you—in your hometown and locales where you’ll appear. Consider also sending out event follow-up releases, to encourage members of the media to seek you out.

~ Add a news page to your author website and blogs that highlights your travel.

~ Social media can be more important than traditional media.  Publicize where you’ll appear with contact information. If your events aren’t open to the public, announce cities where you’ll be.

~ Take event pictures [book in hand] for immediate release and future marketing materials—asking permission to use images featuring other people.

TRAVEL CONSIDERATIONS
~ Ship books and some marketing materials in advance when possible.

~ Allow one day for rest and preparation prior to your event.

~ Purchase travel tickets permitting change of schedule.

~ Plan ground transportation minimizing strain on you, as well as cost.

~ Hotels often provide airport transport, valets, safes, and restaurants. Private hosted accommodations lessen privacy.  A B&B may be appropriate when driving.  

~ Financially, notify credit card institutions you’re travelling. Obtain cash for tips. Determine if you need a tax or sales license. Decide whether to accept credit cards, electronic payment, and/or cash for sales.

~ Carry emergency clothing, accessories, medicines, and toiletries in hand-held luggage, in case checked bags fail to arrive.

~ Personally carry hardcopy masters and electronic files for reproduction.

~ Dress to attract attention while travelling—name badge, book image, and business cards at the ready!

SET YOUR STAGE…WHEN YOU CAN
~ Place a banner or picture on podium front.

~ Check lights, sound, and projection equipment.

~ Position speaking materials, large watch, laser pointer, pen, props, travel mug with slightly warm water.

~ Display signage, marketing materials, books, handouts, and sign-up sheet for future event notifications near the entrance—manned when possible.

~ Be aware that electronic projections often fail because of file format incompatibility between source and venue operating systems and versions of software.

~ Maximize visibility of necessary folders and files.

~ Carry backup hardcopy of your presentation for you and handouts of primary points for your audience.

BEFORE, DURING & AFTER PERFORMANCES
~ Warm up vocally and physically.

~ Provide your bio and a short introduction to event organizers.

~ Pace yourself…allow time for Q&A to maximize audience interaction.

~ Conclude with an inspiring thought. I often hold up a pin with a single word appropriate to my message…

~ Make periodic eye contact with your audience. Let attendees feel you care about them individually.

~ Sending gracious Thank You cards/gifts helps maximize an event’s long-term branding value. Carry mailing labels, packing supplies, and postage.

For more ideas to maximize being memorable, see Wearing your Brand at my marketing website.

Wishing you the best in your creative ventures,
Jeanne Burrows-Johnson, author, narrator, and public speaker

Public Speaking II

All the World’s a Stage
The success of any branding program rests on harmonizing the look, sound, and feel of all of its elements!  That includes the setting in which an author appears. And while you may not be able to control every aspect of the physical environment of your presentations, you can enhance the positive impact of some aspects to boost the effectiveness of your overall book marketing program.

The Venue
If you have never spoken at the venue, you’ll be relying on the event’s organizers to provide the correct information regarding lighting, voice amplification, and projection of materials you’ll utilize to highlight your speaking points. In addition, they’ll be scheduling the podium, table, and/or chair from which you’ll speak.

If possible, visit the venue in advance of the event. While this may be easy in your home town, it can be impossible when you’re working in another city [let alone country]. Therefore, it’s good to arrive a day in advance of your presentation. If you’re lucky, you will be delivering your remarks at the hotel in which you are staying.  As this is seldom the case, travel with the basics you require to be effective.

From a Stage or…
Depending on your height and weight, and position in relation to the audience, you may need to modify your hair, clothing, shoes, and/or accessories to maximize your facial and overall visibility. Speaking engagements often occur in rooms with a stage that is at least a step above the floor on which the audience is seated. This enhances your visibility as a speaker, but it means you must look good from the top of your head to the bottoms of your shoes. And although many stages are carpeted, older wooden or tiled stages may have uneven surfaces, for which you will require sturdy and slip-resistant footwear.

Solo Performance
Sole presenters in a public venue usually have access to a podium. Free-standing or table top, it should offer sides that mask your script, notes, watch, and other items you may need to reference. Unless a free-standing podium is constructed of a tubular frame, it is probable that you’ll be visible only from your chest up. That gives you more flexibility in your stance and movement of your feet. If the podium is comprised of a hollow frame, or positioned on top of a table that has no tablecloth, you will not have that luxury.

Whispers to Screams
The quality of your natural speaking voice can be either an asset or detriment in public speaking. Depending on your audience, even the strongest of voices expressed in the wrong tonal range can be hard for some listeners to hear properly. Many podiums are set up with a microphone fixed in position. If you learn you’ll be using a hand-held mic, you may want to obtain a small stand in order to free your hands for gesturing, pointing to overhead projections, etc. Having said this, I must note some presenters like to speak off the cuff rather from written material and prefer a hand-held or wireless mic so they can roam freely—sometimes even moving within their audience.

Be aware that the effectiveness of the microphone you use [especially lavaliere or headsets] can depend on your neckline, arrangement of hair, and any chain or necklace you wear. Also consider that dangling earrings and loose watches or bracelets can interfere with sound projection.

Having a strong voice may lessen the need to provide your own electronic equipment. However, if you are embarking on a lengthy tour, you might consider acquiring sound equipment that can make you more independent of the facilities in which you appear—if it is compatible with the speakers to which your equipment will be connected. In making such a decision, you will want to seek the input of an electronics specialist.

