STATUS: Uh, it’s Friday, right? I think I’m going to be working this weekend…
What’s playing on the iPod right now? MRS. ROBINSON by Lemonheads
Trust me, I can sympathize. Every time I sell a client book, I immediately tell the author that it’s time to write the official author bio and to go get the professional headshot done.
This is usually met with a groan (and occasionally with author excitement).
And I know the feeling. Guess what Sara and I did today? Yep, we had our professional headshots taken. I try and do a new photo once a year (but it ends up more like a year and a half and sometimes two between shots). I wait until I change my hair style or have some other reason to endure the process yet again. In this case, it’s grown out so I don’t have super short hair anymore. I’m overdue for a new photo.
Off to the studio we went. It can be the equivalent of going to the dentist. Today I learned the importance of a really great photographer who can make you relax. That ended up being immensely helpful in the quality of the shots Sara and I did.
The first 20 shots could pretty much be thrown out. Then I decided to find out if “moving around” a bit could help the process. Boy did it. I got quite a few decent, more relaxed, normal-looking shots. When I have them to share, I will. (I haven’t done the official choosing yet as I plan to forward the link to all my clients so they can vote on which one they prefer. I figure it’s only fair when THEIR shots have been subjected to my vote and opinion. Turnaround is fair play and all.)
Here are some good tips the photographer shared with us before our shoot. You may find them helpful when that time comes for you!
1. A successful picture will direct attention to your face and not to your clothing so wear sold colors and avoid patterns.
2. Long sleeves are better than short since bare arms compete for attention.
3. Medium to dark tones are best against a dark background (who knew?)
4. Avoid bright colors (as they compete) and stick with neutrals. Also, splashes of bright can draw the eye away from the face.
5. Red is a good color for outside shots.
6. Avoid white or super light colored shirts. (Are you sensing a theme here yet? I think black or brown is going to be your best bet—unless of course both colors don’t work for you.)
7. Avoid shirts and sweaters that completely cover the neck (interesting!). V-necks are fine as long as they aren’t super wide or exaggerated (and I might add, too plunging as they would also compete with your face).
8. Throw out all these suggestions and wear what makes you comfortable. Big smile here.
In general, if you are going to a professional photographer with controlled lighting, make up probably doesn’t need to be too heavy (and I’m sure the guys just breathed a huge sigh of relief there). Lip gloss also tends to be too shiny.
And once there, see what you can do to relax or put yourself at ease. I think it helped a lot that Sara and I went together as we could casually chat and laugh at what didn’t work.
All in all, this was the least painful experience I’ve had doing the shot. I’ll definitely go back to West End Photography so you can certainly bookmark it if you live in Denver/Boulder.
And one last comment. Be sure that when you do the shot, you have the photographer agree to sign a photo release (or copyright assignment). That way you own the picture and can then use it for any type of promotional material without having to get permission, etc.
That’s really important.
Viewing: Blog Posts Tagged with: Johanny Vázquez, Most Recent at Top [Help]
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By: Kristin Nelson,
on 3/14/2008
Blog: Pub Rants (Login to Add to MyJacketFlap)
JacketFlap tags: publicity, author bio, headshots, Add a tag
By: Lisa Alvarado,
on 3/5/2008
Blog: La Bloga (Login to Add to MyJacketFlap)
JacketFlap tags: interview, women of color, women's studies, playwriting, women and performance, Teatro Luna, Latina, Johanny Vázquez, playwriting, women and performance, Johanny Vázquez, Teatro Luna, Latina, Add a tag
Teatro Luna has a BRAND NEW SHOW opening on March 6th, but you can catch it now! This Saturday and Sunday see a sneak preview of Teatro Luna's most intimate show yet... SOLO TU, a collection of four interwoven solos all about different women's experiences with PREGNANCY.
One woman thinks she's finally built the perfect family - Mom, Dad, Cute Kid- until an invasion of mice makes her wonder what's really going on. Another woman finds herself caught up in the worst kind of Baby-Daddy-Single-Mama Drama. Meanwhile, a woman in her third year of trying to get pregnant decides her pregnant friends make her want to vomit, and her close friend wrestles with pro-life activists, hospital robes, and how she feels about having an abortion in her 30's.
