Own the Stage: Mastering Author Events
Podcast: Download (Duration:103 minutes)
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You can listen above or on your favourite podcast app or read the notes and links below. Here are the highlights and the full transcript is below.
Subscribe: Spotify | Apple | RSS | More
You can listen above or on your favourite podcast app or read the notes and links below. Here are the highlights and the full transcript is below.
Show notes
Author public appearances require preparation, presence, and practice to create memorable, professional experiences for audiences while building your platform and connection with readers.
• Panels require advance research of fellow panelists, prepared bullet points, and supporting your colleagues while not oversharing
• Effective moderators serve the audience first by managing time, spotlighting all panelists equally, and asking insightful questions
• Workshops should be interactive with minimal lecturing—aim to talk no more than five minutes at a time
• Create handouts for workshops but don't feel obligated to share your entire presentation—protect your intellectual property
• Author talks should follow a narrative arc with strong openings and closings rather than feeling like sales pitches
• Technical difficulties happen to everyone—bring backup technology solutions and be prepared to adapt
• Your physical presence matters—maintain energy, make eye contact, dress professionally but comfortably
• Focus on connection and providing value rather than perfection
You can find episode show notes, free handouts and how-to guides at amrapajalic.com/podcast. Remember, every story begins with a single word.
• Panels require advance research of fellow panelists, prepared bullet points, and supporting your colleagues while not oversharing
• Effective moderators serve the audience first by managing time, spotlighting all panelists equally, and asking insightful questions
• Workshops should be interactive with minimal lecturing—aim to talk no more than five minutes at a time
• Create handouts for workshops but don't feel obligated to share your entire presentation—protect your intellectual property
• Author talks should follow a narrative arc with strong openings and closings rather than feeling like sales pitches
• Technical difficulties happen to everyone—bring backup technology solutions and be prepared to adapt
• Your physical presence matters—maintain energy, make eye contact, dress professionally but comfortably
• Focus on connection and providing value rather than perfection
You can find episode show notes, free handouts and how-to guides at amrapajalic.com/podcast. Remember, every story begins with a single word.
Transcript of episode
Introduction 1: 0:01
Welcome to Amra's Armchair Anecdotes. I'm Amra Pajalic, writer, teacher and storyteller. Pull up a chair and let's dive into stories about writing life and lessons learned, sharing wisdom from my armchair to yours. You can find the episode show notes, your free episode handouts and my how-to guides at amrapajalic.com slash podcast. And now it's time to dive in. Welcome to Amra's Armchair Anecdotes. This episode is about owning the stage.
Overview: 0:38
So when you become an author, you sort of have this opportunity to do very exciting things. You get to appear at panels, you get to do talks, workshops, you also sometimes have to moderate a panel, and so I wanted to spend this episode talking about the different roles that you might have to take, the different things that you might have to do and how to prepare for them. So this came about because I went to a launch for my friend Demet which was amazing and there was a young debut author there who was going to be appearing on her very first panel and she was asking for tips and how what she needed to know. I thought, well, this is a good episode to do, and then I started thinking about the different things that we might do and also the different things that I wish I had known before I started out. So I think one of the most important things that you need to do as an author, as an emerging writer, is go to writing festivals, attend writing festivals, attend workshops, attend talks. I did this for pretty much two decades every year. Pretty much every year I had friends that I had standing dates with that we would look at the program and find things that we were interested in going to, and it was really important, because there are some things that come up in some of these roles like when you're on a panel or you are the one moderating the panel that you don't think about, you don't realize you need to prepare for. So I just wanted to preface it with that really attend as many writing events as you can and observe, be an observer, be someone who just looks at it and see what's happening.
Panel 2:39
So first of all, I'm going to talk about how to slay it on a panel. So one of the most important thing is to do your homework. So know who is moderating, know the other panelists, google them, stalk them, read their books, find out about them. So it's not about scripting every answer, but it's just sort of being prepared. Usually what should happen is the moderator should email all of the panelists to introduce themselves, to sort of start that conversation, to tell you what's going to happen. If that doesn't happen, I'd encourage you to email the moderator and get that information for yourself, because there's nothing worse than not knowing what you're sort of stepping into. And so ideally there should be a program in terms of the moderator doing the introductions, how the moderator will be asking questions.
Preparing for panel: 3:36
They might send the questions ahead and I personally would like them to. I'm at the point now where I don't need it. I'm okay if they don't send questions ahead of time because I can just talk. But in the early stages of your career it's really helpful if they do send questions, if you can prepare bullet points and you can just sort of think about it, because you do find yourself a little bit like a deer in headlines. You know it is the first few times you do something new, it can be quite daunting, and so sometimes just being able to look at the questions, prepare some bullet points, is really helpful. So very much encourage you to find that information out. If the the moderator is not doing it, then you know, initiate that just to help you. It's really important that you sort of have some stories or examples from your own life that you can bring in. So when we're answering these questions, it's not about the information so much as it is about the stories, as it is about the engagement, as it is about connecting with the audience, is about the engagement, as it is about connecting with the audience. So, even if you're preparing those bullet points, you know, just think about what stories you could attach to them and do a little. You know little bullet point for yourself. Time is short on the panel, so really jump in with the you know something strong. It's sometimes hard until you hear yourself speaking and you practice speaking. So doing this podcast has really worked me up to the fact that I do sometimes uh, uh, uh, and so I've noticed that I am cutting that out the more that I'm doing this podcast. The other thing I've noticed is so and that's something that I do want to cut out also so jump straight into the important example.
Do prep: 5:28
Don't sort of prevaricate. Support your fellow panellists. So I love those panels where the other panellists have read each other's books, are able to make those connections, are able to invite the other panelists in for a conversation. So look for those opportunities. So, when you are doing the prep work and you're learning about the other panelists, think about those things. What are the themes that connect you, what are the stories that you loved that they told, even mark up things that they wrote in their books, or have some quotes. I mean, ideally the moderator should be doing this, but for you also to sort of join this conversation, um, and then, if they say something, have this is what I've learned the hard way have a pen and paper while you're on the panel, because sometimes someone will say something and you're like I have a great story or I have something that I would like to continue on, but the conversation might flow past that and then you forget, and so I found it very, very helpful to make a note for myself. And then, when it comes to me, I would say, before I answer that question, I just wanted to pick up on that point that so-and-so said, and I just wanted to add and then add, you know, interject and then go into the question that the panelist asked you, and so that way you're sort of continuing that flow and continuing that conversation and creating that energy in that panel.
Be present for the audience: 7:03
Also, when you're on the panel, be aware of the fact that other people are sort of looking at you. So, you know, nod and smile, be present in the moment and encouraging with other panellists, even if they're not looking at you, because it's about the audience seeing you. So I'm very aware of the fact that I have a bit of a sour face if I'm not actively smiling. I don't have, you know, resting bitch face, but it's more a bit of a sour face where it looks like everything is distasteful to me. And so I have learned that when I'm in these situations I need to actually smile, because the other thing that happens that my daughter tells me is some people have resting face. I don't, I'm always in my head and I'm always like thinking things and I have this, you know, moving face, and so I need to actively sort of listen to the panellists and be responding and be making faces and nodding at them, even if they're not looking at me, just so that I'm present with the audience and they can sort of see me being engaged and also to create that energy and to create that sense of community and a great experience for all of the panelists and for the audience.
Speaker 1: 8:20Really important to respect the moderator and not hijack the mic. I have been on panels where people have hijacked the mic and it's really rude because what happens is they take up all of the time and they just keep talking and they don't really give anyone else the opportunity to talk. Now it is the moderator's job to interject and to kind of bring it back on track, but always be aware that you shouldn't be doing that. So when I'm doing a talk or I'm doing a presentation, I always have my mobile phone next to me if I'm supposed to have speaking for a certain amount of time and I have my stopwatch on and I'm actually glancing at it and I am including that in my talk. So as I'm getting into it, I'm like oh, let me just check how much time I've got. Oh, I can also add this, and so I'm actively doing that and sort of paying attention.
Don't hijak: 9:17
And so when you are the one who is on a panel, don't hijack, don't talk too much. It's about a conversation with everyone and so you know, answer the um question, but be the person that people want to hear more from, rather than the person that they're kind of waiting for you to finish, um, if you are a person like me who has a habit of starting a story and just going off on tangents and has a tendency not to answer the question. I have learned now to go did I actually answer your question or did I go off on a tangent? And that way I can give the person who is interviewing me the opportunity to follow up and go oh actually, or they'll go. No, that was was okay. We're going to move on to the next person, so kind of giving them that opportunity to decide how they want to move forward.
Prepare soundbites: 10:10
A really good thing to think about is sound bites. So it would be great if you, when you were doing your little bullet points and you were thinking about you know things that you want to say during the panel, that you create them into little sound bites so that when you start with the sound bite and then you sort of tell the story and so that way it can help people, you know, tweet your lines or they can make their own notes that can be their little cue where they're like oh, that's what that information is about, and so it just kind of helps with that public speaking aspect of it. Because we are looking for those opportunities for those sound bites and those things that really engage with people and connect with them. Now, if you're on a panel where people are talking about something that could get contentious and they're getting a little bit, you know, if someone's disagreeing, don't, you know, just smile, agree, where you can gently restate your position. You don't need to, you know, engage into a debate and make it a situation Like sometimes a debate can be great, it can be, you know, a really kinetic moment, something that really, you know, inspires people.
Engage in debate respectfully: 11:27
But sometimes the possibility is that people might get a little bit too angry and the atmosphere might get tense. So just think about how you're dealing with if there is something contentious and there are those moments of disagreement. If you want to, you know, actually engage in a debate and actually sort of connect it in that way, and you can. The only issue is about doing it in a mature way, in a way where different people are stating their points of view, and it's about giving people the opportunity to hear these different points of view and to agree or disagree. So it's just about maintaining that calm energy and just restating and adding more information and not getting personal.
Make eye contact: 12:13
In order to create that great situation, it's really important to make eye contact with the panellists and with the audience. So when you are asked a question by the moderator, make eye contact with them, but then, when you are answering, actually look at the audience, answer to them and also look at your fellow panelists, invite them in the conversation, and so make sure that you are sort of maintaining that eye contact and that you are not focusing either just on the moderator or just either on the audience Although, if you're going to do one, focus more on the audience rather than the moderator, because the audience is who you are there for. They are the ones that are listening to you, they are the ones that have paid usually to come, come and see this talk, and so they are the ones that you want to connect with the most. Um, have a thought, have a killer closing line ready. So when, when things are wrapping up, if there are final thoughts, try, don't ramble, try and get into um, leaving something having a lesson or at one piece piece of advice that you can do as your final thought. So usually with panels, there's a theme that you are talking about and that you're supposed to be engaging in a discussion about. So just think about what is the one final thought and what is the one piece of advice that you want to leave people with. Now, this might be something that you've already said somewhere along the way in the panel, or maybe someone has said it and you are echoing it, in which case, acknowledge it and say you know, just like Mary, I too, and you know, restate what you are thinking. So just think about how to close it, how to finish it and how to leave that impression.