Inviting Displays
Will you be able to set up a display that greets and enlivens your audience? At the minimum, you should be able to drape a banner over the front of a podium [using double sided tape, if nothing else]. I carry the banner from the release of Prospect for Murder, first of the Natalie Seachrist Hawaiian mysteries. I also travel with varied sizes of boxes on which I can place color-coordinated tablecloths to create heightened surfaces for displaying signage, products, and handouts. And I carry stands of varying proportions to maximize visibility across a room. Do be cautious about displaying valuable items which could disappear…

Enlargements of colorful book covers, pictures of previous appearances, and banners with both your image and the works you’re presenting make a wonderful background for highlighting sales sheets, future project descriptions, and business cards. Since Murder on Mokulua Drive has an embossed jacket front, I present it on a stand, as well as on the table top to invite people to pick it up.  If there is a theme to your work, you can add decorative items that reinforce that reference. As most of my work centers on Hawai`i, I display a shell lei or two, a golden fish business card holder, and tablecloths that harmonize with my book cover colors.

Ensuring You have What You Need
If you’re speaking in your home town and have checked out the venue, you’ll know what you need to carry with you. The one thing that may affect your preparations is a change in the size of your audience, thereby impacting the number of books and handouts required. When traveling to a long-distance destination, you may be able to send a box ahead to a friend, colleague, or the hotel in which you will be staying. Regardless of whether that is an option, strategize the items that you should carry personally, rather than check into a luggage compartment.

I recall my gratitude for arriving in Hilo (after flying back from the U.S. mainland) two days in advance of a performance of Scottish Highland Dancing, since my costumes remained in Honolulu by mistake. I now keep the following items with me personally when traveling to author appearances: memory sticks and a master copy of materials needed for display and distribution; one copy of pertinent books and project samples; one small tablecloth and a shell lei to personalize a display; one copy of a short biography; two 3 x 5 inch cards with an introduction of me and my presentation; a brass name badge and any pertinent professional badges; a beautiful artificial orchid for my hair; and, one elegant jacket to dress up even an emergency wardrobe purchase if my luggage does not arrive with me!

This is the second of three discussions of Public Speaking Engagements.My next blog will address the ways in which public speaking engagements can enhance your branding as an author, and will be featured at Hometown Reads .

Wishing you the best in your adventures as an author or other creative professional,
Jeanne Burrows-Johnson, wordsmith and design consultant

Tips on research, composition, and marketing your work are available at Imaginingswordpower.com.

To learn more about my projects, please visit my author website at
JeanneBurrows-Johnson.com.

 

 

 

Drawing on Sense Memories

Most of us think of the five physical senses as we are experiencing them. The toast looks and tastes all right, but it has a slightly burnt smell. I wish the kids would stop screaming, my ears are starting to hurt. I love this faux fabric, it almost feels like my cat’s fur…

The Creator’s Sensory Perception
As a writer, or other creative person, sensory perception can be an important element in preparing a stimulating picture via words or graphic images. One of the most effective devices for creating believable images is drawing on our own memories. This is because referencing something we’ve encountered personally provides a depth of authenticity to any work we are undertaking.

The Truth of One’s Experience
This does not mean that we have to reveal our personal circumstances in order to truthfully share a sensory experience…unless we are presenting a work that is a memoir or similar personal expression, for which we are obligated to reveal this aspect of our lives. The truth of our sensory experiences can be shared without revelation of the circumstances in which they occur.  In fact, isolating the experience from its original circumstances, can encourage us to revisit the specifics of what we saw, smelled, heard, touched, and/or tasted with greater accuracy.

For example, while we may wish to describe the beauty of a star-lit night from our honeymoon, we do not need to provide details of the circumstances in which we viewed it. Even when we need to describe something we have not experienced, it’s good to seek out the concrete memories of those who have. In describing Shanghai in the 1920’s for Prospect for Murder, I drew on images shared by people whose fascination with the city transcended the actual era in which they traveled. And despite their degree of positive or negative reactions, I was able to utilize their perspectives to provide images of the bustling streets and even the scents they encountered in their sojourns.

In Murders of Conveyance, the third book in the Natalie Seachrist Hawaiian mysteries, my heroine overhears a conversation in Chinese from outside of the building in which she stands. I’m sure we can all think of times when we’ve  accidentally overheard a conversation, whether in a language we speak or not. When I moved to Honolulu at the beginning of the 1970s, there were many occasions in which I heard languages I couldn’t understand, nor even identify. Because I needed my heroine to feel connected to foreign dialogue, I inserted phonetic sounds that allowed Natalie to guess the speakers might be referencing someone she knew.

Stimulating Vocabulary
Sometimes we are fortunate to be able to utilize vocabulary or pictures that effectively mimics the images we wish to share.  I find the following words and phrases can bring clarity to a description, sometimes reaching beyond a single sense: wispy; screech; a snapping branch; wrinkled; razor’s edge; staccato; fragmented; shrunken; glassy; whispered; fiery.

The perception of other words often relies on those who read or hear them. Reference to an Upscale dining experience may arouse the taste and ambiance of a five-star restaurant to one person, and a fast-food joint to another. While the phrase Opulent jewelry signifies a strand of synthetic pearls with rhinestones to one reader, someone else may envision weighty crown jewels. Vintage clothing could generate a disco scene from the 1970s for a millennial, whereas someone my age may picture a flapper dress from the roaring twenties—the 1920’s that is. Similar variances can arise with an author or artist’s use of color and shape, as well as a composer’s insertion of pauses, changing rhythms, and escalating tones.

I’m fortunate that many of the images I wish to share in the O`ahu setting of the Natalie Seachrist mysteries practically write themselves: the sparkle and whooshing sound of incoming surf on a moonlit night; the stickiness of teriyaki sauce on a barbecued chicken thigh; the fresh fragrance of a flower lei, the stench of rotting plumeria blooms beneath an aging and neglected tree. But although I bring personal insight to such images, I must avoid cliché verbiage that will bore the veteran traveler. 

Your Target Audience
This brings us to a brief discussion of one’s audience…one’s target market. If you’re working within a recognized genre of literature, art, or music, there may be standards to which the majority of your audience will expect you to adhere. If you are striking out on your own to create a variant or wholly new artistic expression, you can move in any direction you wish…keeping in mind that you will need to attract some degree of a following in order to achieve any degree of success.

