Wanted: short stories for broadcast

You know how I've read out a couple of my short stories for my publisher's podcast? Well, now 3P Publishing would like to offer this opportunity to other writers and is looking for tales that take somewhere between five and ten minutes to read aloud.

There is no payment, I'm afraid, but it might be a good way to showcase to a wider audience a story that you've had published already. You will be credited, of course, and 3P will give a link to your website and publications. Look on it as a marketing exercise! If you have the necessary tech, you might be able to record the story yourself (I used Audacity and submitted a mono MP3 file), or a member of the 3P team will read it for you.

If you have a suitable story for which you own broadcasting rights, please drop a line to Caroline Snelling (caroline@3ppublishing.co.uk) and she can talk you through what's what.

You can hear all the stories that have already been broadcast here.

Bedtime stories

Photo: morguefile.com

A few weeks ago, I went along to 3P Publishing to record a podcast about my writing life. It hasn't been broadcast yet - I'll let you know when it is, of course - but in the meantime, the 3P team have started another stream of podcasts, namely a bedtime story every night at 9pm. On Tuesday, one of my stories was broadcast, Scoring An Own Goal in Tennis, which I recorded at home using Audacity and emailed across.

I'm getting the hang of reading out my own stories, I think, but recording them is a little different. Setting aside the popping p and the hissing s, which problems can be resolved by positioning the mic correctly, there are also considerations of when to breathe and swallow, and how to turn the pages without making a noise.

I thought I'd done an OK job, but on listening back before I submitted the MP3 file, I realised that in spite of it being written correctly on the page as 'Tommy and Bob', I'd actually said 'Bobby and Tom'. Why?! Anyway, I was able to re-record a snippet and edit it in (or rather, Mr Thorley did the editing for me) and you can't see the join, as they say.

Please have a listen, and check out the other stories, too. More will follow.

Stand up, speak up, sit down

Photo: morguefile.com

I went to a Corby Collective Poets session recently, where poet Spike gave us some pointers on how to move from reading aloud to performing. Here are the notes I took.

• Props: use them if you feel comfortable, but don't let them become a distraction for either you or the audience. Ask yourself if you are hiding behind your props; can the audience see your eyes?
• A hand-held mic is better than a fixed one, because you have more freedom; hold it close to your chin to avoid popping your Ps. 
• An obvious point, but tailor your material to your audience; be prepared to adjust your programme if you think you're losing them.
• Don't be afraid to mix things up a bit - a fast-paced piece followed by something a bit more thoughtful, sad followed by happy, and so on.
• Link your pieces with a bit of explanation, as though you were in conversation with your audience.
• Ignore people who aren't listening and perform for those who are.
• It's OK to read rather than work from memory; even if you think you can learn the whole thing, having the script on a stand nearby can be a comfort, just in case you need it.
• If you do read, use the layout to help your performance - for instance, use bold or colour to highlight words you want to emphasise or leave bigger gaps between some words to remind yourself to breathe or pause for effect.
• Read more slowly than you think you need to.
• Rehearse, rehearse, rehearse.

Do you have any tips to share?

Let thy speech be better than silence...*

I was in Northampton on Thursday evening for the presentation of the H E Bates Short Story Competition prizes. It was a lovely evening, but unfortunately only one of the four winners was there, which meant the other three top stories were read out by members of the organising committee. They did a fine job, but I couldn't help wondering how much better it would have been to hear from the writers themselves.

It's not easy to read someone else's words (unless you're a proper actor, of course); nor is it easy to hear someone else read yours. In the introduction to Nine Lives, my book of monologues, I invite people to perform them wherever they like and say: 'You will see I have included a note with each to describe the person I had in mind as I wrote the story; but if you hear a different voice, that's fine with me.' As it turns out, I find it quite hard to sit and watch someone perform as one of 'my' characters in the 'wrong' voice!

What do you think? Have you ever had your words performed by someone else? If so, how did it feel? Do you guard your characters jealously?


*... or be silent (Dionysius of Halicarnassus)

Another booking!

The lovely bookshop, Bookcave Limted, that opened in Kettering recently has moved to bigger premises in the next town, Wellingborough. As part of its grand opening celebrations this Saturday, I've been asked to read from my book Nine Lives, which the shop has been selling. Two of my poet friends Chuck the Poet and Kezzabelle will be there, too, so it should be a fun do.

Isn't it good to see an independent outlet doing well? If you happen to be in the area at 11-ish on Saturday, please come and say hello.

Festival time

Every town in the land seems to be having a festival these days, and dear old Kettering is no exception. This year's KettFest was blessed with glorious weather (obviously), but could have done with a bit more publicity, and sooner. Nevertheless, a good time was had by all.

I played my part. I hosted a creative writing event in the town library at which people were invited to drop in and create a character based on the prompts I had provided. This was great fun and there were some lovely - and surprising - words written. Then I dashed around the corner to take part in a spoken word event, where I read out a story from Nine Lives and a short piece from Stripped-back Yoga. There were people taking part not just from the town, but also further afield, and organiser Kezzabelle (who took this pic of me) did a great job of coordinating it all.

My turn went down well, but I could definitely do with a bit more practice with a mic. Part of the  problem was that there was no monitor, so I couldn't hear myself through the PA, but the bigger problem was that I found it hard to stay close enough to the stand.

Anyone got any tips for me?

Reading aloud

Today, I'm inviting you to pop over to Sally Jenkins' blog here. She very kindly asked me to be a guest there, so I've written a little something about reading your words aloud. (You might recall that she was a guest here a couple of weeks ago.)

As always, we both welcome your comments.

Taking advice from an expert

I'm reading one of my short stories at a function on Thursday and I'm a  tad nervous, so via Facebook I asked my poet friend Kerry (Kezzabelle) for some tips, because she is a seasoned performer at spoken word events and all sorts of places.

She advised: 'Practise in front of the mirror; if you're brave enough, record it to hear how you sound -  you'll hear your intonation, length of pauses etc; try to  keep your head up so your voice projects; most important of all, concentrate on slowing down, because when we're nervous we gallop through and the audience will miss the power of your piece.'

I also went round to meet her in person for a one-to-one crash course on how not to fall on my arse in public. This was an hour well spent, during which I learned the following:

• Wear something with colour and shape, to stand out and be remembered for the right reasons. 
• Put on a bit of lippy - and loosen those lips before you start to speak.
• Plant your feet, then stand still.
• Use a highlighter pen to emphasise key words, or the start of paragraphs (in case you lose your place).
• If you have to give an introduction, write it on a sticky note - you might forget your own name if you're nervous! 
• Start strong.
• Turn the page in natural pauses - reprint, if necessary
• Pause for laughs - or tears or whatever emotion you're trying to evoke.

She also had some useful advice about which words I should emphasise in my story and made some suggestions about when to look up, pause, etc.

I'll let you know how I get on.