Alyce Wilson

I’ll be participating in Philcon 2020 as a panelist. This year it will be virtual, which means that anyone can tune in. Please visit the official website (https://philcon.org/) to find out more.

Here’s my schedule:

A Worldwide Sandbox
7 p.m. Friday, November 20
Carl Fink (moderator), Eric Hardenbrook, Alyce Wilson, Savan Gupta, Tauney Kennedy

How has modern technology (and our enforced physical separation) changed the way we communicate and collaborate?

Reading – Alyce Wilson
1 p.m. Saturday, November 21

I’ll be reading selections from my newest poetry collection, “Owning the Ghosts,” plus perhaps a selection from my 3x-great-grandfather’s poetry, Dr. James Meredith Mathews, from the collection of his poetry I published in December 2019, “Reading’s Physician Poet.”

How Many Different Modes of Editing Are There?
11:30 a.m. Sunday, November 22
Alyce Wilson (moderator), Peng Shepherd, Barbara A. Barnett, Gregory Frost, Alex Shvartsman

Checking for mistakes in grammar or spelling is one obvious focus of editing your work; looking at potential problems with pacing and plot-holes another. But what about edit passes for tone, and examining how your word choices and sentence structures impact the feel of a scene? Or the value of doing a draft that looks solely at removing anything unnecessary?

Books as Trophies?
4pm Sunday, November 22
Alyce Wilson (moderator), Tom Purdom

Why do so many of us keep books that we already know we’re never going to look at again by the time we finish our first read-through? Is there a quantifiable benefit to keeping them, or are we better off Marie Kondo-ing through our collections?

Here are my scheduled events at this year’s Philcon.

Fri 7:00 PM in Plaza III (Three) (1 hour)
SETTING UP A CROWDFUNDING PROJECT (1826)

[Panelists: Danielle Ackley-McPhail (mod), Rob Balder, Neil Clarke, Gil Cnaan, Alex Shvartsman, Alyce Wilson]

Panelists discuss what worked, what didn’t and why. How can you promote one to make sure it is a success

Sun 10:00 AM in Plaza VI (Six) (1 hour)
YA AND CHILDREN’S STORY READINGS TWO (1996)

[Panelists: David Sklar (mod), Alyce Wilson]

David Sklar and Alyce Wilson read from their works that are appropriate for younger readers

My third of three poems read for the Lansdowne Public Library. There are a couple audio problems with it, but hopefully you can make it out. Factoid: This poem mirrors the form of a poem I wrote 20-some years ago called “Autumn.”

The second of three poems I read for the Lansdowne Public Library in April, this one based on my experience getting KFP fitted for a ringbearer suit. One of favorites!

I was so busy during April that I never got around to sharing the videos of three poems I read for the Lansdowne Public Library. Here’s a fun children’s poem.

My latest article, on places to read your poetry in the greater Philadelphia area, may be of interest to some. Some of them area places that I’ve actually been to or participated in, while others are new to me but sound promising.

Link: http://voices.yahoo.com/places-read-poetry-greater-philadelphia-12616906.html?cat=8

The Readathon went extremely well. I got a good response to my piece and got to network with some awesome writers! There are more photos in the album of the other readers.

Via Flickr:Lucas Mangum’s Awesome Readathon VIII at Between Books on Saturday, October 13, 2012.

I should have posted this earlier, but I was working on a fiction piece for a big writing contest. I’ll share a link when it’s online, which should be on or about October 16.

Tomorrow, I’m going to be participating in what promises to be a fun event: Lucas Mangum’s Awesome Reading Fest VIII at Between Books in Claymont, Delaware.

Each of the participants will read one prose piece that is 1,000 words or less. If you’re local, I hope to see you there!

When I gave my first poetry reading, I was in grad school. This was, astonishingly, roughly 15 years ago now. Although it was my first time at the podium, I’d attended many poetry readings and picked up some public speaking skills both through the undergrad student radio station and from holding leadership positions in various clubs. Using what I learned, I selected a group of poems that went over very well with my audience, and I avoided some of the pitfalls I’d been strike other readers.

With that in mind, here are some quick Dos and Don’ts:

• DO choose a variety of poems that showcase your work, alternating between different types. I like to think of a poetry reading as a spoken mix CD: I choose pieces that are more “upbeat” to follow pieces which are more “mellow.” Remember that even poetry audiences like to laugh.
• DON’T choose poems that take an excessive amount of explanation in order to enjoy them. Make the most of your limited time by keeping your explanations simple.
• DON’T read poems that are difficult to parse from one reading alone. Listeners cannot go back and read something over again.
• DO read poems that make use of vivid language, clear imagery, and striking word use. They tend to go over best with an audience.
• DO read your poems aloud ahead of time, to get comfortable with them and to make sure they will work well as “read aloud” poems.
• DO read poems directly out of any chapbook or book you might have published. It may encourage listeners to seek out those books following your reading.
• DO bring some alternatives with you, in case you change your mind. If you’re reading on a program with other poets and writers, you might be inspired by what the other readers are doing to work in a poem that fits. Or you might decide to pull a poem that’s too similar to something another poet read.
• DO stay close to your allotted time limit. It’s better to leave them wanting more than to overstay your welcome.
• DON’T over-think things. It’s natural to be a little nervous (I always am), but remember that the crowd voluntarily came out to hear poetry and, generally speaking, will work with you.

Following such rules, I have successfully read for a wide variety of audiences. Since poets and writers seldom get to meet their audiences, it’s a great opportunity to be seen and to see how an audience responds.