Dress for success: 14:06
So some other bonus tips that I wanted to add is I would Suggest that you dress a little bit more formal. Unfortunately, this is also gendered. There is an element where women are expected to be a little bit more dressed up and present themselves a little bit better. I do feel like men can get away with more of a casual look. So you still need to be comfortable and you still need to be. You Don't dress in something that is not you just like for a job interview. Don't dress in high heels if that's something that you never wear, because that comes across as being uncomfortable. But just make an effort in terms of your presentation and just that little tiny bit more of either formality or just a little bit more of a performative thing. Unfortunately, for women, that might be. You know, a little bit of makeup maybe. But again, if that's something that you really don't feel comfortable and it's really not you, then don't, but just think about what can you do just to make yourself a little bit more. It's not just about the audience, I feel. It's about you also stepping into this role.
Your armour: 15:22
I kind of view it as my armor, and so I don't wear makeup on a day-to-day basis at all, the clothes that you see here that I wear in this podcast. So, for those of you who are listening, I am wearing a burgundy wraparound dress that you can't see the full dress but you can see the top of, and I have got a black star necklace that's got two rows and I have black earrings and I've put my makeup on. And so this is my armor. This is so that I come in here and I put on the energy and I actually really, you know, emote and connect with you. Because if I was just wearing my regular clothes, I would be talking like this a little bit and I would just be a little bit more relaxed, a little bit more like, oh, I don't have it in me to put on the armor and put on the kind of cheer and the kind of energy in order to create a podcast that people will engage with. And so that's what I'm talking about in terms of thinking about that performative side of it, in how you present yourself, in how you dress, formative side of it, in how you present yourself, in how you dress, in how you might show up.
Cheat sheet: 16:47
Bring a cheat sheet. So bring something where you've got either a sheet of paper where you've written out your bullet points, a notebook that you've written notes in, because there will be moments where you might be either caught off guard I've actually found myself in situations where I've actually been enjoying the panel so much I forget that I'm a panelist and I'm supposed to respond, and so I have this moment where I'm like, oh, I'm actually supposed to speak and so looking down and going, so it kind of brings me back into it and puts me back into that moment. So bring that with you and really, you know, bring a pen so that you are able to make those notes. And so even sometimes, you know, ticking off that you've already said something or adding a note about when you come back to that that you want to acknowledge something that someone said, just to kind of keep that rhythm in that moment because you can lose yourself a little bit.
Use humour: 17:44
So I think you know humour. You know use humour strategically. Sometimes it can be, you know, when you're trying too hard with humour and it might push it too far. But you know where you're trying too hard with humour and it might push it too far. But you know, use a little bit of humour if it comes up and if it feels natural. Don't feel like you have to do a stand-up comedy act. You know, be who you are and always thank the moderator and the organisers after and acknowledge them and also acknowledge the audience. It just kind of sets the tone.
My great experience: 18:20
So I had a really great experience at the Brimbank Sunshine Library. They organised a talk with three authors. All of us had very different journeys to publication and so it was about our publication journeys and the moderator was wonderful. His name was Scott, he was from the library and he prepared the questions beforehand. He sent them to us so that we could think about it and think about the answers. But what happened on the day that was really great is that all of us as panelists had those opportunities to have those cross conversations, to kind of pick up what the other person was saying, and to have a very warm conversation about publishing and about our publication journeys and showcase that for the audience, who are hungry for that information, who are hungry to find out all of the things that they wanted to know and to think about how they wanted to undertake their publishing journey. So it really matters. You know those things that come into it. And so one of the panelists was someone who this was her first panel and she was very, very nervous and so she had a sheet and she actually referred to that sheet and she was using that to talk and then, as we were talking, she sort of warmed up and she was able to engage in more of a conversation.
Prepare based on your journey: 19:47
Um, I, you know, just walk in and whatever I say, I say I'm at that point now, um, and the other author was also quite comfortable and confident in terms of his speaking and stuff. So it really is. You know you prepare yourself based on where you are in your writing journey and you go with it. Don't feel like if you have a sheet, oh, that's too amateur, it's not for any point in your journey. You know it's really important, like I did have a pen and I did have a paper and I was making notes, as I think I did prepare bullet points for that one too, but I didn't have to use it much, but I did sort of write down notes so that I could pick up on things that the other panellists were saying as they were speaking, so that I wouldn't forget. All right, so that was all about if you are on a panel some things to think about and to prepare.
Moderating a panel: 20:42
I'm now going to talk about if you are moderating a panel. So you are the person who is actually moderating, managing the conversation and trying to keep it moving. Now, this requires quite a bit of diplomacy and assertiveness, okay, because if you have a moderator who is not really taking on this role and is not doing it effectively especially if it's like a few people on the panel or during the Q&A it can kind of affect the conversation negatively. So now I'm going to talk about how do you master the role of moderator. So when you are a moderator, it is important that your job is to serve the audience, not the panel. So you need to make sure that the conversation flows, that it's lively, that it conversation flows, that it's lively, that it's accessible, that it's valuable.
Read the room: 21:41
In a sense, you need to be paying attention to the audience, energy and seeing how they are feeling, and so if you do have someone who is rambling on or who is bringing the energy down, you do need to redirect. You need to have some of those things. So there are some strategies that you need to be able to use to do that. One of them is you really need to do your preparation. If you are a moderator, you need to read at least one book from the authors.
Find intersections: 22:16
Ideally, there should be a theme that is tied to the one book and it's the one book that they're promoting. It's just that sometimes authors might have multiple books and you know it's too much to kind of read everything that they've written. You do need to sort of focus on on something. So you need to have, um, a, you know, like a really good overview of what they're doing. You need to have a few starter and a few rescue questions. So you're looking for intersections between the panelists, stuff you can connect, you know. So something might be like both of you have written about resilience after trauma. How do your approaches differ? So it's about sort of trying to connect that and do that conversation.
Read the books: 23:00
Now, ideally, panelists will also be doing that, but sometimes panelists don't make an effort to read each other's work or to know about each other, and so the really the onus is on you as the moderator, to make sure that you're the one doing that. So the other thing is it's important that you set the tone in the first 30 seconds for this panel, that you're warm and confident. You've got a good intro. You're introducing the panelists briefly. Now a lot of panelists myself included will will send nice long bio because we are slightly insecure and we want you to say every single thing about us, but that can really bring the energy down. So you know you should not be reading out a five minute CV of the panellist. It should be short and sweet. It should be sort of getting to the heart of who they are. So when they send you their bios, look at the most important parts and what you're going to focus on.
Manage the clock: 24:09
Really important that you manage the clock. So um panels can run long and you know the issue is you need to protect the q a at the end in order for the audience to have the interaction, and if it's part of a writers festival, there are numerous panels or workshops or events that are going on, and so it's really important to finish things at the correct time in order for the audience to be able to leave and to go to the next thing. So you really need to control the clock, you need to watch, keep an eye on your watch, you need to keep an eye on panelists. You might need to jump in, and I know that this is really difficult and awkward and it's something that takes a lot of confidence and a lot of practice, and so sometimes you might need to. You know, have these sentences that you're using. I love where this is going, but in the interest of time, and so you need to actually sort of try and signal to the panelists, um, that you need them to to finish up, and if they're sort of not looking at you, you might need need to go. Excuse me, scott, just to let you know.
Everyone needs a turn: 25:18
You know, and moving it along, because it is about making sure that everyone has time to speak. When a panel is organized, you know, people know about all the people who are there and they might only be interested in hearing about one person. Now, obviously, they're going to be, you know, be interested in hearing the whole panel and the whole conversation, but if they don't get enough of the person that they're really interested in, that can leave a really bad taste for them and it's just really rude if people are on a panel and they're invited to speak and then they don't have the opportunity to share what they are there to share. And if you are the one who is the moderator, it is your job to make sure that everyone has that opportunity. So you really need to step up and do that. You need to ask real questions. You need to ask things that is not just what they can recite from their bio, but things that offer insight, know offer insight, that offer reflection, that are, you know, offering the storytelling.
Spark conversation: 26:23
Maybe disagreement, if this is something that could lend itself to that. In terms of the topic, I remember one panel I went to. It was about is the short story dead and so the way that it was framed. It was about you know, an argument, a disagreement. It was about you know, do people think is the short story dead and so the way that it was framed. It was about you know an argument, a disagreement. It was about do you know, do people think that the short story was dead? And it was about the fact that in the publishing industry the traditional publishing industry getting a short story collection published is really, really hard. It only happens for authors who usually have, um, a history with the publisher where they've had, you know, numerous books published, and then publishers like, okay, we'll do a short story collection, we think there's an audience from that, or someone who is incredibly prolific in short story writing and they have sort of, you know, won every competition or they have really created a profile. And so this panel was is the short story dead? And it was about people presenting is it, is it not?
Frame questions to share knowledge: 27:21
And so if the topic is like that, where it's something about possible disagreements, then yes, ask questions. You know that could be provocative. That could be about do people disagree, do they think it is or it isn't? Um, you know, just think about how do you frame questions where you're inviting people to answer and giving them the opportunity to really share their knowledge. So you know something, instead of like tell us about your book.
Open questions: 27:47
What scared you most about writing this book? What excited you most? What was the most powerful thing that came out of this? What was the most surprising reaction you had from a reader? So you know thinking about it in that way. Now, obviously, if they don't have a surprising reaction from a reader, they might, you know, reframe that and go. Well, I don't have an interaction from a reader, but, and the surprising thing was, so it's about sort of throwing things open a little bit.
Spotlight everyone: 28:19
Spotlight everyone. It is your responsibility that everyone gets airtime, that everyone gets the opportunity to speak. There are some people who naturally hog the mic, like me, and there are some people that sort of shrink, and they, you know, might go a little quiet and they're sort of finding their feet and they're a little bit more of an introvert. And it is your responsibility to really invite everyone in, to get them talking, to actually develop that conversation and that rapport. So, you know, you might say X, you've had experience with this, what's your take on this? Or you might have someone answer and you might see that one of the panelists is like really nodding or is frowning or something like that. Go, you seem to have a different experience. Would you like to follow up on that or share that? Or did you have something that you wanted to respond with? And so create that organic conversation and that organic flow and facilitate that.
Watch the energy: 29:27
Watch the energy. Like the energy is really important on a panel. At the end of the day, most panels, you know people being paid paid. The moderator is being paid, the panelist is being paid, the audience is paid to come in and to watch this. It is a performance, it is about giving them a good time, about giving them information, and so you really need to watch the energy. Um, if something is dying, you need to liven it up, you need to bring it back, you need to not let it get repetitive. Move it along if it is getting a bit rambling and just use that sentence, just say, well, let's flip the question, let's change it in some way. Have some sentences to help guide you with that, so that you can just interject and pivot, be ready to politely shut down a rambler. Now, this is important not just on the panel, but there are also people in the audience who are just waiting, waiting to ask a question and I'm doing air quotations here in terms of ask a question, but it's not a question, it is just their opportunity to get on the mic.
