Performer? Moi?

PJ Nunn

Arranging radio interviews for authors is by far the most popular service I offer, at least in volume. And it still amazes me what a broad spectrum of responses I hear about those interviews. Some love them, some hate them, some endure them as a necessary evil. Some swear they're not worth doing, others think it's the only thing worth doing. Some think NPR is the only radio anyone listens to anymore. Others think only people in New York or Los Angeles listen to the radio. Some see a huge spike in website hits after the interview and others see none. The list goes on.

They pretty much all have one thing in common though. I can't remember the last time an author made a comment about how his or her performance in the interview might have had an effect on the response received (translate sales). I hear a lot about hosts who do lousy interviews or programs that have no listeners. Of course, I don't expect anyone to say they didn't see any sales as a result because they might have done a boring interview, but hey. Shows that have no listeners don't stay on the air long. Somebody is listening. It's up to the author to present such an engaging interview that listeners want to go to their website and learn more, and ultimately to click through and buy a copy or race to their nearest booktore.

I'm never about playing the blame game but I am about accepting responsibility when it's appropriate. The thing that's really hard about authors who blame someone else for an interview that didn't go well is that it leaves them with no control over outcome. If it's all someone else's fault, there's nothing you can do to fix it or to avoid it next time. But if an author's performance on the air isn't as compelling or as engaging as it might be (and let's face it, we all have off days), there IS something that the author can do. That's positive.

But wait, they might say. I'm a writer, not a performer! Wrong. You perform on every page you write. The question isn't whether or not you are a performer. It's whether you're a good one and in what venue. It's way easier to deliver a good performance from the privacy of your office when you can erase and rewrite a million times if you need to. But in a live radio interview, there's no mercy. They're spontaneous. Unforgiving. That's a whole different stage.

Think of it like boot camp. The first middle of the night when the DI rushes in banging a trash can and screaming, the first thing you say when you roll out of your bunk probably isn't, "Yes, Drill Sergeant!" or whatever the prescribed response to that sort of thing should be. Practice is what makes the prescribed response an instinctive one. Thus the word drill I suppose.

So as you prepare for upcoming media encounters, take time to listen to other author interviews and take notes. Consider what works and what doesn't. What not to do can be as important as what to do.

Humor is always good, but only if it's real. Forced humor makes you seem like a joke. Don't do it.

Unusual facts and trivia that relate to your book can be entertaining. Do your research and think outside the box. Think about entertaining listeners more than about selling books.

Any newsworthy hooks and angles are good. Journalists are always on the lookout for new angles on current stories so you never know what can happen. After all, you write fiction. 

And while it may feel awkward and amuse your friends, practicing interview techniques is the very best way to assure that you'll shine when it's real.

Till next time,

Comments

[Jersey Jack]

A tip from a former phone salesman: Stand up when you talk on the telephone. It really boosts the energy in your voice.

[Lartonmedia]

I'd echo Jack's tip. And from a journalist's point of view, remember that a new book out isn't necessarily a reason for media outlets to queue up to interview you. So some sort of other news angle you can find will help your case.