How to do a radio interview for artists

This morning I had my first radio interview at CHSM1250 and MIX96.7 in Steinbach to promote my book signing and reading of Magic at the Museum tomorrow evening at the Jake Epp Library. These stations cover most of South-Eastern Manitoba and it was the morning show, which meant that hundreds of commuters would be listening is as they drove to work. I was incredibly nervous, but it ended up being more fun than I anticipated (and now I can't wait to do it again!).

A radio interview is like a conversation, but with legions of invisible people listening in. This is simultaneously comforting and unnerving; while you are recording it feels like there are only two people present, but rationally you know that there are many more silent participants in the exchange.

Interviews are excellent way of communicating your message or information about your products to the media. Marketing essentially means making people aware that a product exists and communicating its value and uniqueness to customers. The problem with promoting art over the radio is (obviously) that radio is an aural experience while art is visual. The best way to overcome this limitation is to paint word pictures to describe your work and use illustrative examples in your conversation. You want people to be able to visualize what you are talking about as they drive to work.

The interviewers Michelle Sawatzky and Corny Rempel made me feel immediately comfortable, so my nerves passed very quickly. However, no matter how comfortable you feel, it is still good to have a few guidelines to follow:

1. Have your talking points in front of you, concentrate on getting them across.

2. If it is live, find out how long it will be and how many commercial breaks or songs there are. Commercial breaks are great for planning the topics of the next segment with the interviewer.

3. Find out what kind of audience the show attracts, and pitch yourself appropriately.

4. Avoid talking fast (or too slow), and avoid saying too many ‘aahs’, ‘umms’ and ‘like, you-knows’. Avoid jargon. Annunciate, annunciate, annunciate.

5. Keep your voice even, warm and animated, you want the listeners to like you.

6. Radio stations are always on the lookout for good sound-bytes. See if you can record a promotional for the station saying something like, “Hi, I’m author Jane Heinrichs. Thanks for supporting the arts and listening to MIX96.7.” That way your name will frequently be heard, and you are also advertising the station. It is a win-win situation.

7. Always say thank-you to your host on air, and use his or her name.

8. Keep answers brief, but interesting. You don’t want your host going overtime.

9. Good interviews take practice, the best way to improve is through experience.

10. Send the producer or host a thank-you note afterwards.

Next time I would like to do a phone-in competition or giveaway to up viewer participation. Perhaps my next opportunity will be next summer when we do an official book launch at McNally Robinson Grant Park as well as several school visits and events.

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Roman Pottery Profiles (North Africa)

I mailed a disc of 250 (ish) jpegs to Toronto today. Each illustration is a profile of a roman pot from Leptis Minus in North Africa. Here you see two of the more complete amphorae. The other 248 were varying sizes from complete pieces to itty-bitty sherds.

I had a misunderstanding with one of our tutors yesterday at college. She told me that my drawings were too exacting, too accurate; they needed to be looser and more scribbly. I understand her opinion, but when I told her my background (and the need for swift accuracy) she looked nonplussed. I cannot help that the instinct for accuracy leaks in to my creative work.

These pottery illustrations should be published in 2009 in a monograph covering all aspects of Leptis Minus. I have been working for a long time on illustrations for this book: building reconstructions, statuary, small finds, and pottery (...of course, pottery).

When I went to Lamta (modern-day Leptis Minus) this summer one of the dig directors said to me, "I've been warned about you. They told me you don't like drawing pottery profiles." I laughed. She added quietly, "I can't blame you." Handling pottery sherds certainly isn't my favourite: they have an odd, sand-papery texture; they are dusty; they break my fingernails; and they are little abstract pieces of broken pots. All I usually have to work with is a minuscule rim sherd, from which I have to reconstruct as complete a profile as possible.

Drawing the profile is a non-intuitive process. First you visualize a cross section of the rim in your hand and draw it. Then you measure the curvature of the rim to determine the diameter of the pot. Once you have the measurements, you reflect the cross section on to the opposite side and draw the outer markings. Some people work with a curve comb or plasticine to form a mold of the pot to trace. I find it much easier to quickly measure with my eye, and then draw as accurately as I can on the first try. Once you've drawn several hundred pots you develop an instinct for the rim shapes. The profile pictured above was just a rim, nothing else was left of the pot.

I don't underestimate the significance of these illustrations, as the specifics of roman pottery (where and how they were made, and in what style) can tell a lot about the culture and economics of a region.

If I have to draw pot profiles, I much prefer ARS (african red slip, to those of you who are sniggering). They have a silky smooth texture (no rough hands and broken nails) and they are often decorated with appliqué or incised patterns. Very beautiful.

I'll post an ARS or two for comparison in a day or two.