Manage the audience: 30:42
I remember watching a panel I can't remember all the people on the panel and there was this woman. It was about memoir writing and this woman got up and goes I would like to write a memoir, but I feel like I've had, you know, really good life. And then she started just sort of sharing her life story, which was quite banal and not very interesting. And I think one of the panellists or the moderator was a comedian, I think it might have been Lucy Brine or something and she went. Well, you seem to have had a really boring life, so maybe no one would be interested in your memoir. And the audience kind of laughed and the woman went, oh, and sat down because she was not there to ask a question, she was not there to contribute to the conversation, she was there to hog the mic, to get her moment and to just ramble on.
Bring it back to topic: 31:34
And so that's something that if you are a moderator, it's your responsibility to shut it down, and that is also important with the panelists. You need to bring it back on topic. You need to jump in smiling and fun, but change the topic. I love your passion for this. I'm going to pause so that we can open up a little bit more and then, mary, could you please and ask them the question and redirect and get that energy moving, because sometimes people also might be nervous and they're not meaning to hog the mic because they are being rude and they are being arrogant. But sometimes when people are nervous, they just kind of lose themselves a little bit and they're not quite aware of how they're coming across, and so it's up to you to redirect that, bring that energy back.
Save time for Q&A: 32:30
It is really important to save time for the audience questions, because this is what the audience is there for. They are there to listen to the talk, they are there to get information, but they are also interested in asking certain questions. There might be something that they were listening to and they want a response to. There might be something that they have been following a certain author and they really wanted this opportunity to engage with them, and so it is your responsibility to make sure that there is enough time at the end for that.
Clarify Q&A time: 33:04
Usually, when you're hired for the gig of moderator, you are told how much time you should leave. Usually in a one-hour talk, at least 15 minutes. At least the last 15 minutes should be for audience q a. Depending on you know where the venue is there. Some of them might be even 20 minutes. Um might be 10 minutes, it just sort of depends. You might get a guide from the you know venue or from the organizer of this panel, but it is also up to you Now.
Prepare extra questions if Q&A dies: 33:37
Obviously, sometimes you have an audience where they're not asking any questions. It's all quiet on the Western front. So it is your responsibility to sort of have questions ready just in case that's happening and no one asks a question. And so if that happens and you give the audience the opportunity and no one's stepping up and it's just kind of you know, getting awkward, then you should ask questions. But don't be afraid to leave the pause to create that time to encourage the audience to say, look, we would really love to hear from any of you. Does anyone here have a question? And just kind of give them a bit of time. It's a fine line. So you really do need to pay attention to the audience and sort of see are there some people that are shyly putting their hand up? And you can quickly tell the person who's got the microphone if it is one of those big venues where a microphone has to be passed down, or that you are keeping an eagle eye and you're going oh, the woman in red, you've got a question. Or that you are keeping an eagle eye and you're going oh, the woman in red, you've got a question We'd love to hear from you, and then getting them to ask a question, always repeat the question. So unless it is a venue where there is a microphone where everyone can hear it, then really repeat the question before redirecting it to the panel to answer, just to make sure that the audience knows what the question is.
Close strong: 35:00
So close, strong and say thank you. End one to two minutes before the official time. Thank the panellists warmly and personally. Thank the audience. Don't do that awkward dribbling on the finish line or you know where someone might have to come out and be like, ok, shut down. Because if it is like you know where someone might have to come out and be like, okay, shut down. Because if it is like you know a festival where then they need to clear everyone out in order to bring the next panel in, then someone will come in and have to intervene. So you don't want that. You want to create a very clear finish and a thank you to everyone and the audience. You're thanking the audience, great applause, really ending on that high where everyone feels that energy and feels uplifted.
Bonus tips: 35:44
So some bonus tips um, bring two pens. One will mysteriously vanish. You'll be using it and then it'll either fall into your chair or fall down onto the floor and you won't even notice and you will suddenly be like I don't have my pen. Have the backup questions if no one in the audience raises their hand, because it can happen and frame awkward moments as normal. So you know, for example, if you ask, you know, know, it's like q a and it's asking for the audience to um, ask questions and there's that pause and I was, oh, it's always hard to be the first person to ask the question. Oh, that'd be great if we could, you know, like making a little bit of humor and trying to interject that fun into it and getting people, you know, excited and into it. So that is everything I have to say about being a moderator on a panel.
Workshops: 36:46
Something else that you might be invited to do as an author is to deliver a workshop, and so, depending on what you are writing, you will have different workshops that you will be delivering. So I'm just going to be talking about general tips for workshops, because the topic will depend Like I can do different workshops. I do short story, I do indie publishing, memoir writing, and now I'm going to start talking about historical writing and crime fiction writing as I move into my next series, and so every time you add a new bow to your string as an author, there's something else that you will be able to look at monetizing and doing skills in. But it's important to sort of think about workshops and how do you make that a great experience. So you need to structure your workshop. You need to have a good introduction. It's about interactive content and it's about takeaway points.
Speak for 5 minutes: 37:49
Now, my view is that in a workshop, you should not be talking for more than five minutes at a time, because it's a workshop. People are supposed to be doing things. They are supposed to be doing writing activities. They are supposed to be actually thinking through things. So I have a memoir writing workshop, which part of it is about structuring and thinking about how to write your memoir, and so when I do that workshop, I do the prompt, I talk about how I did it, and then I stay quiet and I let the participants write.
Set a timer: 38:26
Now, as a teacher, I find myself walking around the room and sort of looking at what my students are doing. I've had to learn not to do that in adult workshops, because grownups don't like it when you stand over them. So it's really important that you sort of recede a little bit. Um, I always set a timer. So I'm like, okay, we're going to take five minutes now for you to do this. Um, you know activity and then we'll be checking it, and so I set the timer and I let the timer go off, and so that way that naturally lets the participants know that that time is up. I stand quietly, I try not to attract attention, and then I only go and speak to people if they ask me. So if a participant actually looks at me and is like, and they want me to come over and have a conversation and help them, I will then do that. Otherwise I am staying, staying out of the way and giving them the opportunity to get that information.
Invite sharing, but don't push: 39:25
Something else that's important is, if people don't want to share, you can't make them share. In you know, a secondary school setting I am the evil teacher where I have to make my students speak because it is important for them to develop their speaking skills and for me to check in on their information. But when we are doing writing workshops, you might invite people to share what they have done if they've done a great first line or, um, you know, have they got a piece of writing that they did, or did it help them clarify something? But some participants don't want to and you can't sort of force that. Conversely, you might have the other side of it, where some people will just want to use up all of the time and suck up all the energy and just keep talking about their stuff. So you also need to sort of shut that down. So another way that you can do that is after the writing activity takes place. You then set a timer for the talking part and then the timer goes off and you're like okay, we need to move on to the next writing activity. Thank you for that, and that can give you that graceful exit if you need it.
Prepare extra activities: 40:41
I always find myself preparing more. I feel, I don't know, just more confident when I have more activities than I need. So when you are preparing activities, think about the time. How long do you think it would take people to do something? How long do you want to build in the time of talking? And I always build in extra. I would rather not be able to get through. You know everything in detail where I might need to just kind of talk through the last few things and not give time for the actual activities, as opposed to running out and then having that dead space and that dead energy. I am an experienced teacher at this point. I have been teaching for 12 years, so I'm very comfortable about filling in space and filling in time and as a teacher also, I don't need to do that much prep anymore, but I still find myself always having extra things. Just psychologically it calms me down and just in case I need to throw to other things have actionable items you know.
Use good ideas: 41:49
So think about to any writing workshops that you've done or writing experiences that you've had and use them. So you know, I did a diploma of professional writing and editing and was exposed to a whole lot of different writing activities and I have used some of them. I remember one of my tutors, jane, had us do a workshop where we would bring items in, our favorite items in, and then we would talk about you know what they meant to us. So we did a writing piece on that. And then also we had to bring items in and describe them, without saying what they are but actually describing them. So we would touch and feel them. And then we did a writing activity where we were looking at smelling things and did our sense of smell inspire us? And then I had a box and little tubes of different smells to do writing workshops. So look at different ideas and different things and try them out.
Develop focus of workshop: 42:49
Have a raft of things that you know you might have done or you've seen other people do and you know, depending on what the workshop is about. Is it a workshop where it's just about you know, developing your five senses so you can do those different types of things? Is about different ways to start a story. Is it about writing a short story? So deconstructing the different things about writing a short story, so deconstructing the different things about writing a short story. So you need to really think through the parts of it you know, and how are you supporting the emerging writers in that workshop to get something that is actionable, something that will help them in their writing journey?
Adapt to the audience: 43:28
It is important to sort of adapt to the audience. So you know, if it is an in-person workshop, then you can actually go through what you are going to be presenting in the workshop and then ask the audience is there anything else that you wanted or is there something here that you think you already know that you would like me to skip over and spend more time on something else, um, so if it's in person and you can sort of do that checking in, it's really great in order to make sure that the participants have a great experience and they really get something out of it. Um, and that's why it's also important to have those extra things, just in case you go into a workshop that you've designed, um, and you, you know, go over that. We look, okay, we're going to be, we're looking at how to structure short stories, we're going to be looking at great openings, and then we're going to be looking at, you know, how do we do writing strategies? Um, and you know, it might be like where you're doing a workshop for some writing group and they're like, oh, we've already done great openings and you're like, okay, great, well then what we'll do is and you have something else that you can draw on.
Provide handouts: 44:38
I personally prefer providing handouts beforehand. I um. So you know, when I'm doing a writing workshop, I have powerpoints with images and you know examples and stuff like that. I don't share those. So you will always have people asking you to share their, your powerpoint with them. My view is that is my intellectual property. I have actually gone to the work, gone to the effort of finding examples of you know great short story openings or great writing strategies, and I am providing those in the workshop to inspire people. I don't want to share my intellectual property, so I will create a handout in terms of you know the structure.
Don't share PPT: 45:27
If I'm talking about structuring a short story, I'll give them a handout that they are filling in about how to structure a short story and then they take that away from them. But I don't want to be providing all of the resources I have in terms of the examples. It's their responsibility to write down the name of the short story, or to write down the name of the short story collection or the author and go read them and go find them and read them. So that is not something that you need to do. So that's how I get around it, where I provide the handouts beforehand so that also they are you know they've got something to do, but also that they are engaging with me, and then I don't provide the PowerPoints if they ask, I just say, oh, I provide the handouts, the, not the powerpoints. Um, but if you are in those early stages and you find that a little bit awkward. That's one way of doing it, where you provide the handouts and even, if you wanted to, you provide the list of examples that you've got.
Provide examples: 46:26
So very important when you are doing a workshop, I should say actually, um, not just to talk about what they should be doing, but to actually provide examples of it. So, for example, if you're doing that workshop about describing your favorite thing or how to describe something without naming it, it would be great if you could have examples of that type of writing. And so you should be reading writers that you admire and books that you admire, and finding things and annotating them. These days you can do a great, you know trawl on the internet where it can come up with examples. So I remember when I was doing a workshop and I wanted to sort of show the different points of view that you might write in. So you know, there's first, there's second, which is not very common, and then there is third person, and I had to search up examples of second person because I don't really like it and I don't like reading it. But I found a book that had those examples and then I was able to. You know, use those and show those to demonstrate. So really important when you are saying you know, use those and show those to demonstrate. So really important when you are saying you know we're going to be describing our favourite object and we're looking at using the five senses and we are not naming it, that you actually provide an example of that for them to see and to see how to construct it. So you know, when you are at the like, as an emerging writer, you should be a reader, it should be something that you are doing and you should be annotating and collecting books.
