Readings

Getting to meet readers is the best thing about doing readings.

• "You wrote Faithless Elector some time ago:  why is it more relevant now than a few years ago?" 
• "What is your creative process?" 
• "What kind of research did you do?" 
• "Is this an accurate portrayal of academics?"  
• "I love the taxi driver:  will he be back in the next book?"

I did a reading of Faithless Elector yesterday (13-May) at the Rothermere American Institute at Oxford University.  I was nervous, anxious, as I am before each reading.

There is nowhere to hide when giving a reading of your work--you wrote the words; you speak them. It's daunting, humbling and thrilling.  But, like the first reading I gave at the Highland Park (NJ) Public Library, I was gratified by how well it was received, and how thoughtful and thought-provoking the questions were.

HPPL

HPPL

So much of a writer's production is necessarily alone.  You sit alone, tap on the keys, read things aloud, enact certain aspects in order to describe them better; and you tinker until you're almost sick of the piece.  To an outside observer, you would appear mad, hence the need for solitude.  But in solitude, you can think the story works, or the characters are good, but you can't know.

Readings are like a preview night for a play, a chance to connect with an audience, to hear, to feel what works--only you don't get to change anything.  

I can't wait to do it again!