Accordingly, I sprinkle snippets of pan-Pacific and world history across my mystery plot-lines.  And while I present a fair number menu items within each book, I place actual recipes on my author website, rather than completely bogging down a story.  As to the cast of characters, folio art framing page numbers, chapter aphorisms, and linguistically and historically detailed glossaries, the reader can choose to appreciate or ignore them…

Wishing you the best on your own creative ventures,
Jeanne Burrows-Johnson, wordsmith and design consultant

Tips on research, composition, and marketing your work are available at Imaginingswordpower.com.
To learn more about my projects, please visit my author website at
JeanneBurrows-Johnson.com.

 

MEA CULPA

Your book series is doing well!  This truly is an accomplishment to cherish!  What must you do to ensure your writing career continues on an upward trajectory?  Regardless of whether you have a publisher or self-publish, problems can arise during the complex process of production.

Publishing Errors

I’ve previously discussed issues an author faces in publishing a series—regardless of genre.  Fortunately, the process of publication is seldom the responsibility of a single person.  Of course, as the author, the quality of the final product reflects on you—for it is you who will be facing the public.

As a reader, as well as an author, I have not heard of a book that arrives in a reader’s lap without flaws of one type or another.  They may be barely perceptible, and actually may be a matter of choice rather than outright error.

Whose Fault?

In truth, no matter how much effort [and sometimes treasure] you invest in maintaining the quality of your work, unexpected flaws can emerge.  They can arise from both overt errors, as well as from actions you failed to take.  Most of my errors come from copying and pasting text and repeating favorite words.  Unless one closely and repeatedly reads the edited text, words may end up out of sequence, or can be wholly missing.

Discovering Flaws

The process of finding errors can be simple or complicated.  In writing a series, you probably have a written or mental list of flaws you’re prone to make.  As I prepare for the publication of Murders of Conveyance and work to complete Yen for Murder, I’ve found that the following errors appear frequently:

~  Repeated words and phrases
My favorites, myriad and R & R.

~  Overuse of prepositional phrases
Mine frequent the beginning of sentences. 

~  Complicated action
I’ve found scenes in which a character would need three hands to accomplish what I’ve described.  I’ve also struggled to explain how hidden compartments are accessed…

~  Character flaws
Misspellings of names, and their pronunciation in audio books can easily occur, and did in the audio edition of Prospect for Murder.  Titles of officials and their organizations can be misstated or may change over time.  Evidently my love of British police procedurals produced my mixing of the word detective with the ranks of police officers.  In actuality, most police forces in the U.S. [including Hawai`i], do not do that.  A sergeant with the Honolulu Police Department who becomes a detective is simply referred to as detective, with higher ranking officers being referred to by their rank.

Major Errors

You might think that writing fiction means that few errors unrelated to grammar will materialize.  But issues of consistency still need to be addressed.  My own inconsistencies have included changing the floor on which protagonist Natalie has a condo and the color of the truck of her boyfriend and detecting partner Keoni.  While regretting even these minor mistakes, at least they do not interfere with the reader’s ability to follow the story.  I’m not sure the same can be said for the two lines of crossed-through text in Murder on Mokulua Drive.

One thing that cannot be ignored or casually dismissed is the erroneous reporting of a historical fact.  I was particularly embarrassed to discover that in copying and pasting text in the Glossary of Prospect for Murder, I mistakenly dropped a sentence relating to Hawaiian Princess Ka`iulani into the description of Queen Kapi`olani. This is an obvious mistake to readers who are familiar with the lineage of Hawaiian royals and a serious detraction from my desire to share Hawaiian history with a global readership.

Making Corrections

Having determined the cause of a problem, you face correcting it.  This can be fairly easy with the publication of a digital book, and other on-line pieces…That is, if you are capable of altering the text within the template that generated it. If you cannot do so yourself, you may have to return to the typographical artist who originally laid out the book. If you are not able to reconnect with them, you will have to find a new source of help.  Fortunately, my publisher is working to correct the MOMD Ebook error regarding Queen Kapi`olani.

Matters are more complex in correcting flaws in printed editions. Unfortunately, the error regarding the Queen can only be corrected when further batches of the books are printed.  I wish I could send out errata labels to everyone who has a copy of the book…The one thing I have done is to publish a message of Mea Culpa on Facebook!

Avoiding Repetition of the Crime

Once you’ve pinpointed the sources of flaws, you can seek appropriate ways to dodge their recurrence. This challenge is exacerbated in the production of a series.  To keep my projects separate but harmonious, I’ve prepared and continually update detailed reference notes listing aspects of appearance, voice, attire, movement and behavior. I also have spreadsheets that pinpoint chapter elements [such as when Natalie has which vision] and the family trees of major characters.

I’m glad that most of my readers enjoy references to daily life in the Hawaiian Islands—especially food.  There are, however, some who would prefer little discussion of food, beverages, relationships, history and cats.  At this point, I don’t foresee removing these elements from my tales—nor would I detract from plot lines by inserting actual recipes.  However, recipes  that reflect Natalie’s life, local restaurants and menu items one might expect at an Island gathering, do appear on my author website.  This has necessitated my keeping records of the food and beverages I write about for review during the writing of each book.

Variations…Not Errors

As a series unfolds, it is to be expected that improvements in writing style and changes in book layout may occur.  This doesn’t mean that earlier editions of books are necessarily flawed.  Happily, my publisher opted to offer embossing on the vibrant cover of Murder on Mokulua Drive.  And, as I like reference material to be readily accessible, we are enlarging the font that introduces Glossary sections.  Similarly, we are inserting spaces before and after the hyphens between author birth and death dates in chapter aphorisms.

Fortunately, while outright flaws need to be addressed, developments in an author’s style of writing and the presentation of their work can be things of beauty!

Wishing you the best,
Jeanne Burrows-Johnson, wordsmith and design consultant

Tips on research, composition, and marketing your work are available at ImaginingsWordpower.com

To learn more about my projects, please visit my author website at
JeanneBurrows-Johnson.com.