Read to find examples: 47:55
So when I started doing memoir writing workshops, I went through all the books that I had and I found examples of what I needed for the different things that I was doing workshops on. Same with short stories, I have all these short story collections of short stories and then I found examples of the different things so that when I'm doing a workshop, I'm showing that example. So you know, a great experience I had with a workshop that I did was a self-publishing workshop where you you know, even though I have no voice and I had to get them to organize the microphones so that I could project the preparation came through and the information came through and you know. So you create that good experience, and I have a lot of people when I do workshops where they then connect with me on social media or they connect with me, you know, via my newsletter, because there is something so special about that writer. You know that teacher, student experience and that when you are an emerging writer and you have someone who really opens your eyes to something and helps you, it creates this sort of bond. And I know myself with some of my creative writing tutors. I connected with them afterwards and I kept up with them because you know they really changed how I thought about writing and they really helped me in some way. And so that's what you need to think about and what you need to bring. How are you helping people move forward? How are you giving them an experience where they are developing their writing and they're walking away inspired and, you know, just wanting to continue with the writing? So with workshops, you know, develop a PowerPoint. I've used PowerPoints. I'm now sort of moving into Canva presentations because they are really great.
Note sources: 49:59
Put hyperlinks also to some things. If you are using information from other people, if you are using some other sources, reference them. You know, let people go and look at that. That's what we do as teachers. We do use things that other people might have come up with and other ideas. So just reference them and, you know, give other people the opportunity to go back to the source. And, you know, focus on interactivity.
Talk less in workshop: 50:27
You should not be talking for an extended period. It should be talk, model and do and then reflect and conversation. The last thing that you might be asked to do is to craft an author talk that leaves a mark. So a lot of the times you might be invited to actually just do a talk about the experience of being a writer and about sharing your experiences in terms of your journey so far. And so I've had this a lot with high schools where I go in and I sort of talk about what it is to be a writer and my journey to becoming a writer. So it's important that you have the why. Why are you there? What are you there to talk about? So sometimes you're given a theme. I remember once I was invited to do a speech and it was about it was International Women's Day and so it was about the focus on women, and so I talked about my memoir and writing it, about my mother and about sharing that inspiration and that journey. A lot of the times it might be about just talking about what it is to be a writer and and how you came there and when I've done that for secondary school students.
My writing journey: 51:51
I focus on the resilience required to be a writer and so about the journey that I had to undertake in terms of the learning to be a writer and then seeking publication, and I created a flow chart of the timeline, of how long it took me to get published, and then about the submission process and the fact that my agent submitted to five publishers. Then I got an offer from my first, I got a rejection from my second, third and fourth and then an offer from the fifth publisher, and then I would ask the students do you think I'm a good writer or am I a bad writer because I got rejected? And so to invite that conversation in terms of you might still get rejections. It's not a reflection on you, it is just the way that things go in life and about that resilience and moving through it. So, thinking through what is it that you're wanting to get people to experience and if there is a theme of what they asked you to. So, obviously, when you're doing an author talk and talking about your writing journey, you've had the one journey, it's the one way that it happened. But it's just how do you refocus it? How do you make it about the theme, if there is one that they are inviting you to address?
Plan story arc: 53:15
When you're doing an author talk, think about it in terms of a story arc. It's not a sales pitch where you're trying to sell your book. You're trying to tell a story and something that has sort of a beginning and a middle and an end and that you're getting the readers connected. So you know, if it's your story of publication, then it's about the process of, and then the hero at the end, where you've got your published novel and now you're transformed. I mean, you still might want to add the reality aspect of it where you think your life will be completely different, but there's still the regular stuff you need to do and there are some shocks that you might have. But think of it in terms of building that have some core messages that you are building into your talk that you want people to understand. So when I'm doing my author talk and my story to publication, as I've already said, it's about resilience, it's about persistence and it's about sort of coming from where I came from in terms of, you know, a child of migrants and then finding my way in this new world, entering this new world, overcoming imposter syndrome. So think about what it is that your story has. What are the moments of learning or the things that you have overcome or that you can share, that can inspire other people?
Share visuals: 54:36
You are doing a talk and while you might have a PowerPoint or something that you are sharing visuals of, it is still about writing it for the ear and about creating that storytelling experience. And if you are doing a presentation, you know just have photos or a quote, don't have lots of information and that's not really helpful for people. It is more about your speaking and you telling that story. Having said that, photos are great. You know I had photos of all my different drafts. I had photos of my handwriting. I had photos of the edits that I received. I had photos of me as a young person and you know how that inspired my first novel, and then that for my memoir.
Use photos of you and research: 55:26
When I am talking about my historical book that I will be publishing, I'm going to have photos that I used in terms of the research and the inspiration and the real life stories. So, you know, those are great, having those visuals and just popping them up and having them as you are talking about them so that people can connect, but you don't want them to be distracted and to be looking away from you for an extended period. It it's about them connecting with you. Start strong, you know. Start with something that really connects with them, whether that's a shocking fact, a hilarious moment, a vulnerable confession. When I was doing my talk about you know being an adult author, I started with that whole thing of you know being a young adult author. I started with that whole thing of you know, feeling unworthy because of, like, where I came from and that this world was too big. When I start the historical research, I will start with the fact that I'm writing about a massacre. I'm writing about, you know, putting people on the page and sharing a story that I think is important. So you know you're thinking about how do you create that connection with your talk? Share the real life experiences. You know actual behind the scenes moments from your writing life.
Share your stories: 56:41
I attended Demet's launch and there was this funny story that she was talking about how she finally submitted her final draft after writing, you know, for five years working on this book and he said great. You earned 30 cents an hour when you count up all the hours that she worked on the book. You know, in terms of this glamour of having a published book, but the reality of um, the monetary, uh compensation is quite hard. But it was also great because it was, you know, the insight in her relationship into the support that she had and the reality of the writing life that you know. It took her five years because she had two children, she had to work part-time, she had to write in the cracks, and so it's just bringing that reality of what it is to be doing that.
Rehearse: 57:39
So you want to rehearse a little bit but you don't want to sound like a robot. I had that experience once where I was doing a video talk, you can still find it, but I'm not going to be telling you about where. Where I was doing a video talk, you can still find it, but I'm not going to be telling you about where. And I was so nervous and it was the first time that I was ever going to be recorded in the face, and I rehearsed and rehearsed and rehearsed and then when we came to record it, I sounded like a robot and they're like, okay, let's do it again. And it didn't get any better. I just kept sounding like a robot.
Emote: 58:10
And so it's really important that you sort of know the flow and that you are able to do that presentation, but that you still bring emotions, that you vary your voice, that you bring the gestures, that you bring that engagement, that you're not sort of standing up there stiff and that is very hard, I know. And so, if you have to record yourself speaking, look at yourself as you are speaking. I'm actually recording this as I am speaking right now. I am seeing what I do and I already knew I was a hand talker, which is not a great thing for a podcast, and I've actually been an interviewee on a podcast where they couldn't see me and I was doing a lot of their hand talking and they were like there's something going on where the volume keeps going up and down and I literally had to sit on my hands to stop it. But you know, it's really good to sort of see what you sound like and, if you need, to get other people to look at it and give you feedback if this is very early on in your career.
Feel the audience energy: 59:09
I was fortunate in one way that I became a teacher very soon after being a published author, and so I have had a lot of experience presenting, speaking, talking, doing workshops, teaching, feeling the energy. So this is something that I'm very, very comfortable with, but in the early days it was really nerve-wracking, it was terrifying. You know, the thing that saved me was that I can speak under pressure and that I am good at picking up energy and I am good at sort of feeling where people are at and adjusting myself. So you know, think about that, master your ending, don't sort of trail off. Try and, you know, finish in a strong way with a good closing line to sort of end it.
Prepare for tech: 59:55
Tech problems, expect tech problems, um. So you know, I have now all these things that I can plug in um because I use a mac. If I find out, do they have a computer? I bring a memory stick and a backup memory stick. I send an email to myself and to them so I can log into that. So you know, really build in that problem, solving part of it Because I have a Mac. I have an adapter that can then be put in my Mac and then be connected to overhead projectors. You know, really make sure that you are being very clear about what is the equipment, what is the tech support and using it. The longer that you do this, the better you get at it.
Do your prep: 1:00:43
But every once in a while things just don't work. You know there might not be an overhead projector, even though you expected one, and that's why you know there might not be an overhead projector even you, even though you expected one. Um, and that's why you know I have the handouts beforehand. Um, if you know people don't print the handouts, then, um, you know, you need to be able to roll with it. Um, so you know, for example, people don't print the handouts and you show up and there's no handouts, well then you need to write things up on the board, maybe, if there's a board, so it's just being able to to adapt and prepare. So you know, also have the whiteboard markers and, um, you know, all of those things have some paper. So trying to, um, you know, sort of have your go bag when you're doing presentations and when you're doing workshops so that you are prepared and that you can make sure that it runs the way that it should Love the audience before you meet them.
Project energy: 1:01:37
Really, the energy matters. Today, for example, I'm really kind of not feeling very energetic. I had a flu vaccine and I've been a little bit sedated this weekend, but I'm putting it on. I'm putting the energy on because I'm here to record this podcast, I'm here to engage with you, and so this is what people mean when they say fake it till you make it. Put on the energy, put on that performance, because you need to have, have that. You need to do that to connect. This is you don't know when you'll have another talk or who is going to be there. You need to make a great impression so you don't have that caffeine shot. Do your 30 squats to get your energy moving. Do whatever you need to do to get in there. You know, have the lollies, have the sugar, hit whatever you need to so that you get on the stage if there is a stage and that you just put it on and you create that great experience. So some bonus tips Always have a glass of water nearby. As you can hear, my throat is getting dry again, but I'm going to finish up.
Bonus tips: 1:02:47
Before I stop, write a one sentence summary of your talk. What is it that you're trying to get across? Because you know that will make you focused. Create, you know, have a bit of humor, do a joke to really move things along and make sure that you've got your books with you. You know, I now have all this paraphernalia to be able to display my books so that it's next to me while I'm talking so that people could actually see the physical copy. I also bring my books for sale and have a card reader for sale so that I can process ATM sales. So that's something that you might also want to think about, so that you can get those sales Wrap-up and takeaways to own the stage like a pro. So it doesn't matter what you're doing, whether you're an author, speaker, panelist or a moderator, it's not about you, it's about creating that connection, it's about the audience.
Prepare but be flexible: 1:03:48
Prepare, you know, preparation is half the battle, but presence wins the war. Show up ready, but stay flexible. Things might happen, things might change. Lead with energy, with storytelling, with generosity to really create that good experience. Short, sharp points are better than long rambling answers. So if you do that preparation where you have those bullet points so you can just sort of do those short, sharp points, have fun.
