eviscerating. i was trying to think about the different expectation put on poets reading poetry versus a humble writer of fiction like myself reading some selection. i thought that just going slowly and speaking clearly enough to be understood would be good enough, but evidently not for emilie lafleur. i thought that the voice of fiction and character could carry me, but what is poetry if not pure linguistic voice?
Thanks for the comment. Pace and enunciation are the foundation of an effective public reading, but I would consider these sort of the minimum standard, whether reading poetry or fiction. Some people are gifted with more naturally pleasant or resonant voices of course, but anyone with a good ear, a good sense of the nuances of their own work, and a willingness to hone this element of the craft can be an effective reader. As one idea, you might start by reading your work aloud as though to a child. Go very broad with your emphases, be a little dramatic, act out the emotions. And then read it again with some of those excesses pared back, but still sensitive to the emotional and energetic beats you want to hit.
eviscerating. i was trying to think about the different expectation put on poets reading poetry versus a humble writer of fiction like myself reading some selection. i thought that just going slowly and speaking clearly enough to be understood would be good enough, but evidently not for emilie lafleur. i thought that the voice of fiction and character could carry me, but what is poetry if not pure linguistic voice?
Thanks for the comment. Pace and enunciation are the foundation of an effective public reading, but I would consider these sort of the minimum standard, whether reading poetry or fiction. Some people are gifted with more naturally pleasant or resonant voices of course, but anyone with a good ear, a good sense of the nuances of their own work, and a willingness to hone this element of the craft can be an effective reader. As one idea, you might start by reading your work aloud as though to a child. Go very broad with your emphases, be a little dramatic, act out the emotions. And then read it again with some of those excesses pared back, but still sensitive to the emotional and energetic beats you want to hit.