 

BOOK SERIES ADVENTURES

This blog first appeared on the Hometown Reads website [https://HometownReads.com], which I highly recommend to both readers and authors seeking to learn more about the art and business of publishing books!  Just click https://hometownauthors.com to view a variety of articles from member authors…

You’ve published a book series!  A true accomplishment, regardless of whether you planned it or not.  But while you were promised great things would emerge at this point in your writing career, you are facing a few challenges.  Allow me to tell you about issues I’ve confronted during publication of Murder on Mokulua Drive, the second Natalie Seachrist Hawaiian mystery

Elemental Consistency
Beyond avoiding copyright violation in the chapter-opening quotes I use, I guard against repetition.  During pre-publication review of Murder on Mokulua Drive, I discovered I’d reused a quote from Prospect for Murder.  My records of aphorisms now indicate when and where a quote is used.

Character and locale Parity
Initially, I had a male protagonist.  Whoops…my writers’ salon found that “voice” more appropriate to a woman.
Names, their spellings, descriptions, and pronunciation must all be checked.  Imagine my chagrin in realizing I’d changed a name’s pronunciation mid-way through PFM’s audio edition!
While my protagonist thinks in whole words, she speaks with contractions.  I now begin each book by reviewing my chart of persons, places, and their characteristics. 

Plurality
Promotional text highlighting aspects of a single book must encompass each title in a series.  Having multiple titles often means having different editions.  For PFM, I had hardcover, softcover, Ebook, and physical and digital audio editions. MOMD is currently available in only hardcover and Ebook. Softcover and audio references (like “Audible.com”) are omitted when describing the second book.    

Presenting Yourself
If you have a publisher or literary agent, they may have guidelines for presenting yourself personally, online, and in traditional and social media. If you’ve never been in the public eye, you may be grateful for suggestions about wardrobe, hair, accessories, and makeup [yes, men sometimes require makeup].

What you say and how you relate it will shift depending on the media or venue.  I’m not suggesting you become a shape-shifting chameleon, but envisioning each audience helps you see yourself as they will.

Marketing Yourself
Regardless of who directs your marketing, examine media kit samples to see what you should prepare.  This will include bios, photos, sample media releases, and relatable stories, covering:
~  Background [family, education, career]
~  Daily Life [home, work, writing locale, pets, hobbies]
~  Writing Methodology [research, writing, editing]
~  Influential People [affecting your work and life]
~  Author Experiences
~  Changes in Your Writing

Describing Yourself
Were you initially described as a debut author? That’s no longer relevant.  What other life changes will impact your self-description.  Are you in a new professional position?  Where do you live, or travel for research, sales, and presentations?   

Elastic Promotional Text
Periodically (and in varying length), you’ll need to restructure text for:
~  Media releases about books, awards, appearances
~  Bios for ads, event programs, introductions
~  Submission of your work for reviews and contests
~  Website discussions of your life and authorship
~  Social media posts, comments, and event announcements

Welcoming Images
Gather images to stimulate the interest of colleagues, readers, listeners, and the general public including:
~  You and your surroundings
~  Events in which you participate
~  Images attracting your interest
~  Organizational and community involvement
~  Images relevant to characters, scenery, and activity in your writing

Designing Inviting Websites and Blogs
Working alone or with a web master, there are many aspects to consider.  First, you may have a website from before becoming an author. Some elements may be recyclable.  With bios, book synopses, and pertinent images available, much of your material is ready for upload.  You just need to weave it all together to appropriately reveal you and your work.  Consider:
~  Styles appealing to your target market [realism, art deco, country kitch…]
~  Colors [you like and wear; those describing your work]
~  Shapes reflecting your style and work [linear or curved]
~  Textures, natural or man-made [wood, silk, metal, stone, plastic]

Final thoughts?  Well, there’s nothing final about the process of writing…or of marketing your work.  As with your compositions, keeping electronic and hardcopy samples of your promotional material, will help you shape attractive representations of your unfolding life’s work! 

Wishing you the best,
Jeanne Burrows-Johnson, wordsmith and design consultant

 

 

Interviews & Oral Histories: #4

AFTER THE INTERVIEW

You’ve done it!  Regardless of whether an interview is the first or the hundredth, I hope you will feel a sense of accomplishment while parting company with whomever you’ve interviewed! By this point, you should have an audio (if not visual) recording of the dialogue, plus notes you’ve composed prior to and during your conversation. You should also have a signed interviewee release that can allow you to draw from the experience indefinitely.

The Significance of Your Relationship with Your Subject
In my last discussion of general and oral history interviews, I noted that it is good to impress your subject positively.  Doing so includes: projecting a pleasing appearance and voice; demonstrating the level of your commitment, as shown by your research and organization of pertinent questions; and, your sensitivity to their physical, mental, and emotional circumstances.

That last issue is one that is often neglected by professional, as well as novice, interviewers.  Too often a sense of righteousness on the part of the interviewer as truth teller can prevent development of a significant rapport with the interviewee.  While it is important to maintain a professional relationship, the lack of a rapport with your subject may lead to a diminished level of trust and desire to reveal themselves fully.

Your Parting Words
As you prepare to depart from an interview, you will want to leave the door between you and your subject open to further communication.  After all, they’ve trusted you with a part of themselves and they want to know that you’ll value what they have shared with you. Even if you have not established a warm relationship, you will want to facilitate future communication and assure them that they will have an opportunity to view a transcript of the interview.

This does not mean you are relinquishing your role as the interviewer, nor does it imply you are going to change revealing the realities of your conversation. However, if errors are found by either of you, there should be a means for adding explanatory notes. This is especially useful in clarifying names, relationships, numbers, dates, and sequences, which may have been transposed or mistakenly described.   