Have fun: 1:04:19
You know, it is wonderful to be in this opportunity to be able to connect with people, to be able to talk. Being a writer is such a lonely thing. Most of the time we are in a room by ourselves doing things, and so when you have this opportunity to really connect with people, to talk to you know, share your journey and share who you are, it can be a lot of fun. I find myself really energized through these experiences. I'm talking to myself right now, but I'm imagining that I'm talking to other people and I have made myself feel energized through that. So that is the power of it, of just putting yourself in that moment.
Wrap up: 1:05:01
I hope this has been helpful. I'd love to hear any experiences you have about your journey in terms of doing any of these things being on the stage. If you have questions, please feel free to ask me. There are show notes and a handout on my website amrapajalic.com/podcast. So a, m, r, a, p, a, j, a, l, I c dot com slash. Thank you for tuning in to Amra's Armchair Anecdotes. If you enjoyed today's episode, don't forget to subscribe and follow for more insights, stories and inspiration From my armchair to yours. Remember, every story begins with a single word.
Welcome to Amra's Armchair Anecdotes. I'm Amra Pajalic, writer, teacher and storyteller. Pull up a chair and let's dive into stories about writing life and lessons learned, sharing wisdom from my armchair to yours. You can find the episode show notes, your free episode handouts and my how-to guides at amrapajalic.com slash podcast. And now it's time to dive in. Welcome to Amra's Armchair Anecdotes. This episode is about owning the stage.
Overview: 0:38
So when you become an author, you sort of have this opportunity to do very exciting things. You get to appear at panels, you get to do talks, workshops, you also sometimes have to moderate a panel, and so I wanted to spend this episode talking about the different roles that you might have to take, the different things that you might have to do and how to prepare for them. So this came about because I went to a launch for my friend Demet which was amazing and there was a young debut author there who was going to be appearing on her very first panel and she was asking for tips and how what she needed to know. I thought, well, this is a good episode to do, and then I started thinking about the different things that we might do and also the different things that I wish I had known before I started out. So I think one of the most important things that you need to do as an author, as an emerging writer, is go to writing festivals, attend writing festivals, attend workshops, attend talks. I did this for pretty much two decades every year. Pretty much every year I had friends that I had standing dates with that we would look at the program and find things that we were interested in going to, and it was really important, because there are some things that come up in some of these roles like when you're on a panel or you are the one moderating the panel that you don't think about, you don't realize you need to prepare for. So I just wanted to preface it with that really attend as many writing events as you can and observe, be an observer, be someone who just looks at it and see what's happening.
Panel 2:39
So first of all, I'm going to talk about how to slay it on a panel. So one of the most important thing is to do your homework. So know who is moderating, know the other panelists, google them, stalk them, read their books, find out about them. So it's not about scripting every answer, but it's just sort of being prepared. Usually what should happen is the moderator should email all of the panelists to introduce themselves, to sort of start that conversation, to tell you what's going to happen. If that doesn't happen, I'd encourage you to email the moderator and get that information for yourself, because there's nothing worse than not knowing what you're sort of stepping into. And so ideally there should be a program in terms of the moderator doing the introductions, how the moderator will be asking questions.
Preparing for panel: 3:36
They might send the questions ahead and I personally would like them to. I'm at the point now where I don't need it. I'm okay if they don't send questions ahead of time because I can just talk. But in the early stages of your career it's really helpful if they do send questions, if you can prepare bullet points and you can just sort of think about it, because you do find yourself a little bit like a deer in headlines. You know it is the first few times you do something new, it can be quite daunting, and so sometimes just being able to look at the questions, prepare some bullet points, is really helpful. So very much encourage you to find that information out. If the the moderator is not doing it, then you know, initiate that just to help you. It's really important that you sort of have some stories or examples from your own life that you can bring in. So when we're answering these questions, it's not about the information so much as it is about the stories, as it is about the engagement, as it is about connecting with the audience, is about the engagement, as it is about connecting with the audience. So, even if you're preparing those bullet points, you know, just think about what stories you could attach to them and do a little. You know little bullet point for yourself. Time is short on the panel, so really jump in with the you know something strong. It's sometimes hard until you hear yourself speaking and you practice speaking. So doing this podcast has really worked me up to the fact that I do sometimes uh, uh, uh, and so I've noticed that I am cutting that out the more that I'm doing this podcast. The other thing I've noticed is so and that's something that I do want to cut out also so jump straight into the important example.
Do prep: 5:28
Don't sort of prevaricate. Support your fellow panellists. So I love those panels where the other panellists have read each other's books, are able to make those connections, are able to invite the other panelists in for a conversation. So look for those opportunities. So, when you are doing the prep work and you're learning about the other panelists, think about those things. What are the themes that connect you, what are the stories that you loved that they told, even mark up things that they wrote in their books, or have some quotes. I mean, ideally the moderator should be doing this, but for you also to sort of join this conversation, um, and then, if they say something, have this is what I've learned the hard way have a pen and paper while you're on the panel, because sometimes someone will say something and you're like I have a great story or I have something that I would like to continue on, but the conversation might flow past that and then you forget, and so I found it very, very helpful to make a note for myself. And then, when it comes to me, I would say, before I answer that question, I just wanted to pick up on that point that so-and-so said, and I just wanted to add and then add, you know, interject and then go into the question that the panelist asked you, and so that way you're sort of continuing that flow and continuing that conversation and creating that energy in that panel.
Be present for the audience: 7:03
Also, when you're on the panel, be aware of the fact that other people are sort of looking at you. So, you know, nod and smile, be present in the moment and encouraging with other panellists, even if they're not looking at you, because it's about the audience seeing you. So I'm very aware of the fact that I have a bit of a sour face if I'm not actively smiling. I don't have, you know, resting bitch face, but it's more a bit of a sour face where it looks like everything is distasteful to me. And so I have learned that when I'm in these situations I need to actually smile, because the other thing that happens that my daughter tells me is some people have resting face. I don't, I'm always in my head and I'm always like thinking things and I have this, you know, moving face, and so I need to actively sort of listen to the panellists and be responding and be making faces and nodding at them, even if they're not looking at me, just so that I'm present with the audience and they can sort of see me being engaged and also to create that energy and to create that sense of community and a great experience for all of the panelists and for the audience.
Speaker 1: 8:20Really important to respect the moderator and not hijack the mic. I have been on panels where people have hijacked the mic and it's really rude because what happens is they take up all of the time and they just keep talking and they don't really give anyone else the opportunity to talk. Now it is the moderator's job to interject and to kind of bring it back on track, but always be aware that you shouldn't be doing that. So when I'm doing a talk or I'm doing a presentation, I always have my mobile phone next to me if I'm supposed to have speaking for a certain amount of time and I have my stopwatch on and I'm actually glancing at it and I am including that in my talk. So as I'm getting into it, I'm like oh, let me just check how much time I've got. Oh, I can also add this, and so I'm actively doing that and sort of paying attention.
Don't hijak: 9:17
And so when you are the one who is on a panel, don't hijack, don't talk too much. It's about a conversation with everyone and so you know, answer the um question, but be the person that people want to hear more from, rather than the person that they're kind of waiting for you to finish, um, if you are a person like me who has a habit of starting a story and just going off on tangents and has a tendency not to answer the question. I have learned now to go did I actually answer your question or did I go off on a tangent? And that way I can give the person who is interviewing me the opportunity to follow up and go oh actually, or they'll go. No, that was was okay. We're going to move on to the next person, so kind of giving them that opportunity to decide how they want to move forward.
Prepare soundbites: 10:10
A really good thing to think about is sound bites. So it would be great if you, when you were doing your little bullet points and you were thinking about you know things that you want to say during the panel, that you create them into little sound bites so that when you start with the sound bite and then you sort of tell the story and so that way it can help people, you know, tweet your lines or they can make their own notes that can be their little cue where they're like oh, that's what that information is about, and so it just kind of helps with that public speaking aspect of it. Because we are looking for those opportunities for those sound bites and those things that really engage with people and connect with them. Now, if you're on a panel where people are talking about something that could get contentious and they're getting a little bit, you know, if someone's disagreeing, don't, you know, just smile, agree, where you can gently restate your position. You don't need to, you know, engage into a debate and make it a situation Like sometimes a debate can be great, it can be, you know, a really kinetic moment, something that really, you know, inspires people.
Engage in debate respectfully: 11:27
But sometimes the possibility is that people might get a little bit too angry and the atmosphere might get tense. So just think about how you're dealing with if there is something contentious and there are those moments of disagreement. If you want to, you know, actually engage in a debate and actually sort of connect it in that way, and you can. The only issue is about doing it in a mature way, in a way where different people are stating their points of view, and it's about giving people the opportunity to hear these different points of view and to agree or disagree. So it's just about maintaining that calm energy and just restating and adding more information and not getting personal.
Make eye contact: 12:13
In order to create that great situation, it's really important to make eye contact with the panellists and with the audience. So when you are asked a question by the moderator, make eye contact with them, but then, when you are answering, actually look at the audience, answer to them and also look at your fellow panelists, invite them in the conversation, and so make sure that you are sort of maintaining that eye contact and that you are not focusing either just on the moderator or just either on the audience Although, if you're going to do one, focus more on the audience rather than the moderator, because the audience is who you are there for. They are the ones that are listening to you, they are the ones that have paid usually to come, come and see this talk, and so they are the ones that you want to connect with the most. Um, have a thought, have a killer closing line ready. So when, when things are wrapping up, if there are final thoughts, try, don't ramble, try and get into um, leaving something having a lesson or at one piece piece of advice that you can do as your final thought. So usually with panels, there's a theme that you are talking about and that you're supposed to be engaging in a discussion about. So just think about what is the one final thought and what is the one piece of advice that you want to leave people with. Now, this might be something that you've already said somewhere along the way in the panel, or maybe someone has said it and you are echoing it, in which case, acknowledge it and say you know, just like Mary, I too, and you know, restate what you are thinking. So just think about how to close it, how to finish it and how to leave that impression.
Dress for success: 14:06
So some other bonus tips that I wanted to add is I would Suggest that you dress a little bit more formal. Unfortunately, this is also gendered. There is an element where women are expected to be a little bit more dressed up and present themselves a little bit better. I do feel like men can get away with more of a casual look. So you still need to be comfortable and you still need to be. You Don't dress in something that is not you just like for a job interview. Don't dress in high heels if that's something that you never wear, because that comes across as being uncomfortable. But just make an effort in terms of your presentation and just that little tiny bit more of either formality or just a little bit more of a performative thing. Unfortunately, for women, that might be. You know, a little bit of makeup maybe. But again, if that's something that you really don't feel comfortable and it's really not you, then don't, but just think about what can you do just to make yourself a little bit more. It's not just about the audience, I feel. It's about you also stepping into this role.
