COACHING FOR WRITERS

Writers are known as being solitary creatures at their most comfortable in a small room with only a pad and paper or a computer screen as companions, but once they have a book out they're suddenly expected to do readings in front of live audiences, interviews, and even on-air television appearances!

Additionally with the popularity of shows like The Moth, most cities are abundant with venues featuring reading series and storytelling events at which writers are invited to perform. But if they've only had experience reading their work aloud to their roommate, significant other, or cat, how can they be expected to perform in front of live audience without having a nervous breakdown?

After seeing so many writers either over-act, read with their heads stuck in their pages, mumble their prose, or sport the mien of a deer-caught-in-headlights, I decided to extend my coaching practice to writers. I give them the skills and confidence not only to perform well but to actually enjoy themselves while they're doing it!

I address individual performance concerns from stage fright to comic timing to what to wear, how to sit or stand, and if necessary, how to apply makeup (even men). Writers come away not only with practical tools but with a deeper understanding of their work and what they are communicating through it.

My clients have performed at venues such as The Moth and TedX, and I've taught workshops for organizations such as Pen USA.

Do Nothing: Zen and the art of film-acting
Do nothing. An oxymoron. How does one do nothing? Doing implies an action right? Doing nothing is a very Zen concept. And critical to the art of film acting.
On Acting
Great acting is about action—about affecting—as opposed to showing.
On Auditioning. Part one: Craft
Successful auditioning for television and film has two aspects. One has to do with craft; the other has to do with psychological preparation.
On Auditioning. Part Two: Psychological Preparation
Actors are always being told: “don’t be nervous.” But how can you not be nervous when you really want the part? A paradox: you have to not want the thing you most want.
Play the Scene the Writer Meant to Write
I often hear actors complain that the writing in the shows or films they are auditioning for is clichéd or unnatural: “I would never say that” is a frequent comment. When I was a younger actor I remember making that same complaint myself. Well, if you start from that contention you are judging the material and will never do a good audition.

COACHING FOR WRITERS

COACHING FOR WRITERS

Call for Your Initial Consultation (Free)

Your initial phone interview helps us to get oriented and set goals for the work we will do together. Prices are determined during consultation. (Discounts are given to members of PEN USA.)

Words From Previous Clients

Jamie’s Articles About Acting