Editorial Procedures
During the transcription and editorial process, you may need to communicate with your interviewee to gain clarity on numerous points. To maintain accurate records, it is good to receive replies to your questions by email or other written documentation

This is especially useful if there are conflicts regarding the meaning of a passage. After all, the interviewee is relaying answers to your questions through the lens of their point of view.  While you  may never agree with their explanation, the transcript and your notes will allow future readers and/or listeners to experience a close approximation of the event and draw their own conclusions.  This is why clear records of all your communication and notes are so important.

The method[s] of annotation you choose for your transcript can take several forms. This is where your creativity comes into play.   Personally, I try to avoid footnotes.  Instead, I employ bracketed statements for minor clarification and section endnotes for issues dealing with proper nouns and other facts that may stimulate a future reader to pursue answers to their own questions.

Although the interviewer should not remove actual dialogue, you can provide clarification of key points by including a glossary of foreign and specialized vocabulary, as well as an index. Some authors dislike the use of indices if they plan to publish via a downloadable vehicle that may render pagination inaccurate and irrelevant. However, readers of a work published on the Internet may be able to utilize a find/search tool to locate terms they wish to revisit and readers of a hardcopy edition will be pleased with the inclusion of an easy reference tool at the back of the work. 

Another means for heightening the usefulness of your final product is separating your transcript into sections. If the interview was conducted during multiple sessions, utilization of chapter breaks is quite logical. Even when the conversation was held on a single occasion, separating sequenced questions and answers provides natural breaks.

Such a layout should facilitate communication between you and your subject[s] as you review the nearly finished project. Once you have completed editing and annotating your transcript, you can proceed to shaping a final format to meet any requirements for publication. [See my previous blog, Interviews & Oral Histories #3, for the closing  discussion of interview publication.]

Future Interviews with The Subject
The potential for scheduling future interviews may depend on issues beyond a mutual desire to do so. For example, if the interview is part of a larger project controlled by someone else, you may be limited in continuing your relationship with your subject.  And, although the current publisher may express an interest in further interviews, shifts within their organization may preclude future publishing through them. Even when you are working on a wholly freelance basis, your ability to publish may depend on your finding a new source willing to take on the project. And if you decide to expand the initial work into a series of articles or even a book, the task may become even more challenging.

As I’ve noted before, planning, executing, and publishing an interview is a unique experience. Even without the permanency of the Cloud, an interview lives far beyond the event itself! The effort you put into researching your subject’s life and work may prove of interest to people far beyond your targeted readership.  The dialectical elements of the conversation, introductory remarks, annotations, and other explanations will serve not only to illuminate your subject, but also your own life’s work.

In my next blog about interviews, I will discuss the renewal and publication of oral history interviews I conducted more than 25 years ago with a dear Hawaiian auntie whose family history is very interesting…The title is, Conversations with Caroline Kuliaikanu`ukapu Wilcox DeLima Farias.

Wishing you the best in your writing endeavors,
Jeanne Burrows-Johnson, wordsmith and design consultant

To learn more about Prospect for Murder,  Conversations with Caroline Kuliaikanu`ukapu Wilcox Delima Farias, and other writing projects, please visit my author’s website at JeanneBurrows-Johnson.com.  And for more ideas to strengthen your Wordpower© and branding, please visit my website, ImaginingsWordpower.com.  

THE AUTHOR RECYCLES

New Creations From Old Work

 In past blogs I’ve talked about examining your previous work as a writer.  Not only does this allow you to measure your progress, it also provides a pool of sources for new directions in content and style.  I am a member of the National Writers Union and the local chapter recently asked me to be their featured speaker at a monthly meetingOften, their speakers read from current projects, but since I’d help to fill in the previous month with a reading of both the Prologue and Epilogue from PROSPECT FOR MURDER [the debut title of the Natalie Seachrist Hawaiian mystery series], I decided to give a talk on how I’ve recycled parts of past projects.  While there’s nothing novel in this concept, I thought that in detailing how I’d used pieces I’d created during my years in Arizona, I might stimulate my listeners to consider the ways in which they might draw upon works in their own files…

Wordsmiths Don’t Fall into a Single Demographic Description

When you look around any gathering of writers, you’ll find that we’re: Young and old; formally educated and barely literate in the grammatical sense; gifted melodious speakers and hoarsely halting readers; technical prodigies and flawed yet persuasive explorers of every topic imaginable.  The breadth and depth of our compositions are as varied as we are.  And usually, if we’re old enough, such variety will be found spread throughout our individual bodies of work.  

In projects of both fiction and non-fiction, I draw on a background in business, education, and the performing arts.   As might be expected, there is no consistent pattern to my output—except for the decades of public relations, marketing, and design consultation I’ve performed for executives and their profit and non-profit entities. 

Forms from the Past…

In preparing for my talk, I looked over previous work I had drawn upon for recent print, audio, and Internet projects.  Not all were inspirational gems of form, content, or style, but each item I had chosen to re-purpose fulfilled a specific need.  With every new project, I contemplate how the assignment fits within the scope of my professional history.  Not only do I look for concepts, data, and text that may yield something I can reuse, but also the bits and pieces that should be moved to the recycle bin.

…Reshaping for Today and Beyond

This year’s springtime file pruning produced some of everything.  I found business cards, ads, and brochures that could be used for marketing workshops. As I continued my file and closet clearing, I eyed posters and signage that could be augmented with a large artistic label for some future event.  I quickly dismissed them as ineffective for a speech delivered from a podium.  There was, however, one item I could share:  a copy of Stephen Covey’s famous matrix of time and productivity management.  The gist of this true jewel of philosophy is that if we focus on aspects of both our personal and professional lives that are important but not critical, we’ll be better prepared for challenges that may arise.

After a brief introduction of this principle to open my talk, I noted how elements of past writing had been folded into my writer’s blog [for samples, please visit https://www.Blog.ImaginingsWordpower.com].  From project inspiration to background research, through the phases of writing and editing, production, and marketing, I discussed how I select issues that may be of interest to other authors and artists.  In addition to mentioning a few of those blog topics, I provided examples of material I’d chosen to use in recent book projects.

