On How to Make a Living as a Poet
I don’t talk about poetry much on this blog, mostly because I don’t read or write much poetry and don’t know too much about the form. But I know that some of you do work in that form. Soft Skull Press has two books out right now that might be of interest to you: How to Make a Living as a Poet and How to Make a Life as a Poet, both edited by Gary Mex Glazner, featuring interviews, inspiration and advice. I thought their section on how to give a reading was potentially helpful, so the folks at the press have kindly allowed me to reprint it here, which I’m doing so in two posts, since it’s a little long. And poets, don’t be shy if you know of resources and tips that you think I should pass on.
The Barbaric Yawp: Giving a Good Reading
There is no better way to build an audience for poetry than to give a polished professional reading. Reading poetry aloud reconnects people to the original power of poetry, and reconnects them to the pleasure of poetry: its sound. Walt Whitman called this the barbaric yawp. But how does one yawp barbarically? Good question! What follows are simple guidelines for preparing for a reading.
1. Warm up. Feeling some nervousness before giving a reading is natural. It shows you care about doing well. But too much nervousness can be detrimental. Warming up will help control your nervousness and help you give effective, memorable readings. Doing a few simple stretching exercises will get the blood flowing. You want to be loose and supple during your reading. Taylor Mali does push-ups before going on stage. In fact, backstage before the final night of the National Poetry Slam you see all sorts of strange sights: poets rapidly repeating their poems, poets who seem to be talking to the wall, poets deep in prayer in groups and alone, poets doing jumping jacks. They’ll do anything to give them that last boost of energy and/or to calm their nerves. Here is a famous tongue twister to get your mouth warmed up.
Peter Piper picked a peck
of pickled peppers.
Did Peter Piper pick a peck
of pickled peppers?
If Peter Piper picked a peck
of pickled peppers,
where’s the peck of
pickled peppers Peter
Piper pecked?
2. Own the room. Arrive to your reading early, burn incense or even better burn a sacrificial issue of Poetry. Call down the gods and goddesses of your choice. Get used to the room. Of course it will sound different when it is full of people, still you can listen to a room as you walk through it. How alive or dead is the echo? How are the sight lines to the stage? Is there a balcony to be aware of? Is there seating on the sides of the stage that will be left out if you only address the audience in front of you? Do you want to use the whole room by leaving the stage and microphone and walking out into the audience? If so, how do you access the stage and the audience area? Are there stairs? Check out the lighting, especially if you will be reading your work. Sometimes the lights will wash out the printed page and you may have to be ready to turn at an angle to be able to read off the page. It helps to know this beforehand. Be familiar with the place in which you will speak. Do a sound check to get used to the microphone. Try speaking into the microphone from different distances. There will be a “sweet spot” where your voice sounds best. Work with the sound person if possible.
3. Chatting up the audience. Saying hello to the audience is a good start. Be accessible, let the audience get to know you. Ask them questions. Find out what is going on locally. It may help you to decide what poems to read. It’s easier to read to a group of familiar faces than to a group of strangers. This pre-reading time can be used to put yourself and the audience at ease. When reading at some larger venues this may not be possible. In that case it may be best to stay backstage creating an aura of mysterious poetic glow.
Launch a social media campaign that will build your brand and deliver results in our online 
