Being There – The Importance of Showing Up

Today I want to talk about the value of creating an experience. One where you show up, where you engage with others in real-time, where it becomes about more than “consuming content.”

I’ll frame this with three examples from my life this week:

In a moment of excitement, I purchased 7 tickets to J.K. Rowling’s only US appearance, a Q&A and book signing in New York City. When the tickets arrived, I was flumoxed as to what to do with them. They were hard tickets to get, and were now selling for hundreds of dollars each on the aftermarket. I could easily have made hundreds if not thousands of dollars by selling them.

But instead, I wanted to create an experience. I wanted to share these tickets with people who inspire me, who would make the evening even more incredible.

So I did two things:

  • I held a giveaway where I offered two of the tickets to writers. My goal was to help a writer meet their hero.
  • For the remaining four tickets, I reached out to a few people who I thought would make the entire evening a celebration of children’s & young adult literature. In the end, I gave the tickets to: Betsy Bird, Gabriela Pereira, Alison Morris and Lori Ess. All people who champion writers!

Here is our little group:

The evening was filled with discussions on books and writers, and tons of laughter. It’s the only time I’ve ever heard a potential review for a kid’s book as “It’s F-ing awesome!”

This was truly the experience I was hoping for – spending time with folks who write and support writers. Oh, and we got to meet J.K. Rowling:

For the past 8 years, I have volunteered at PS 123, a public school in Harlem. Showing up to the school, talking with the students and the faculty, I learn more about the successes and challenges of an inner city school than I could ever learn by reading an article or a book.

This week I had the first meeting with their 2012/2013 newspaper staff:

More and more, it is easier to “like” a cause on Facebook, to make a $25 donation on Kickstarter, and feel involved in helping others. But nothing beats showing up, spending time, and most of all: listening.

This is exactly why I am so passionate about education, why I teach courses and workshops. It goes beyond “delivering information.” It is about conversations, explorations, experiences, and relationships. So many “courses” out there that just send you PDFs each week. Yes, they are filled with GOOD information, but that is very different than engagement – being part of an experience.

As I think about what I will create in the coming months and years, more and more I am considering the unique experience that can be shared. How we move away from commoditizing information, knowledge and relationships. How we can come together in ways that are unique, and truly build not just a career for writers, but an interesting life and legacy.


Writers: Win a Ticket to See J.K. Rowling In NYC!


Are you a writer who has been inspired by J.K. Rowling and would like to see her in New York City? Well, I have something special to offer you.

I am giving away 2 tickets to this event, J.K. Rowling with Ann Patchett at Lincoln Center on Tuesday October 16th. The evening will consist of a Q&A between J.K. and Anne, a reading from J.K., and a signed copy of her new book, The Casual Vacancy. I believe that you get to actually meet J.K. during the signing!

I work with writers and publishers, helping them them build and engage their audiences. It’s an incredible honor to help writers ensure their voice is heard, and to be a part of their journey. I know how much J.K. has inspired writers, and would like to fulfill two writers’ dreams to see their idol!

This is her ONLY public appearance in the United States.

To enter, fill out the form below, and read the complete giveaway rules.

To make this more interesting, I will be asking a few questions as part of the contest entry:

  1. Why do you write? How do you hope your writing affects the world?
  2. How has J.K. Rowling inspired you?
  3. What is your biggest challenge as a writer?

I may be quoting some of the answers I receive in an upcoming ebook I am creating, crediting you of course. The ebook will help other writers understand the passion that motivates you, and address the common challenges writers share.

All the details on the contest rules can be found here.

Please note:

  • My intention is for the contest to be open to writers – those who write in order to share their work with the world.
  • The deadline to enter is 11:59am ET on Friday October 12, 2012.
  • I will choose two winners, and each will receive a single ticket to the event.
  • The winners will be chosen at random.
  • Winners will be notified via email. We will meetup at Lincoln Center on October 16th, just prior to the event to give you your ticket.
  • You must be 18 years of age or older to enter and a legal resident of the United States.