~  When I joined with five other authors to publish UNDER SONORAN SKIES, Prose and Poetry from the High Desert,  I contributed both fiction and non-fiction.  With new and as well as re-shaped pieces, we all expanded our repertoire.  Knowing that publication of  Prospect For Murder was approaching, I included its prologue.   I also featured historical articles such asThe Holidays in Tucson, 1878,” which I read at the NWU meeting.   

~  In  Murder on Mokulua Drive [the second book of the mystery series], I’ve drawn on notes from my studies in history, plus a series of oral history interviews I conducted many years earlier.  This has allowed me to mention the first woman registered to vote in the Territory of Hawai`i in 1920, and to place a major scene in the historic and ecologically significant site of Kawai Nui Marsh.  

~  The compilation of the oral history interviews, Conversations with Caroline Kuliaikanu`ukapu Wilcox DeLima Farias has indeed proven to be an invaluable resource.  Carol was a dear friend seeking to preserve her family’s history, library and other artifacts.   Descended from Hawaiian nobility, her recollections of life in upcountry Maui in the early twentieth century and dancing hula in Waikīkī on December 6th, 1941, delight both readers and listeners.  In reshaping the layout for a book of the seven interviews and an audio edition comprised of the original recordings, I described how this resurrected project is benefiting from the comprehensive glossaries I’ve constructed for the Hawaiian and other non-English vocabulary included in the Hawaiian mysteries. 

~  Finally, I referred to the fourth mystery, A Yen For Murder, for which I examined promo materials I wrote for Highland Games and the Hilo International Festival on the island of Hawai`i during the 1970s.  This led to having Natalie reminisce about hearing a remarkable young woman play the Japanese koto at the Festival…and decades later having that woman, then a Buddhist priestess, become the victim.

In the future, I anticipate giving talks on the authorship process, for which many of these examples will be useful.  Of course, there will also be samples of flawed book covers, changing email addresses, and evolving reviews to reference.  How does all this relate to your work?  Well, I wonder what awaits you when you dive into your own files.  Will you choose to build on your dramatic successes?  Or will you determine that what was once viewed as a failed project may rise to the realization of full and positive fruition?

Wishing you the best in your writing endeavors,
Jeanne Burrows-Johnson, wordsmith and design consultant

To learn more about Prospect for Murder and other writing projects, please visit my author’s website at Https://www.JeanneBurrows-Johnson.com.  For more ideas to strengthen your Wordpower© and branding, please visit: Https://www.ImaginingsWordpower.com

BALANCING VERBIAGE & SPACE

There have been many instances in my career as a professional writer when I’ve needed to alter text to maximize its appearance within the space allotted to it.  Sometimes this is disappointing, as the words I initially selected were ideal to the purpose and tone of the project.  Nevertheless, the goal in any written work is to create a product that is most appropriate for communicating with one’s target market. 

 As I generate promotional materials for marketing Prospect For Murder [the first book in the Natalie Seachrist Hawaiian mystery series], I’ve frequently had to revisit this basic activity of editingsubstituting vocabulary to fit the available space.
Value of a Professional Wordsmith
One of the greatest values a professional wordsmith brings to a verbal project is their knowing when and how to adjust text to maximize readability.  This ability to edit within varied  parameters demands the flexibility as well as the skill to replace verbiage to accommodate the allowed space.

In the past, when a client decided my composition met their needs, they usually took the text to a graphic artist and I never saw it again—at least not before the final product was printed, uploaded to a website, or sent forth in emails.  Imagine my disappointment when I saw that the presentation of my work looked awkward because of justified paragraphing and/or the lack of breaking syllables at the end of paragraphs, which resulted in wide gaps or crammed lettering.

If I remained in close contact with the client, I sometimes had an opportunity to rectify the situation.  At a minimum, I could alert them to the problem which was bound to recur until their process of production was changed.  If I had the opportunity to work with the artist tasked with incorporating my text, I could suggest potential means for enhancing the overall layout by:

~  Changing words that were too long or short
~  Altering the paragraph structure
~  Adjusting the number of columns or their size
~  Repositioning and/or resizing artwork
Subliminal Influences

Harmonizing Product Packaging and Marketing Materials

Regardless of the sophistication of a project, balancing art and typography can truly maximize the sensory experience of your readers.  It is a vital key to synchronizing a product’s packaging and the marketing materials that accompany it.  As may be expected, this can help determine a reader’s initial response to the product being represented, thereby affecting whether it will be purchased or bypassed. 

Even the information presented in a dentist’s pamphlet should be designed to flow in an harmonious manner.  The next time you have an appointment at a professional’s office, glance through the materials in their waiting room.  If you find odd looking paragraphs, it’s probably because a graphic artist took the text and simply dropped it into their design—usually without the copy writer having the opportunity to re-edit their text.

Designing Promotional Materials & Websites
In my blog on the layout of books, I discussed the various issues I faced in the design of covers for the hardcover and audio book editions of Prospect For Murder.  All of the spatial challenges I’ve just explored in this blog were applicable in both editions.  I’m very grateful that my artist and typographer were the same person [you can visit www.yasaminejune.com to view her art].  This meant I was able to work with her to balance elements of concern.  Of course, working in this manner requires mutual understanding and sufficient time to accomplish the necessary edits.

Artwork & Titling in Secondary Projects

From Hardcover to Audio Book Format
Transforming the images and text of the hardcover book jacket into that of the audio book required more than re-positioning and resizing the many design elements.  Most notably, the mysterious moon above the apartment building had to be deleted to accommodate the resized and realigned titling.  In addition, the book synopsis and my author bio had to be shortened to allow for book reviews.