Mind, you the company is filled with talented, writers and performers, and it was rough to pair down, but gente, enjoy this interview with three of Teatro Luna's members, Diana Pando, who does administration for the group as well as writing, Tanya Saracho and Diana Herrera, both writers/actors.
DIANA PANDODescribe your own personal journey as a writer.
Well, I’m trying to catch up to myself in this writer’s journey. I write poems, press releases, blog, snippets here and there of scenes and dialogue. I want to spend more time writing fiction and trying to better understand my creative process. I’ve worked with a lot of people in the arts and enjoy supporting their creative efforts. This year, I’m going to be a little selfish and focus in on my creative pursuits. I’ve always liked journal writing. Just the other day I dusted one off and leafed through the pages and it allowed me to remember myself in another place and time. Writing is so powerful. I think when you write your higher self is revealed.
How did your voice and your message begin to reveal itself?
Voice is so powerful. You either use it or lose it. I think my writer’s voice is still revealing itself in these early stages of my writing life. For me it’s writing bits and pieces here and there. Eventually, coming back to the kladeiscope of writing that I do and putting it all together.
Who were/are important influences for you?
There are a lot of wonderful writers that inspire and influence me. The one that impacted me directly was my mom. She worked long hours at a meat packing plant and at the thrift store on the south side so I can have the luxury of writing. After she passed, I found a lot of notebooks with journal entries, unfinished letters and poems. Every now and then I find a little note that brings a smile to my face.
How does Teatro Luna feed your creative life and vise versa?
Teatro Luna has creative energy spewing out in every direction. The ensemble is such an energetic and hilarious group of talented women. You can’t help but be inspired. They are paving the way for that next generation of Latinas in the arts. I’ve had the opportunity to participate in one of their writing workshops. The piece that I created out of the workshop is called Tía Betty and the Glucose of Doom based on my mom’s struggle with diabetes. The workshop process is definitely a powerful one. It gave me the creative kick in the butt to nudge me a long. As a result, the 20 minute piece I wrote is slowly expanding taking on a life of it’s own. I work on and off on it because it’s a hard and personal piece to write.
What's the significance of working in an all woman-all Latina teatro?
I think it was in 2002 when I first went to see one of TL’s shows when they were at the Pilsen space. I was blown away! I had never seen Latinas on stage before. It was a major discovery for me. By creating new works Teatro Luna is impacting local and national audiences through touring. Teatro Luna is currently the only Latina theatre company producing full seasons. For me there is nothing better than seeing these brilliant Latinas blazing on stage and practicing their art and sharing the stories of Latinas with others. Their communal creativity is really in harmony with each other and adds to their success.
You work in a variety of discplines---playwriting, poetry, performance--
Talk about the differences in each. Is there a genre you feel is your "favorite?"
As an emerging writer, I think my strengths are poetry and fiction writing. I’m dabbling in playwriting because I’m absolutely fascinated by creating dialogue and having actors bring the characters to life. Even though I’ve been doing theatre administration for Teatro Luna they teach me so much about the process.
Talk a little about Proyecto Latina. What do you hope it provides for community writers, and book lovers?
Proyecto Latina is a wonderful community based initiative between Tianguis Bookstore, Teatro Luna and myself. This open mic takes place every 3rd Monday of the month at Radio Arte and it’s a place for Latina’s to come out and show off their talent whether it’s poetry, fiction writing, belly dancers and Hula Hoopers it’s an open mic that brings together emerging and established Latinas in the arts to share, explore and encourage their creative pursuits. We are impacting that next generation by giving them an outlet to show off their creativity. Irasema Gonzales, owner of Tianguis Bookstore, has done an amazing job of lining up some the best features. There’s even a chismé box where you can drop your anonymous chismé and we read them during the open mic. Please drop in and check it out. Log on to http://www.tianguis.biz
What are you sources of inspiration?
