To join Writing The World Workshops
During the Southern California Writers Conference, I met the associate editor of Toastmasters Magazine, Beth Black. We talked for a few minutes, and continued the dialogue during the past week. Our conversation pertained to the way writers and teachers of writing have migrated online to conduct all parts of their businesses.
This is a monumental week for me in that regard, in three ways:
• I have joined Harvey Stanbrough and Chris O’Byrne in presenting the Writing The World Workshops membership-based website, with its writing courses, articles, tips and video classes;
• The 7-minute social media and networking tutorial I delivered at the end of my “Your Journal, Your Goldmine” workshop at the Southern California Writers Conference is now available on You Tube and my newest business website;
• Which is the third major development: I’ve joined my longtime friend, John Josepho, in forming Millennium Media Masters — which is all about print and online publishing, platforming, media and affiliate marketing development for entrepreneurs, artists of all media (including filmmakers), musicians and writers who want to get their stories, messages and brands out to their audiences in a variety of different forms.
So when Beth asked me a couple of Toastmasters-type questions pertaining to the online migration, and reading publicly, I obliged. Thought I’d share the answers with you:
Q: If you can give me a quote or two on what it’s like going from the quiet of writing time to presenting in public (or pitching to an agent or publisher), that would be great.
A: Writing alone is very solitary and insular, almost like being in another world — especially when writing fiction, when we should be in another world, the world of our story and characters. Everything happens between the creative and thinking minds. When presenting workshops or talking about writing, we have to carry all this information outward and be crisp and confident when doing so, because attendees are seeking to apply your experience and knowledge to their work. I find it easiest to approach this like a storyteller, weaving together information with anecdotes that best illustrate the point. Pitching to agents or publishers is different yet: I have 60 seconds to interest them and another 60 to 120 to summarize my book — making the ability to communicate verbally and with good expression a must.
Q: Also, if you’ve done any public readings of your work, what’s your take on that?
A: I’ve read from my poetry and essay collections all over the country — Boston, New York, Chicago, LA, New Mexico, Tampa, the South, San Diego, plus a few European cities — Munich, Venice, Florence. I love interacting with the audiences, seeing which poems or essays draw them most or provoke strong responses, and telling the back stories behind the works. It is a great way to see how your writing impacts people — and a reminder that all writers should read their works aloud, to hear their voice.
Next week, we’ll post the three-part series on Platform Development.