Postcards
Recently I reworked the 8.5 x 5 inch promotional postcard I am using for several purposes.  As I now have a growing number of positive book reviews I wish to highlight, I needed to edit both the book’s description, as well as my bio to accommodate snippets from the four reviews I wanted to feature on the front of the card.  And because I may wish to employ varied greetings, I had to allow room on the backside to place labels with personalized messages.

Letters
It may seem needless to mention that each letter that one sends out via snail mail or email is an entity unto itself.  However, writers are just as prone as other professionals to remain wedded to verbiage for which they have an affinity.  Generally, effective letters should be limited to a single page.  This means that the need to resize the length of one’s text arises quite often.  Sometimes simply reworking the size and location of a logo and decreasing the dimension of margins will suffice to reuse a favorite piece of composition.  At other times, it’s also necessary to:

~  Combine paragraphs
~  Reduce the size of the font used for text
~  Use left justified paragraphing without indentation
~  Use an even smaller dimension for line spacing between paragraphs

Wishing you the best in your writing endeavors,
Jeanne Burrows-Johnson, wordsmith and design consultant

To learn more about Prospect for Murder and other writing projects, please visit my author’s website at Https://www.JeanneBurrows-Johnson.com.  For more ideas to strengthen your Wordpower© and branding, please visit: Https://www.ImaginingsWordpower.com

 

The Value of an Index

Making Non-Fiction Text User Friendly

Empowering Your Words
In both fiction and non-fiction projects, there are many aspects of the art and science of writing that can go unnoticed in the creative phase of composition.  I heartily concur with the idea that as writers we need to focus initially on capturing our inspirational thoughts prior to addressing details of the editorial process.  Nevertheless, it is good to have the overall design of a literary project on the edge of our consciousness whenever putting pen to paper.  And, when we do don our editorial caps, writers need to be cognizant that that work empowers the words already set down.  Regardless of the target market, readers have expectations, and the skills of a wordsmith determine whether those expectations will be met.

During the publication of the anthology Under Sonoran Skies, Prose and Poetry of the High Desert, I was pleased to receive positive critical attention for my comprehensive index.  As the artistic director for the project, part of my authoring strategies was to ensure that future as well as current readers would find the work user-friendly, as well as an enjoyable read.  Despite my vision, some of my five co-authors have been less than enthusiastic about the value of indexing.  In fact, one of them was involved in another anthology for which an index was deemed irrelevant since including one would have reduced the number of pieces from one of the book’s prolific authors. 
Significance of The Lack of an Index
When I examined that book’s table of contents, I realized the work had frequent references to historical events and high-profile people.  Unfortunately, the lack of an index precluded a reader’s ability to analyze the work fully.  This was especially true if a reader wanted to compare text provided by multiple authors on a particular subject.  And, with the passage of time, even someone who has read the book and is familiar with its topics would find it difficult to re-access specific references—at least in hardcopy.  And it is true that reference searches in material in electronic format can be facilitated by utilizing a find or search command.  But to accomplish a comparison of various authors’ views, the reader would have to create a separate listing of those citations that pertained to their interests.

Since one can never know how a work will be used at a future time, I believe there is one simple argument for indices in non-fiction:  If it is logical that some reader may wish to locate a specific reference, there is a need for an index Even when a book’s contents are directed to a specific audience, future developments within the field under discussion—let alone the unfolding of history—may yield an unexpected group of readers for whom an index will be invaluable.

Structuring an index usually begins by listing proper nouns contained in the work—meaning all people, geographic locations, and events of sufficient worth to have been named.  Most word processing programs can help you gather and list such terms, even if they lack an actual indexing feature.  Another tactic for refining an index is analyzing terms included by other authors addressing a parallel subject.

As you delve into your indexing project, you may find topics requiring in-depth analysis.  In looking at the nouns you have initially listed, consider related names and topics that can be grouped under a general category.  For example, a discussion of lions, dogs and parrots suggests that a general topic of animals would be appropriate.  Of course, some words may not have such an obvious association.  One area of complexity is persons of varied professional accreditation.  If you lacked sufficient numbers of therapists, physicians and dentists to provide these individual categories, you might use a comprehensive term such as healthcare professionals.  Consider the terms highways, access ways, and trains.  While they do not all relate to forms of roadways, they might be listed under a general heading of transportation

If you tire during the indexing process, consider returning to your analysis of the work of colleagues.  For although you may have accessed the works of many authors during preliminary research, you may not have closely examined their indices.  This semi-final exercise may not only reveal an approach to indexing you have not considered, but it may also reveal gaps in topics or subtopics within the body of your own work.  Even if you decline to broaden the scope of your piece, you may wish to consider some additions to your afterword or bibliography.

Before I leave the topic of indexing, I should offer one cautionary note for avoiding a mammoth appendage to your actual composition:  When in doubt about including a general category, consider whether you have a minimum of three words to list within it…

The art of communicating with readers requires diligence in refining your skills.  It is as demanding an element in non-fiction as in a fine work of fiction.  So, beyond indexing, what other tools of wordsmithing could enhance your reader’s experience?

Wishing you the best in your writing endeavors,
Jeanne Burrows-Johnson, wordsmith and design consultant

To learn about Prospect for Murder [the first book in the Natalie Seachrist Hawaiian mystery series] and other writing projects, please visit my author’s website at Https://www.JeanneBurrows-Johnson.com.  And for more ideas to strengthen your Wordpower© and branding, please visit my website: Https://www.ImaginingsWordpower.com

Interviews & Oral Histories: No. 2, Research

Researching For Interviews 

The Art and Science of Writing
Today’s post is a recipe to help you prepare for any general or oral history interview you may conduct
.
  While the ingredients may prove dry for some of my readers, my intent is to simplify the process for those of you seeking to broaden your skills as a researcher, interviewer and writer.  For, like a piece of fine art, the strong interview will provide a complex layering of elements that leads to a deeper understanding of the interviewee’s life, their place within world events, and the experiences that have made them who they are. 