All the details on the contest rules can be found here.

The entry form is below – thanks!



What Is Your Biggest Challenge As a Writer?

Most writers I know have a laundry list of challenges. They try to balance their home life, work life, and writing life, hopefully finding fulfillment with each.

Over coffee and drinks, they tell me where they fall short. Over Skype and through courses, they tell me where they fall short. These conversations are not indications of failure, because, you know, that is life. Every day, we fall short by some measure. But unless we identify and address these issues, how can we improve and each lead the lives we want as writers?

So I created a short 4 question survey to learn more about your challenges as a writer. If you have a moment, I would GREATLY appreciate your feedback and insight:


I am creating several resources for writers that will launch this Fall, and couldn’t be more excited about them. Your answers to the survey will be used to craft these resources ensuring they help other writers in addressing their challenges.


My Podcasting Equipment

Recently I setup a podcast studio at home, and today I want to take you through the hardware I chose.

First though, why podcasting? When I mentioned podcasting to my wife, her immediate reaction was “that’s so 2006.” But with the web so crowded with Tweets, pins, status updates, and blog posts, I have been obsessed with how video and audio help establish a really personal connection between people online.

As I researched podcasting, I heard again and again of the power of “being in someone’s head” for the length of a 30 or 40 minute podcast… that while they jogged or commuted into work, you had their undivided attention. In a crowded world, this is an uncrowded channel.

Why is TV still so powerful? Because people connect with eyes and voice. If you are vlogging or podcasting, you learn how personal people feel their connection is to you. People may feel they know you, just because they have followed your podcast or vlog for a long time. Blogging… similar, but without the eyes and the voice… the connection may not be so pronounced.

With most modern computers, you can create a podcast with no additional specialized equipment. There is a microphone built right into your laptop or desktop, and there are plenty of free programs to get started.

But I am an audio nerd. I believe in the power of good audio, and used to be obsessed with my stereo. It was largely a vintage system, driven by vacuum tubes, and centered around a turntable because it delivers a richer experience than digital files or CDs. Here is the turntable before it was dismantled as I prepared for my son to be born. (delicate things don’t mix with toddlers):

Garrard 401

So when I got into podcasting and video, I wanted good audio quality. When people can’t hear you, when there is too much echo or distraction in the audio, it makes it impossible for someone to follow along and become engaged.

So I researched what the pros use. Like many who start in podcasting, I turned to Cliff Ravenscraft who runs a site called
I looked at what professional podcaster Leo LaPorte uses.

Here is a quick list of my podcast equipment. Below that, I dig way into why I bought each piece of equipment, and things you should consider when you are selecting your own podcasting gear. Prices are approximate:

  • Heil PR40 microphone $300
  • Heil shockmount $100
  • Heil boom $100
  • BSW pop filter $60
  • DBX Compressor $85
  • Allen & Heath Mixer $235
  • XLR Cable $10
  • 1/4″ audio cables $10

Screen Shot 2015-08-21 at 6.15.57 PMClick here to receive my free PDF guide: Podcasting Equipment and Setup Guide

And here is what I bought and why:

This is the input – the critical first link in the chain. In the past I have used several other microphones for recording audio on my computer. This is my history with microphones for podcasting…

The Blue Snowball microphone is a popular and inexpensive microphone that produces great sound for it’s cost. But… my Blue Snowball had a bug that many of the earlier models had: it recorded audio at a low level. So when I recorded an interview with someone, my audio was always lower than theirs. Evidently, the company had released a firmware update to resolve the problem, but after numerous attempts to contact the company, they never responded.

Despite me being a little upset with Blue, I gave them a second chance, by buying their Yeti microphone next. About twice the money as the Snowball, it produced even better sound, and at the appropriate level. But, I quickly found a problem, the same problem that Andrew Warner of found when he used it. This microphone has a large stand that rests on your desk. If you type or take notes as you record, the microphone picks up very loud tapping sounds. It became a big distraction for me, so that meant it was time to upgrade again.

