Melanie Spiller and Coloratura Consulting

Escapades in Early Music, Writing, and Editing

Stage Fright

with one comment

I don’t get stage fright. After all, one way or another, I’ve been on a stage since I was four years old—ballet, playing the flute, ballroom dance, a brief theater period in college, teaching in a classroom and privately, and of course singing. But when I went to that historical novelists’ conference, lo and behold, I got a little stage fright.

It was standing outside the room where everyone pitched their books to agents and publishers that did it. I was fine, didn’t expect much, thought of it as a way to suck information out of people more than a way to get into print. I got to the room in plenty of time, signed in, and then lurked, listening to the others talk about their books, their pitches, or the weather. Suddenly, my stomach lurched up into my throat. Apparently, it showed on my face, as the nice woman signing us all in came over to me and asked if I was okay.

Heh.

Here’s the thing. I’ve been around plenty of people who get stage fright. You can feel it, almost smell it on them, a kind of quivery stomach, heart in throat extravaganza of sweating palms and loose bowels. But *I* don’t get it. Nope. If you’re prepared, even if you make mistakes, you will recover. Heck, as I always say after singing a solo, “no one was killed.” You just can’t take it so seriously.

But I did. I seriously did.

I pulled myself out of it quickly enough, though. Here’s the tale.

The night before, there was a reception, and we all stood around pitching our books to one another while we sipped adult beverages. This nice young man, a graphic novelist specializing in the Trojan horse era, asked me what it was that I thought would go wrong. I realized that I couldn’t explain. So then he said to me—and here’s the really clever part—give me your bad pitch.

So I did. I slumped my shoulders. I pinched my voice up into my nose. I whined on academically about the driest aspects of my book. I pretended that I was proud of how LONG the book is. I used long words and foreign words to make myself seem smarter. I checked my teeth repeatedly for savory morsels.

Those were all the things I didn’t want to do. So then, he said—knowing I was ready now—give me your good pitch. And I did. I was funny, engaging, and told my story with light in my eyes. I could feel myself just flat out enjoying that I’d come up with this idea and seen it through. I mentioned my second-draft trimming efforts and my plans for the next book.

Ta da!

So there I was, getting nervous in the line to present to important dignitaries, and I just ran that little exercise again. I got all the ickies out before I went in to see someone who could decide whether or not I really did have a good idea.

You know, this works, or so I’m told, for proper stage fright as well. I’ve read that if your hands are all sweaty and your heart is pounding away like it’s a conga drum, you try to make your palms sweatier and your heart beat harder by just willing it so. Apparently, that makes these unpleasant fight-or-flight instincts quiet right on down.

You’ll have to let me know though. Even though I’d only known about the solo for four days (someone had to bail at the last minute), I got away with it at this weekend’s concert extravaganza without a peep of stage fright. After all, no one was killed.

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Written by Melanie Spiller

June 29, 2011 at 7:37 am

Posted in Thoughts, Writing

Tagged with ,

One Response

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  1. I love this. I am convinced that the whole experience for you was money and time well spent. The approach/method employed by the pitch coach was very professional. I get the feeling that while they value the product, they have a sincere and vested interest in their prospective writers. Again, I thoroughly enjoyed all of the above and sincerely thank you for being so very candid about this your pitch experience. Continued luck and success!

    ramseyk614

    June 29, 2011 at 12:22 pm


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