Your armour: 15:22
I kind of view it as my armor, and so I don't wear makeup on a day-to-day basis at all, the clothes that you see here that I wear in this podcast. So, for those of you who are listening, I am wearing a burgundy wraparound dress that you can't see the full dress but you can see the top of, and I have got a black star necklace that's got two rows and I have black earrings and I've put my makeup on. And so this is my armor. This is so that I come in here and I put on the energy and I actually really, you know, emote and connect with you. Because if I was just wearing my regular clothes, I would be talking like this a little bit and I would just be a little bit more relaxed, a little bit more like, oh, I don't have it in me to put on the armor and put on the kind of cheer and the kind of energy in order to create a podcast that people will engage with. And so that's what I'm talking about in terms of thinking about that performative side of it, in how you present yourself, in how you dress, formative side of it, in how you present yourself, in how you dress, in how you might show up.
Cheat sheet: 16:47
Bring a cheat sheet. So bring something where you've got either a sheet of paper where you've written out your bullet points, a notebook that you've written notes in, because there will be moments where you might be either caught off guard I've actually found myself in situations where I've actually been enjoying the panel so much I forget that I'm a panelist and I'm supposed to respond, and so I have this moment where I'm like, oh, I'm actually supposed to speak and so looking down and going, so it kind of brings me back into it and puts me back into that moment. So bring that with you and really, you know, bring a pen so that you are able to make those notes. And so even sometimes, you know, ticking off that you've already said something or adding a note about when you come back to that that you want to acknowledge something that someone said, just to kind of keep that rhythm in that moment because you can lose yourself a little bit.
Use humour: 17:44
So I think you know humour. You know use humour strategically. Sometimes it can be, you know, when you're trying too hard with humour and it might push it too far. But you know where you're trying too hard with humour and it might push it too far. But you know, use a little bit of humour if it comes up and if it feels natural. Don't feel like you have to do a stand-up comedy act. You know, be who you are and always thank the moderator and the organisers after and acknowledge them and also acknowledge the audience. It just kind of sets the tone.
My great experience: 18:20
So I had a really great experience at the Brimbank Sunshine Library. They organised a talk with three authors. All of us had very different journeys to publication and so it was about our publication journeys and the moderator was wonderful. His name was Scott, he was from the library and he prepared the questions beforehand. He sent them to us so that we could think about it and think about the answers. But what happened on the day that was really great is that all of us as panelists had those opportunities to have those cross conversations, to kind of pick up what the other person was saying, and to have a very warm conversation about publishing and about our publication journeys and showcase that for the audience, who are hungry for that information, who are hungry to find out all of the things that they wanted to know and to think about how they wanted to undertake their publishing journey. So it really matters. You know those things that come into it. And so one of the panelists was someone who this was her first panel and she was very, very nervous and so she had a sheet and she actually referred to that sheet and she was using that to talk and then, as we were talking, she sort of warmed up and she was able to engage in more of a conversation.
Prepare based on your journey: 19:47
Um, I, you know, just walk in and whatever I say, I say I'm at that point now, um, and the other author was also quite comfortable and confident in terms of his speaking and stuff. So it really is. You know you prepare yourself based on where you are in your writing journey and you go with it. Don't feel like if you have a sheet, oh, that's too amateur, it's not for any point in your journey. You know it's really important, like I did have a pen and I did have a paper and I was making notes, as I think I did prepare bullet points for that one too, but I didn't have to use it much, but I did sort of write down notes so that I could pick up on things that the other panellists were saying as they were speaking, so that I wouldn't forget. All right, so that was all about if you are on a panel some things to think about and to prepare.
Moderating a panel: 20:42
I'm now going to talk about if you are moderating a panel. So you are the person who is actually moderating, managing the conversation and trying to keep it moving. Now, this requires quite a bit of diplomacy and assertiveness, okay, because if you have a moderator who is not really taking on this role and is not doing it effectively especially if it's like a few people on the panel or during the Q&A it can kind of affect the conversation negatively. So now I'm going to talk about how do you master the role of moderator. So when you are a moderator, it is important that your job is to serve the audience, not the panel. So you need to make sure that the conversation flows, that it's lively, that it conversation flows, that it's lively, that it's accessible, that it's valuable.
Read the room: 21:41
In a sense, you need to be paying attention to the audience, energy and seeing how they are feeling, and so if you do have someone who is rambling on or who is bringing the energy down, you do need to redirect. You need to have some of those things. So there are some strategies that you need to be able to use to do that. One of them is you really need to do your preparation. If you are a moderator, you need to read at least one book from the authors.
Find intersections: 22:16
Ideally, there should be a theme that is tied to the one book and it's the one book that they're promoting. It's just that sometimes authors might have multiple books and you know it's too much to kind of read everything that they've written. You do need to sort of focus on on something. So you need to have, um, a, you know, like a really good overview of what they're doing. You need to have a few starter and a few rescue questions. So you're looking for intersections between the panelists, stuff you can connect, you know. So something might be like both of you have written about resilience after trauma. How do your approaches differ? So it's about sort of trying to connect that and do that conversation.
Read the books: 23:00
Now, ideally, panelists will also be doing that, but sometimes panelists don't make an effort to read each other's work or to know about each other, and so the really the onus is on you as the moderator, to make sure that you're the one doing that. So the other thing is it's important that you set the tone in the first 30 seconds for this panel, that you're warm and confident. You've got a good intro. You're introducing the panelists briefly. Now a lot of panelists myself included will will send nice long bio because we are slightly insecure and we want you to say every single thing about us, but that can really bring the energy down. So you know you should not be reading out a five minute CV of the panellist. It should be short and sweet. It should be sort of getting to the heart of who they are. So when they send you their bios, look at the most important parts and what you're going to focus on.
Manage the clock: 24:09
Really important that you manage the clock. So um panels can run long and you know the issue is you need to protect the q a at the end in order for the audience to have the interaction, and if it's part of a writers festival, there are numerous panels or workshops or events that are going on, and so it's really important to finish things at the correct time in order for the audience to be able to leave and to go to the next thing. So you really need to control the clock, you need to watch, keep an eye on your watch, you need to keep an eye on panelists. You might need to jump in, and I know that this is really difficult and awkward and it's something that takes a lot of confidence and a lot of practice, and so sometimes you might need to. You know, have these sentences that you're using. I love where this is going, but in the interest of time, and so you need to actually sort of try and signal to the panelists, um, that you need them to to finish up, and if they're sort of not looking at you, you might need need to go. Excuse me, scott, just to let you know.
Everyone needs a turn: 25:18
You know, and moving it along, because it is about making sure that everyone has time to speak. When a panel is organized, you know, people know about all the people who are there and they might only be interested in hearing about one person. Now, obviously, they're going to be, you know, be interested in hearing the whole panel and the whole conversation, but if they don't get enough of the person that they're really interested in, that can leave a really bad taste for them and it's just really rude if people are on a panel and they're invited to speak and then they don't have the opportunity to share what they are there to share. And if you are the one who is the moderator, it is your job to make sure that everyone has that opportunity. So you really need to step up and do that. You need to ask real questions. You need to ask things that is not just what they can recite from their bio, but things that offer insight, know offer insight, that offer reflection, that are, you know, offering the storytelling.
Spark conversation: 26:23
Maybe disagreement, if this is something that could lend itself to that. In terms of the topic, I remember one panel I went to. It was about is the short story dead and so the way that it was framed. It was about you know, an argument, a disagreement. It was about you know, do people think is the short story dead and so the way that it was framed. It was about you know an argument, a disagreement. It was about do you know, do people think that the short story was dead? And it was about the fact that in the publishing industry the traditional publishing industry getting a short story collection published is really, really hard. It only happens for authors who usually have, um, a history with the publisher where they've had, you know, numerous books published, and then publishers like, okay, we'll do a short story collection, we think there's an audience from that, or someone who is incredibly prolific in short story writing and they have sort of, you know, won every competition or they have really created a profile. And so this panel was is the short story dead? And it was about people presenting is it, is it not?
Frame questions to share knowledge: 27:21
And so if the topic is like that, where it's something about possible disagreements, then yes, ask questions. You know that could be provocative. That could be about do people disagree, do they think it is or it isn't? Um, you know, just think about how do you frame questions where you're inviting people to answer and giving them the opportunity to really share their knowledge. So you know something, instead of like tell us about your book.
Open questions: 27:47
What scared you most about writing this book? What excited you most? What was the most powerful thing that came out of this? What was the most surprising reaction you had from a reader? So you know thinking about it in that way. Now, obviously, if they don't have a surprising reaction from a reader, they might, you know, reframe that and go. Well, I don't have an interaction from a reader, but, and the surprising thing was, so it's about sort of throwing things open a little bit.
Spotlight everyone: 28:19
Spotlight everyone. It is your responsibility that everyone gets airtime, that everyone gets the opportunity to speak. There are some people who naturally hog the mic, like me, and there are some people that sort of shrink, and they, you know, might go a little quiet and they're sort of finding their feet and they're a little bit more of an introvert. And it is your responsibility to really invite everyone in, to get them talking, to actually develop that conversation and that rapport. So, you know, you might say X, you've had experience with this, what's your take on this? Or you might have someone answer and you might see that one of the panelists is like really nodding or is frowning or something like that. Go, you seem to have a different experience. Would you like to follow up on that or share that? Or did you have something that you wanted to respond with? And so create that organic conversation and that organic flow and facilitate that.
Watch the energy: 29:27
Watch the energy. Like the energy is really important on a panel. At the end of the day, most panels, you know people being paid paid. The moderator is being paid, the panelist is being paid, the audience is paid to come in and to watch this. It is a performance, it is about giving them a good time, about giving them information, and so you really need to watch the energy. Um, if something is dying, you need to liven it up, you need to bring it back, you need to not let it get repetitive. Move it along if it is getting a bit rambling and just use that sentence, just say, well, let's flip the question, let's change it in some way. Have some sentences to help guide you with that, so that you can just interject and pivot, be ready to politely shut down a rambler. Now, this is important not just on the panel, but there are also people in the audience who are just waiting, waiting to ask a question and I'm doing air quotations here in terms of ask a question, but it's not a question, it is just their opportunity to get on the mic.
Manage the audience: 30:42
I remember watching a panel I can't remember all the people on the panel and there was this woman. It was about memoir writing and this woman got up and goes I would like to write a memoir, but I feel like I've had, you know, really good life. And then she started just sort of sharing her life story, which was quite banal and not very interesting. And I think one of the panellists or the moderator was a comedian, I think it might have been Lucy Brine or something and she went. Well, you seem to have had a really boring life, so maybe no one would be interested in your memoir. And the audience kind of laughed and the woman went, oh, and sat down because she was not there to ask a question, she was not there to contribute to the conversation, she was there to hog the mic, to get her moment and to just ramble on.
Bring it back to topic: 31:34
And so that's something that if you are a moderator, it's your responsibility to shut it down, and that is also important with the panelists. You need to bring it back on topic. You need to jump in smiling and fun, but change the topic. I love your passion for this. I'm going to pause so that we can open up a little bit more and then, mary, could you please and ask them the question and redirect and get that energy moving, because sometimes people also might be nervous and they're not meaning to hog the mic because they are being rude and they are being arrogant. But sometimes when people are nervous, they just kind of lose themselves a little bit and they're not quite aware of how they're coming across, and so it's up to you to redirect that, bring that energy back.
