I’m nervous for my first author reading! Any advice?

We are so excited to have Henriette Lazaridis Power, author of THE CLOVER HOUSE, guest posting on “Ask an Author.” I met Henriette through our mutual agent, Kent Wolf, and  I reached out to her when I was nervous about my own first author reading. I found her advice incredibly helpful and calming, and thought she’d be the perfect person to field this question. ~ Jennifer


Question: I have a series of author readings scheduled at local bookstores. The problem? I have no idea how to pull off a successful reading, and I’m getting cold feet. Okay, they’re frozen! Can you give me some tips?

Henriette: There’s a popular belief among writers that to embark on a bookstore reading is to submit yourself to a kind of human sacrifice. The presumption is that the author’s experience of the in-person audience is just plain awful and that the only way to survive it at all is to surrender to the horror.

But it doesn’t have to be this way. Not if you’re prepared.

The author reading is a natural and necessary extension of a writer’s work. It’s an opportunity to engage, convince, and entertain potential readers. Reading aloud is no less an art than writing the words down in the first place. And like all arts, it has its tools of craft that you can learn and master. Here are a few key steps.

1. Choose a good section. This seems obvious, but you need to remember that what seems like a good section for you as a writer may not be a good performance piece at all. Resist the temptation to read from the very beginning of your novel. If that’s where you set the scene for the book, consider whether scene-setting offers the most intrigue. A combination of dialogue and narration works best because it changes the rhythm for the listeners. For dialogue, keep the voices to a minimum. A party scene might work great in your story or novel, but your audience will have trouble keeping the characters straight. Your reading should take up just a little less than the time you’ve been allotted (hint: always find out how long they want you to read for). Don’t worry about finding a section that represents the entire plot, or even all the themes of the novel. If it’s entertaining or moving, the audience will buy a copy of your book so they can read the whole plot and experience all the themes on their own.

2. Treat your reading excerpt as a script. Think about how you want to play the scene and what kind of tone you’re aiming for. Mark up the pages, with notations for places where you want to pause, speed up, slow down, or change the mood. Reading aloud is like Wayne Gretzky’s vision of hockey: you need to know where the puck is going to be. You want to know where the emotions of a piece are going, and you want to reach those emotions at the right time. Many of us have had the experience of reading aloud to a child, getting caught in full voice saying “‘Look over there!’ she whispered.” You don’t want that to happen when you’re at a bookstore reading from your latest novel.

3. Print your selection or photocopy it in very large type. Even if you don’t need reading glasses, you’ll be grateful when you glance down at your paper in mid-sentence during a bookstore event. You can also tape these papers into your copy of your book, so the audience can still see the lovely cover while you read your specially-formatted pages. My copy of The Clover House has photocopies sticking out of it where I taped them over the real pages. I’ve used post-its as tabs to mark other sections of varying lengths; these come in handy when interviewers ask for a snippet. People tend to find the sight of my copy amusing, and many have remarked on the fact that I was clearly prepared. People like it when readers are prepared.

4. Then rehearse. Multiple times. Again, this seems obvious, but many writers don’t seem to do more than a cursory run-through before getting up before an audience. As you read aloud, listen for places that don’t make sense unless the listener knows more than you have time to explain. Explanations of context and character can be distracting to the listener, so, as you rehearse, cut those little phrases that will pull the listener away. Then go over the piece again, until there are numerous spots you know by heart, so you can look directly at the audience while you say them.

Fear, of course, is a powerful thing, and stage fright offers its own torments. I can’t claim that treating your novel like a script is going to turn every nervous writer into an actor. But it will help. At the very least, these steps can help you hide your fear, and they just might get you closer to overcoming it.


A version of this essay appeared in the Huffington Post on August 21, 2013. To leave a comment, please click the speech bubble on the lower leftFor more “Ask an Author” posts, please click here.


Henriette Lazaridis Power’s debut novel THE CLOVER HOUSE was published by Ballantine Books in 2013 and was a Boston Globe best-seller and a Target Emerging Authors pick. Her work has appeared in publications including Narrative Magazine, the New England Review, The Millions, Salamander, The New York Times online, and in the Huffington Post. She is the founding editor of The Drum, an online literary magazine publishing short fiction and essays exclusively in audio form. A competitive rower, Power trains regularly on the Charles River in Boston.


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