A source of inspiration for me is walking through the city. I’m a big fan of long walks despite a toe spur gone amuck. Anyway, too much information. Friends always look at me with suspicion when I tell them we are just three blocks away. Rightfully, so I guess. Three blocks is the equivalent of ten blocks for me. I’m a wanderer. I love to look at people, places and things. Me embobo luego, luego, especially when I’m in Mexico City. There is nothing like being in the Zócalo on a rainy day. Definitely inspires and leaves me drenched. I always forget my umbrella…
What's the role of female friendship in your daily life and as a writer?
Funny you should ask this question. It’s my lifeline! I can’t go back to anything else. In 2002, Irasema Gonzales invited me to see a reading of Sandra Cisneros up at Loyola. I was feeling a little lazy and it was cold out. Thankfully, she dragged me out there anyway. It was an amazing reading and what came out of it was such a blessing. After the reading Sandra was signing her book and answering questions. There was this annoying girl with a red shirt talking and talking to Sandra. “Hurry Up” I wanted to yell “We want to talk to Sandra too!” The line finally began to move and when we got there Irasema asked about writing groups and Sandra told us to connect with the woman in red. The woman in red is now a dear friend and fabulous writer. Our writing group consists of Lizann Acosta, Professor of World Literature & Teatro Luna Artistic Associate, Irasema Salinas, Tianguis Bookstore Owner, Family Dr. Yolanda Cardenas, Magda Banda Ph.d Candidate in Comparative Education and me. Sandra probably has no idea but she’s our writing group madrina.
Where would you like to be creatively and professionally in ten years?
In ten years, I will be producing consistent work in different generes of writing, collaborating with other Latinas on projects, encouraging Latino professionals to support the arts through philanthropy, create the Mariposa Atomica Arts Fund and do advocacy work for the arts. Latinos enrich the arts in the city of Chicago and it’s important that we support and cultivate those efforts.
Tell us something not in the offical bio.
I have an 800 pound Dalmation and he’s more than a decade old, I’m a mascara junkie and my favorite mantra is vision + action = Reality.
TANYA SARACHO(Courtesy Time Out Chicago)
Describe your own personal journey as a writer.
How did your voice and your message begin to reveal itself?
Who were/are important influences for you?
I am undisciplined and disorganized. My journey is clunky and aimless lately. Ultimamente, I write because projects are due. I haven't written for the joy of it in a while. Well, angry emails and blogs, but nothing of note. Inspiration hits me like a headache, or a stomach ache-it's a painful process sometimes-and it hits at the most inopportune times. Like when I'm driving and talking on the phone, when I'm in a waiting room-with no paper or pen, when I'm in the bathroom. It just hits and runs through my body like diarrhea. It is not a pleasant experience sometimes. It used to be. The little lightning bolt that tingled. Now? It's mostly a painful thing. Maybe it's because of the pieces I've been working on lately. I don't know.
Everyday people influence me. I love how people talk. I love dialogue. I love talking. I sort of like listening. I like talking more. But when I do listen, I love the shifts in cadence and tone, tilts of accents and quirks of the vernacular. I love how people talk. I love how MY people talk. And that umbrella is a large one. I consider most MY people.
How does Teatro Luna feed your creative life and vise versa?
What's the significance of working in an all woman-all Latina teatro?
I would never have been able to explore the topics and styles I've explored during the last eight years, had it not been for Teatro Luna. Who would've produced a half bilingual play about a two young Mexican girls growing up in Texas? Who would have produced three monologues about being a woman of Mexican descent, and let me play them all? Who would have let me show my scars, both physical and emotional, and not judge me harshly for it? No where would I have been able to do that. Teatro Luna is a beautiful thing. It's a sisterhood, it's a womb-I don't care if I sound cheesy-it IS a womb. People feel it when they come around us. Everyone's worked is supported, pero tambien nos jalamos las orejas. It's a beautiful thing. I love women. I love women's stories. I love to give voice to women. I...I just love women.
In a related vein, Teatro Luna has plumbed the Latina experience and pushed the envelope on issues of identity, gender and relationship. Talk about TL's significance as a child of traditional teatro, of post-movimiento social commentary.