The next step most people make is up to the Rode Podcaster microphone. It’s still a USB microphone, and pretty much professional quality. Again, you double the price from the one before it, the Yeti. But this mic asks to not rest on your desk, but to be suspended by a boom, which is really the best solution. So you have to add in that cost, a $100 boom and perhaps a $40 shockmount.

As I did my research, another microphone received glowing reviews by both Cliff Ravenscraft and Leo LaPorte: the Heil PR40. About $100 more expensive than the Rode, at around $325, the Heil seems to offer “dreamy” voice recordings. But… because it was a professional mic, the accessories add to the price. You need a boom and shockmount as you do with the Rode, but the Heil is not a USB microphone. So you need an interface to get the audio from the mic to the computer, and an XLR cable. Here is the mic with it’s shockmount and boom arm:

Heil PR40

Being the audio nerd I am, I couldn’t resist seeing what this mic had to offer. So this is what I bought:

The boom and the shockmount create a system whereby any movements don’t disturb the microphone to a degree where it records a bump. It’s like a shock system on your car. That, if someone walks by next to your office, it doesn’t shake the mic and create a noise in the recording. Or more likely, when your leg taps the desk accidently, it doesn’t come up in the recording.

The pop filter helps your “s” sound come off a bit more naturally, and avoids that pop sound you sometimes hear when you say a “p” into the microphone.

Because the Heil PR40 is a not a USB mic, it needs an interface between it and the computer, for two reasons:

  • Pre-amp: this mic does best with a pre-amplifier, which essentially processes and boosts the signal from the microphone. You can buy a pre-amp separately, an interface box, or buy a mixer with one built in.
  • We need to convert the signal to a digital signal that has an output with a USB cable so I can wire it into my computer. Likewise, you can use an interface box or mixer for this.

I chose to go with a mixer, because honestly, it just looks more impressive. Okay, okay, it provides greater flexibility for other audio needs too.

I did a TON of research on this, and found lots of folks mentioning Behringer and Mackie equipment. I researched in music forums as well as podcast forums, since musicians obsess over quality and really abuse their gear. Again and again, I found references to Behringer equipment as having lower musical quality and more likely to break. Mackie seemed to be the next step up. In my research, I found glowing reviews of a brand I never heard of: Allen & Heath. In the end, I found a great deal on Amazon on their ZED-10FX mixer. Here it is:

Allen & Heath ZED-10FX Mixer

It has a highly respected microphone preamp, great build quality, USB is built right in, lots of channels, and at the price I got it for, I could likely resell it for about what I paid for it. Also: it accepts XLR inputs! Sure, there are lots of things on this mixer that I don’t need, so I just ignore them. I need just one channel right now, not 10. I don’t need any of the special effects it offers.

You know how you hear a radio announcer or DJ on air, and they have a bold and powerful voice that is silky smooth? And then, you go to some county fair and meet them in person, and they sound like Woody Allen? That’s partly because of a compressor/limiter/gate, a little box that does wonderous things to your voice. Consider how Howard Stern sounds on air vs how he sounds in a TV interview. It’s a different voice.

A compressor essentially limits different frequencies in different ways. For me, yes I want my voice to sound better, but since I work at home, I want the microphone to ignore subtle background noises. You know, things like my kid playing two rooms away. Or my kid terrorizing the cat. Or my kid… well, you get the idea.

In researching brands, I found myself overwhelmed with choices, and a bit sheepish to spend yet ANOTHER $200 or $300 to get a decent compressor. I found DBX brand compressors which have a GREAT reputation for sound quality, features, and build quality. And here is the trick I used:

  • Buy an older model.
  • Buy used.