Save time for Q&A: 32:30
It is really important to save time for the audience questions, because this is what the audience is there for. They are there to listen to the talk, they are there to get information, but they are also interested in asking certain questions. There might be something that they were listening to and they want a response to. There might be something that they have been following a certain author and they really wanted this opportunity to engage with them, and so it is your responsibility to make sure that there is enough time at the end for that.
Clarify Q&A time: 33:04
Usually, when you're hired for the gig of moderator, you are told how much time you should leave. Usually in a one-hour talk, at least 15 minutes. At least the last 15 minutes should be for audience q a. Depending on you know where the venue is there. Some of them might be even 20 minutes. Um might be 10 minutes, it just sort of depends. You might get a guide from the you know venue or from the organizer of this panel, but it is also up to you Now.
Prepare extra questions if Q&A dies: 33:37
Obviously, sometimes you have an audience where they're not asking any questions. It's all quiet on the Western front. So it is your responsibility to sort of have questions ready just in case that's happening and no one asks a question. And so if that happens and you give the audience the opportunity and no one's stepping up and it's just kind of you know, getting awkward, then you should ask questions. But don't be afraid to leave the pause to create that time to encourage the audience to say, look, we would really love to hear from any of you. Does anyone here have a question? And just kind of give them a bit of time. It's a fine line. So you really do need to pay attention to the audience and sort of see are there some people that are shyly putting their hand up? And you can quickly tell the person who's got the microphone if it is one of those big venues where a microphone has to be passed down, or that you are keeping an eagle eye and you're going oh, the woman in red, you've got a question. Or that you are keeping an eagle eye and you're going oh, the woman in red, you've got a question We'd love to hear from you, and then getting them to ask a question, always repeat the question. So unless it is a venue where there is a microphone where everyone can hear it, then really repeat the question before redirecting it to the panel to answer, just to make sure that the audience knows what the question is.
Close strong: 35:00
So close, strong and say thank you. End one to two minutes before the official time. Thank the panellists warmly and personally. Thank the audience. Don't do that awkward dribbling on the finish line or you know where someone might have to come out and be like, ok, shut down. Because if it is like you know where someone might have to come out and be like, okay, shut down. Because if it is like you know a festival where then they need to clear everyone out in order to bring the next panel in, then someone will come in and have to intervene. So you don't want that. You want to create a very clear finish and a thank you to everyone and the audience. You're thanking the audience, great applause, really ending on that high where everyone feels that energy and feels uplifted.
Bonus tips: 35:44
So some bonus tips um, bring two pens. One will mysteriously vanish. You'll be using it and then it'll either fall into your chair or fall down onto the floor and you won't even notice and you will suddenly be like I don't have my pen. Have the backup questions if no one in the audience raises their hand, because it can happen and frame awkward moments as normal. So you know, for example, if you ask, you know, know, it's like q a and it's asking for the audience to um, ask questions and there's that pause and I was, oh, it's always hard to be the first person to ask the question. Oh, that'd be great if we could, you know, like making a little bit of humor and trying to interject that fun into it and getting people, you know, excited and into it. So that is everything I have to say about being a moderator on a panel.
Workshops: 36:46
Something else that you might be invited to do as an author is to deliver a workshop, and so, depending on what you are writing, you will have different workshops that you will be delivering. So I'm just going to be talking about general tips for workshops, because the topic will depend Like I can do different workshops. I do short story, I do indie publishing, memoir writing, and now I'm going to start talking about historical writing and crime fiction writing as I move into my next series, and so every time you add a new bow to your string as an author, there's something else that you will be able to look at monetizing and doing skills in. But it's important to sort of think about workshops and how do you make that a great experience. So you need to structure your workshop. You need to have a good introduction. It's about interactive content and it's about takeaway points.
Speak for 5 minutes: 37:49
Now, my view is that in a workshop, you should not be talking for more than five minutes at a time, because it's a workshop. People are supposed to be doing things. They are supposed to be doing writing activities. They are supposed to be actually thinking through things. So I have a memoir writing workshop, which part of it is about structuring and thinking about how to write your memoir, and so when I do that workshop, I do the prompt, I talk about how I did it, and then I stay quiet and I let the participants write.
Set a timer: 38:26
Now, as a teacher, I find myself walking around the room and sort of looking at what my students are doing. I've had to learn not to do that in adult workshops, because grownups don't like it when you stand over them. So it's really important that you sort of recede a little bit. Um, I always set a timer. So I'm like, okay, we're going to take five minutes now for you to do this. Um, you know activity and then we'll be checking it, and so I set the timer and I let the timer go off, and so that way that naturally lets the participants know that that time is up. I stand quietly, I try not to attract attention, and then I only go and speak to people if they ask me. So if a participant actually looks at me and is like, and they want me to come over and have a conversation and help them, I will then do that. Otherwise I am staying, staying out of the way and giving them the opportunity to get that information.
Invite sharing, but don't push: 39:25
Something else that's important is, if people don't want to share, you can't make them share. In you know, a secondary school setting I am the evil teacher where I have to make my students speak because it is important for them to develop their speaking skills and for me to check in on their information. But when we are doing writing workshops, you might invite people to share what they have done if they've done a great first line or, um, you know, have they got a piece of writing that they did, or did it help them clarify something? But some participants don't want to and you can't sort of force that. Conversely, you might have the other side of it, where some people will just want to use up all of the time and suck up all the energy and just keep talking about their stuff. So you also need to sort of shut that down. So another way that you can do that is after the writing activity takes place. You then set a timer for the talking part and then the timer goes off and you're like okay, we need to move on to the next writing activity. Thank you for that, and that can give you that graceful exit if you need it.
Prepare extra activities: 40:41
I always find myself preparing more. I feel, I don't know, just more confident when I have more activities than I need. So when you are preparing activities, think about the time. How long do you think it would take people to do something? How long do you want to build in the time of talking? And I always build in extra. I would rather not be able to get through. You know everything in detail where I might need to just kind of talk through the last few things and not give time for the actual activities, as opposed to running out and then having that dead space and that dead energy. I am an experienced teacher at this point. I have been teaching for 12 years, so I'm very comfortable about filling in space and filling in time and as a teacher also, I don't need to do that much prep anymore, but I still find myself always having extra things. Just psychologically it calms me down and just in case I need to throw to other things have actionable items you know.
Use good ideas: 41:49
So think about to any writing workshops that you've done or writing experiences that you've had and use them. So you know, I did a diploma of professional writing and editing and was exposed to a whole lot of different writing activities and I have used some of them. I remember one of my tutors, jane, had us do a workshop where we would bring items in, our favorite items in, and then we would talk about you know what they meant to us. So we did a writing piece on that. And then also we had to bring items in and describe them, without saying what they are but actually describing them. So we would touch and feel them. And then we did a writing activity where we were looking at smelling things and did our sense of smell inspire us? And then I had a box and little tubes of different smells to do writing workshops. So look at different ideas and different things and try them out.
Develop focus of workshop: 42:49
Have a raft of things that you know you might have done or you've seen other people do and you know, depending on what the workshop is about. Is it a workshop where it's just about you know, developing your five senses so you can do those different types of things? Is about different ways to start a story. Is it about writing a short story? So deconstructing the different things about writing a short story, so deconstructing the different things about writing a short story. So you need to really think through the parts of it you know, and how are you supporting the emerging writers in that workshop to get something that is actionable, something that will help them in their writing journey?
Adapt to the audience: 43:28
It is important to sort of adapt to the audience. So you know, if it is an in-person workshop, then you can actually go through what you are going to be presenting in the workshop and then ask the audience is there anything else that you wanted or is there something here that you think you already know that you would like me to skip over and spend more time on something else, um, so if it's in person and you can sort of do that checking in, it's really great in order to make sure that the participants have a great experience and they really get something out of it. Um, and that's why it's also important to have those extra things, just in case you go into a workshop that you've designed, um, and you, you know, go over that. We look, okay, we're going to be, we're looking at how to structure short stories, we're going to be looking at great openings, and then we're going to be looking at, you know, how do we do writing strategies? Um, and you know, it might be like where you're doing a workshop for some writing group and they're like, oh, we've already done great openings and you're like, okay, great, well then what we'll do is and you have something else that you can draw on.
Provide handouts: 44:38
I personally prefer providing handouts beforehand. I um. So you know, when I'm doing a writing workshop, I have powerpoints with images and you know examples and stuff like that. I don't share those. So you will always have people asking you to share their, your powerpoint with them. My view is that is my intellectual property. I have actually gone to the work, gone to the effort of finding examples of you know great short story openings or great writing strategies, and I am providing those in the workshop to inspire people. I don't want to share my intellectual property, so I will create a handout in terms of you know the structure.
Don't share PPT: 45:27
If I'm talking about structuring a short story, I'll give them a handout that they are filling in about how to structure a short story and then they take that away from them. But I don't want to be providing all of the resources I have in terms of the examples. It's their responsibility to write down the name of the short story, or to write down the name of the short story collection or the author and go read them and go find them and read them. So that is not something that you need to do. So that's how I get around it, where I provide the handouts beforehand so that also they are you know they've got something to do, but also that they are engaging with me, and then I don't provide the PowerPoints if they ask, I just say, oh, I provide the handouts, the, not the powerpoints. Um, but if you are in those early stages and you find that a little bit awkward. That's one way of doing it, where you provide the handouts and even, if you wanted to, you provide the list of examples that you've got.
Provide examples: 46:26
So very important when you are doing a workshop, I should say actually, um, not just to talk about what they should be doing, but to actually provide examples of it. So, for example, if you're doing that workshop about describing your favorite thing or how to describe something without naming it, it would be great if you could have examples of that type of writing. And so you should be reading writers that you admire and books that you admire, and finding things and annotating them. These days you can do a great, you know trawl on the internet where it can come up with examples. So I remember when I was doing a workshop and I wanted to sort of show the different points of view that you might write in. So you know, there's first, there's second, which is not very common, and then there is third person, and I had to search up examples of second person because I don't really like it and I don't like reading it. But I found a book that had those examples and then I was able to. You know, use those and show those to demonstrate. So really important when you are saying you know, use those and show those to demonstrate. So really important when you are saying you know we're going to be describing our favourite object and we're looking at using the five senses and we are not naming it, that you actually provide an example of that for them to see and to see how to construct it. So you know, when you are at the like, as an emerging writer, you should be a reader, it should be something that you are doing and you should be annotating and collecting books.
Read to find examples: 47:55
So when I started doing memoir writing workshops, I went through all the books that I had and I found examples of what I needed for the different things that I was doing workshops on. Same with short stories, I have all these short story collections of short stories and then I found examples of the different things so that when I'm doing a workshop, I'm showing that example. So you know, a great experience I had with a workshop that I did was a self-publishing workshop where you you know, even though I have no voice and I had to get them to organize the microphones so that I could project the preparation came through and the information came through and you know. So you create that good experience, and I have a lot of people when I do workshops where they then connect with me on social media or they connect with me, you know, via my newsletter, because there is something so special about that writer. You know that teacher, student experience and that when you are an emerging writer and you have someone who really opens your eyes to something and helps you, it creates this sort of bond. And I know myself with some of my creative writing tutors. I connected with them afterwards and I kept up with them because you know they really changed how I thought about writing and they really helped me in some way. And so that's what you need to think about and what you need to bring. How are you helping people move forward? How are you giving them an experience where they are developing their writing and they're walking away inspired and, you know, just wanting to continue with the writing? So with workshops, you know, develop a PowerPoint. I've used PowerPoints. I'm now sort of moving into Canva presentations because they are really great.