Relying on their charm and a heavy dose of luck, some interviewers claim that establishing a good rapport with one’s subject is all that is required for a strong interview.  But although creating a personal connection with your subject is definitely required, I urge you to consider that doing a bit of research will strengthen your credibility with the interviewee and boost your skills as a professional interviewer worthy of respect.

Although the following example falls under the category of art, it demonstrates how the lack of professional training can interfere with one’s work.  Many years ago, I met a gifted painter who employed the tiniest makeup brushes to create delicate lace, fine hairs on African wildlife, and complex patterns on silken fabrics.  Noticing flaws in the placement of shadows, proportion of objects, and the musculature of human bodies, I gently suggested she take classes in the foundations of art

When she responded that an art teacher had previously crushed her spirit, I suggested she study privately with an artist she could carefully select for compatibility.  Over the years she has achieved a measure of success, but the flaws I first noticed continue throughout the body of her work.  I can only imagine what the knowledge of an authoritative artist could have added to the depth of her art.

Where should you begin your research as an interviewer?  Like the ideal scientist, you will want to thoroughly research your interview subject, confirming basic facts you may have assumed were correct.  To establish a reliable foundation for the facts to be revealed in the interview (as well as to offer a concise expression of the interviewee’s viewpoint), you will need to conduct research that goes beyond the details of their résumé.  This work should be completed before formulating the questions you will ask in the interview. 

As you move through the process of gathering information, consider the following questions.  What is the purpose of the interview project?  What are the demographics of your target audience who will be accessing your work?  Also, what direction is suggested by the format and themes of the media outlet with which you are working

Regardless of the proposed thrust of an interview, information that the public may seek about the subject should be addressed.  In addition, if you wish to separate your interview from others the subject may have granted, I believe it is good to have at least one surprising fact revealed. 

Now comes what some will consider the boring work.  There’s no way around it, unless you want to rely on your great charm.  To organize the facts you have discovered effectively, I suggest you consider using several tools.

  1. Create a double-spaced copy of the interviewee’s résumé or curriculum vitae [CV].  Highlight each piece of information you need to verify.  Place a check mark beside each one you confirm.
  1. Working from either a list provided by the subject (or revealed in your research), examine the interviewee’s articles, books, previous interviews, and other expressions of their thoughts that may exist.
  1. As you proceed with your research, write out potential topics for your forthcoming dialogue.
  1. Create a timeline of the subject’s life.  Although you may be focused on their career and public persona, list highlights in both their professional and personal living as a guideline to help you respond to unexpected turns your dialogue may take.  Depending on what has made the person newsworthy, you may wish to look at a graph of historical events that intersect with their life.  

How will such timelines be useful?  If, for example, the interviewee was involved in the labor movement of the post-World War II era, the strikes of labor unions on the West Coast and in Hawai`i greatly impacted the general public as well as union members.  Consider also the arts.  If your subject is a composer of music or lyrics, you may find that their noteworthy pieces were created at times of considerable importance in history.  Sometimes their work will actually be named for such an occurrence or an entire era.  This was true of a symphony named for, and embodying the discordant notes of, the Chinese Cultural Revolution.  Depending on the flow of your interview, reference to an intersection of general history and your subject’s life may yield surprising insights about their career or personal living.  This can help you communicate with your subject, as well as with your readers or listeners.

  1. Prepare an interviewee survey.  Sequence your questions from the information they have provided to you.  You can simplify the process for your subject by filling in information you have been able to confirm through your research.  This could include:  Dates and descriptions of their degrees, certifications, accreditations, and other qualifications; institutions of affiliation; professional positions they have held; published works, community volunteerism and other involvement; names, ages, careers of spouse, partners, or children.  Remember that if you put in data you have not confirmed, you may be inviting errors—should their memory be flawed, or they actually wish to perpetuate dissemination of erroneous information.

To further your acquaintanceship—and to trigger your subject’s memories—you may want to offer blank space for them to fill in items such as:  Their nicknames; mentors and public figures who have impacted their life; programs and schools of thought that have shaped their perspective; adjunct and social organizations with which they may be associated; and, hobbies and interests.  Whether or not you wish to pursue topics such as political, philosophical or religious associations may depend on both what you have learned about your interviewee and the orientation of the media outlet with which you are working.

Despite the details I am suggesting you consider, keep the resulting survey as short and simple as possible.  I also recommend using a five-point Likert Scale for any questions you wish answered with a measurement of the subject’s agreement.  Hopefully, your subject will be able to provide you with a completed survey prior to the interview.  This will allow you to fold their responses into questions you are preparing for conducting the interview. 

If you do not receive a response to your survey, have a pleasant conversation with your interviewee about your preparation, so that they will want to participate fully in the process.  If necessary, try to reschedule the survey by a day or two to ensure you are fully prepared.  If you must conduct the interview without seeing your subject’s survey responses, you may want to take a few moments to try to write notes in the margins of your interview questions about issues you now feel you need to explore.

By the time you are nearing completion of your research, you should know whether or not the facts you have uncovered demonstrate your subject’s ability and desire to answer your questions fully and honestly.  In addition, you will have determined whether the facts revealed are in accord with the original goals of your project.  It is also important to determine whether the direction of the interview indeed fits within the thrust of the media outlet with which you may be working

It is possible that you will find there are fundamental conflicts within the facts revealed in your research, your initial perspective on the interviewee, and the boundaries of the planned interview.  If you are able to control publication of the information resulting from your interview, you are fortunate.  But if you are restricted by the media outlet’s direction, I sincerely hope you will discuss your concerns with their management team prior to conducting an interview that does not honor you or your interviewee.

Wishing you the best in your writing endeavors, 
Jeanne Burrows-Johnson, wordsmith and design consultant

To learn more about Prospect for Murder and other writing projects, please visit my author’s website at Https://www.JeanneBurrows-Johnson.com.  And for more ideas to strengthen your Wordpower© and branding, please visit my website:  Https://www.ImaginingsWordpower.com