I ended up with a DBX 166xl. This is VERY similar to their current production model, and because it is a bit older, easier to find used on Craigslist and eBay. I paid $85 for it. Here is the unit:

DBX 166xl

Now, here are the dials (but not my actual settings):

DBX 166xl

You can see the 2 dials for expander/gate, 5 dials for compression and 1 dial for the limiter. This gives you LOTS of control based on your room, your voice, and the sound you are going for. I found this great video on YouTube where someone takes you through each dial on this unit, I’ve watched this again and again (and again):

This is a two channel compressor, but since for podcasting I am just using it for voice, there is a great switch that couples the two channels into one. There’s also a nice “auto” button that sets Attack and Release for you automatically.

Of course, there is, but I know some folks who don’t like Amazon. Another great source for buying audio gear is Incredible selection, prices, and service. They have an amazing store in NYC as well, it’s worth the journey there just to see how they manage their inventory.

One discovery I made was They had the best prices I could find anywhere, and it’s where I ended up buying the microphone. Hint: if you call their telephone sales rep, they may give you even lower prices than you find on the website.

And for used gear, there is and eBay. Bands and musicians are always selling off used gear.

Now, on the software side, I keep things simple, I record both audio and video using Screenflow. Um, that’s it. Well, I sometimes convert files to MP3s using iTunes. I suppose I have a lot to learn here… but that is for another blog post.

So after all this, you probably want to know, how does the setup SOUND? Well, here are a couple of examples:

Now as a comparison, you can listen to a video I did with Jane Friedman back in 2010. I was probably using the Blue Snowball mic back then, and it sounds as though she is using the mic that is built into her computer. As you can tell, there are degrees of quality.


So, that is everything I have learned about podcasting hardware so far this year. Ask questions below!

Note: I shared an updated blog post on additional podcasting equipment I purchased here.

Do You Choose To Be Overwhelmed?

We choose more. Not less.
We choose potential, not acceptance.
We choose new, not old.

We race.
We strive.
We double down.

Do more. Be more.
Conquer. More.

Overwhelmed. This is the singular theme I see repeated again and again with so many people I know. Overwhelmed with all they want to do. All they want to be. All they have. All they hope for. All they are obligated to do.

We say we want simplicity. We lie. To ourselves.
What embodies the simplicity and focus you want in your life?

This week I saw my favorite singer perform in an intimate gathering of 200 or so people. Glen Hansard, famous for his music in the movie Once, which won an Academy Award, and the bands The Swell Season and The Frames.

There is something about a singer such has him that embodies what so many seem to desire: Focus. Simplicity. Meaning.

The music embodies the ingredients of a fruitful life: Conversation. Art. Relationships. Literature. Travel. Experience.

You likely have someone like this in your life, a singer who inspires you, or perhaps an athlete, writer, social leader, scientist or someone in another profession. And when we see them or experience their work, perhaps we idealize that they embody a balance, a focus on only what matters.

That when you consider this person you admire, it strips away the things in your life that you are slightly unsettled by. That you sit in a gray cube at work all day. That your Saturdays are spent cleaning out the garage. That you are overwhelmed by email and social media. That when you were 19, life was about exploration and conversation, and now, somehow, it all seems to come back to money. That perhaps you feel like you can’t remember the last time you read a book. That you are defined by a business card.

That you would spend more time with your family, if only…
That you would spend more time with your faith, if only…
That you would get back in shape, if only…
That you would be who you always wanted to be, if only…

… if only you weren’t so overwhelmed.

I have been immersing myself in the topic of productivity in preparation for some upcoming projects. And when I see Glen perform, things like the Getting Things Done system seem, well, silly. Yes, I have a respect for the system, and know it works. But the need for it justifies a life that many fear. One with constant inputs that need to be managed. One where we need to train ourselves to be disciplined, just to keep up with it all. To to excel, but just to keep up.

Do you feel the pressure to live up to a certain standard of consumption and productivity?

Here is a video I shot of Glen singing this week:

To me, it is a reminder. A respite.

What is yours?