Note sources: 49:59
Put hyperlinks also to some things. If you are using information from other people, if you are using some other sources, reference them. You know, let people go and look at that. That's what we do as teachers. We do use things that other people might have come up with and other ideas. So just reference them and, you know, give other people the opportunity to go back to the source. And, you know, focus on interactivity.
Talk less in workshop: 50:27
You should not be talking for an extended period. It should be talk, model and do and then reflect and conversation. The last thing that you might be asked to do is to craft an author talk that leaves a mark. So a lot of the times you might be invited to actually just do a talk about the experience of being a writer and about sharing your experiences in terms of your journey so far. And so I've had this a lot with high schools where I go in and I sort of talk about what it is to be a writer and my journey to becoming a writer. So it's important that you have the why. Why are you there? What are you there to talk about? So sometimes you're given a theme. I remember once I was invited to do a speech and it was about it was International Women's Day and so it was about the focus on women, and so I talked about my memoir and writing it, about my mother and about sharing that inspiration and that journey. A lot of the times it might be about just talking about what it is to be a writer and and how you came there and when I've done that for secondary school students.
My writing journey: 51:51
I focus on the resilience required to be a writer and so about the journey that I had to undertake in terms of the learning to be a writer and then seeking publication, and I created a flow chart of the timeline, of how long it took me to get published, and then about the submission process and the fact that my agent submitted to five publishers. Then I got an offer from my first, I got a rejection from my second, third and fourth and then an offer from the fifth publisher, and then I would ask the students do you think I'm a good writer or am I a bad writer because I got rejected? And so to invite that conversation in terms of you might still get rejections. It's not a reflection on you, it is just the way that things go in life and about that resilience and moving through it. So, thinking through what is it that you're wanting to get people to experience and if there is a theme of what they asked you to. So, obviously, when you're doing an author talk and talking about your writing journey, you've had the one journey, it's the one way that it happened. But it's just how do you refocus it? How do you make it about the theme, if there is one that they are inviting you to address?
Plan story arc: 53:15
When you're doing an author talk, think about it in terms of a story arc. It's not a sales pitch where you're trying to sell your book. You're trying to tell a story and something that has sort of a beginning and a middle and an end and that you're getting the readers connected. So you know, if it's your story of publication, then it's about the process of, and then the hero at the end, where you've got your published novel and now you're transformed. I mean, you still might want to add the reality aspect of it where you think your life will be completely different, but there's still the regular stuff you need to do and there are some shocks that you might have. But think of it in terms of building that have some core messages that you are building into your talk that you want people to understand. So when I'm doing my author talk and my story to publication, as I've already said, it's about resilience, it's about persistence and it's about sort of coming from where I came from in terms of, you know, a child of migrants and then finding my way in this new world, entering this new world, overcoming imposter syndrome. So think about what it is that your story has. What are the moments of learning or the things that you have overcome or that you can share, that can inspire other people?
Share visuals: 54:36
You are doing a talk and while you might have a PowerPoint or something that you are sharing visuals of, it is still about writing it for the ear and about creating that storytelling experience. And if you are doing a presentation, you know just have photos or a quote, don't have lots of information and that's not really helpful for people. It is more about your speaking and you telling that story. Having said that, photos are great. You know I had photos of all my different drafts. I had photos of my handwriting. I had photos of the edits that I received. I had photos of me as a young person and you know how that inspired my first novel, and then that for my memoir.
Use photos of you and research: 55:26
When I am talking about my historical book that I will be publishing, I'm going to have photos that I used in terms of the research and the inspiration and the real life stories. So, you know, those are great, having those visuals and just popping them up and having them as you are talking about them so that people can connect, but you don't want them to be distracted and to be looking away from you for an extended period. It it's about them connecting with you. Start strong, you know. Start with something that really connects with them, whether that's a shocking fact, a hilarious moment, a vulnerable confession. When I was doing my talk about you know being an adult author, I started with that whole thing of you know being a young adult author. I started with that whole thing of you know, feeling unworthy because of, like, where I came from and that this world was too big. When I start the historical research, I will start with the fact that I'm writing about a massacre. I'm writing about, you know, putting people on the page and sharing a story that I think is important. So you know you're thinking about how do you create that connection with your talk? Share the real life experiences. You know actual behind the scenes moments from your writing life.
Share your stories: 56:41
I attended Demet's launch and there was this funny story that she was talking about how she finally submitted her final draft after writing, you know, for five years working on this book and he said great. You earned 30 cents an hour when you count up all the hours that she worked on the book. You know, in terms of this glamour of having a published book, but the reality of um, the monetary, uh compensation is quite hard. But it was also great because it was, you know, the insight in her relationship into the support that she had and the reality of the writing life that you know. It took her five years because she had two children, she had to work part-time, she had to write in the cracks, and so it's just bringing that reality of what it is to be doing that.
Rehearse: 57:39
So you want to rehearse a little bit but you don't want to sound like a robot. I had that experience once where I was doing a video talk, you can still find it, but I'm not going to be telling you about where. Where I was doing a video talk, you can still find it, but I'm not going to be telling you about where. And I was so nervous and it was the first time that I was ever going to be recorded in the face, and I rehearsed and rehearsed and rehearsed and then when we came to record it, I sounded like a robot and they're like, okay, let's do it again. And it didn't get any better. I just kept sounding like a robot.
Emote: 58:10
And so it's really important that you sort of know the flow and that you are able to do that presentation, but that you still bring emotions, that you vary your voice, that you bring the gestures, that you bring that engagement, that you're not sort of standing up there stiff and that is very hard, I know. And so, if you have to record yourself speaking, look at yourself as you are speaking. I'm actually recording this as I am speaking right now. I am seeing what I do and I already knew I was a hand talker, which is not a great thing for a podcast, and I've actually been an interviewee on a podcast where they couldn't see me and I was doing a lot of their hand talking and they were like there's something going on where the volume keeps going up and down and I literally had to sit on my hands to stop it. But you know, it's really good to sort of see what you sound like and, if you need, to get other people to look at it and give you feedback if this is very early on in your career.
Feel the audience energy: 59:09
I was fortunate in one way that I became a teacher very soon after being a published author, and so I have had a lot of experience presenting, speaking, talking, doing workshops, teaching, feeling the energy. So this is something that I'm very, very comfortable with, but in the early days it was really nerve-wracking, it was terrifying. You know, the thing that saved me was that I can speak under pressure and that I am good at picking up energy and I am good at sort of feeling where people are at and adjusting myself. So you know, think about that, master your ending, don't sort of trail off. Try and, you know, finish in a strong way with a good closing line to sort of end it.
Prepare for tech: 59:55
Tech problems, expect tech problems, um. So you know, I have now all these things that I can plug in um because I use a mac. If I find out, do they have a computer? I bring a memory stick and a backup memory stick. I send an email to myself and to them so I can log into that. So you know, really build in that problem, solving part of it Because I have a Mac. I have an adapter that can then be put in my Mac and then be connected to overhead projectors. You know, really make sure that you are being very clear about what is the equipment, what is the tech support and using it. The longer that you do this, the better you get at it.
Do your prep: 1:00:43
But every once in a while things just don't work. You know there might not be an overhead projector, even though you expected one, and that's why you know there might not be an overhead projector even you, even though you expected one. Um, and that's why you know I have the handouts beforehand. Um, if you know people don't print the handouts, then, um, you know, you need to be able to roll with it. Um, so you know, for example, people don't print the handouts and you show up and there's no handouts, well then you need to write things up on the board, maybe, if there's a board, so it's just being able to to adapt and prepare. So you know, also have the whiteboard markers and, um, you know, all of those things have some paper. So trying to, um, you know, sort of have your go bag when you're doing presentations and when you're doing workshops so that you are prepared and that you can make sure that it runs the way that it should Love the audience before you meet them.
Project energy: 1:01:37
Really, the energy matters. Today, for example, I'm really kind of not feeling very energetic. I had a flu vaccine and I've been a little bit sedated this weekend, but I'm putting it on. I'm putting the energy on because I'm here to record this podcast, I'm here to engage with you, and so this is what people mean when they say fake it till you make it. Put on the energy, put on that performance, because you need to have, have that. You need to do that to connect. This is you don't know when you'll have another talk or who is going to be there. You need to make a great impression so you don't have that caffeine shot. Do your 30 squats to get your energy moving. Do whatever you need to do to get in there. You know, have the lollies, have the sugar, hit whatever you need to so that you get on the stage if there is a stage and that you just put it on and you create that great experience. So some bonus tips Always have a glass of water nearby. As you can hear, my throat is getting dry again, but I'm going to finish up.
Bonus tips: 1:02:47
Before I stop, write a one sentence summary of your talk. What is it that you're trying to get across? Because you know that will make you focused. Create, you know, have a bit of humor, do a joke to really move things along and make sure that you've got your books with you. You know, I now have all this paraphernalia to be able to display my books so that it's next to me while I'm talking so that people could actually see the physical copy. I also bring my books for sale and have a card reader for sale so that I can process ATM sales. So that's something that you might also want to think about, so that you can get those sales Wrap-up and takeaways to own the stage like a pro. So it doesn't matter what you're doing, whether you're an author, speaker, panelist or a moderator, it's not about you, it's about creating that connection, it's about the audience.
Prepare but be flexible: 1:03:48
Prepare, you know, preparation is half the battle, but presence wins the war. Show up ready, but stay flexible. Things might happen, things might change. Lead with energy, with storytelling, with generosity to really create that good experience. Short, sharp points are better than long rambling answers. So if you do that preparation where you have those bullet points so you can just sort of do those short, sharp points, have fun.
Have fun: 1:04:19
You know, it is wonderful to be in this opportunity to be able to connect with people, to be able to talk. Being a writer is such a lonely thing. Most of the time we are in a room by ourselves doing things, and so when you have this opportunity to really connect with people, to talk to you know, share your journey and share who you are, it can be a lot of fun. I find myself really energized through these experiences. I'm talking to myself right now, but I'm imagining that I'm talking to other people and I have made myself feel energized through that. So that is the power of it, of just putting yourself in that moment.
Wrap up: 1:05:01
I hope this has been helpful. I'd love to hear any experiences you have about your journey in terms of doing any of these things being on the stage. If you have questions, please feel free to ask me. There are show notes and a handout on my website amrapajalic.com/podcast. So a, m, r, a, p, a, j, a, l, I c dot com slash. Thank you for tuning in to Amra's Armchair Anecdotes. If you enjoyed today's episode, don't forget to subscribe and follow for more insights, stories and inspiration From my armchair to yours. Remember, every story begins with a single word.
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