It's hard for me to have perspective on this. I'm not objective. Obviously, I think what we do is really interesting. But I don't think we've pushed the envelope enough. What we do is pretty simple. We get up there and tell stories. If that's not traditional teatro, I don't know what is. In form, we are not that...I don't know, we are not that innovative. Episodic, ensemble-built work has been around since the Greeks, since Miracle plays, since Spanish pasarelas and posadas de la colonia and early twentieth century Latin American revistas. I think our uniqueness is found in the sum of our parts, in the combination of how we treat topics, how we build pieces, in our gender and our race/ethinicity/nationalities. It's the sum of all those things that create that special something that is Luna.
You work in a variety of disciplines---playwriting, poetry, performance--
Talk about the differences in each. Is there a genre you feel is your "favorite?"
I'm mostly a writer for the stage. I don't have a talent for poetry. I respect poets immensely. To be able to structure and mold words aurally and rhythmically is a talent I truly admire.
Talk a little about Proyecto Latina. What do you hope it provides for community writers and book lovers?
I can't believe we've been doing Proyecto Latina for two years now. I remember the first time we did it, and how we filled Meztli Cafe and how every one was excited about every performer. You could feel the electricity in the place. Not much has changed, the location perhaps, but people are still excited to hear and support new work by Latina writers-of all genres, not just poetry. It provides a much needed outlet and cocoon to nurture our work.
What are you sources of inspiration? What's the role of female friendship in your daily life and as a writer?
All my plays are about females. I don't think that's limiting in the least; They all deal with a female central character and I can't deny it, each and every one has at least a bit of coloring that I draw from the women in my life. My mother, my sisters, my Teatro Luna sisters (who are more than friends)... I take the ribbons of vernacular from their mouths and plaster them on the stage. Their words are much more brilliant than mine will ever be. They are wise and funny and flawed. It's my friend's Yadira's zinger lines and her obsession with the perfect meal. It's my friend Miranda's struggle for her dreams and the sting failure causes. It's Tatiana's depression and her unwillingness to come to surface, but her attempt at it every day. It's my friends navigating their contradictions. Those things are much more interesting than anything I'd come up with on my own. Now I might piss people off. Make them angry because I just take one tiny little shade of blue here, or a smudge of brown and they think that's definitive of my opinion of them. But that's never the case. I am often in trouble for it though.
Where would you like to be creatively and professionally in ten years?
I'd love to be feeding myself fully with the work. Sharing it with as many people as possible. In whatever form. Whatever that means. Whether bigger stages. More productions. Far reaching publications. I'm not sure what that means, but I'd like to have figured it out and be in a place to open doors for other people. Be on the founding stage of programming that makes sure our voice is being heard. In ten years I would have liked to have gotten out of my myopic state and attempt a period piece about hoodoo in the American South during the late 1800's. Nothing to do with Latinidad. That's just a little project that has been rattling in my brain. But it's a long time for that one. In a decade, I'd like to have a cannon of work I can be proud of, but having the best yet to come. Also, in ten years Teatro Luna will be an institution; financially healthy, administratively strong, artistically excellent. Still doing the work.
Tell us something not in the official bio.
I am addicted to divination and getting my cards read. Every week. Every. Week. My name is Tanya Selene Saracho Armenta, and I am a divination addict.
DIANA HERRERADescribe your own personal journey as a writer.
I took a new plays workshop class in college as an actor, but the teacher made all of us write these six-line scenes…it was my first time writing dialogue and characters and I had a blast. My teacher thought I had potential, so he kept bugging me to take his Playwriting class. I was like, I'm not a writer but he persisted. I finally took the class and fell in love with writing. I write solo pieces and short plays now, and I'm working on trying to get a full-length completed…kinda hard when you have a 6 month old at home! But I'm trying!
How did your voice and your message begin to reveal itself?
I don't think my voice really revealed itself until I started working with Teatro Luna. I learned a huge lesson "write what you know". I also learned to write from a more honest place—my writing has progressed leaps and bounds since I started working with these lovely ladies!
Who were/are important influences for you?
Important influences—I'm not very well read when it comes to playwrights—I know, I know…it's a shame. But I do have to say that Tanya Saracho has been a huge influence on me. I love how ALIVE her characters seem—she is so good at mapping these journeys for her characters that are interesting and humanizing…you walk away from the show dazed, thinking where did that time go? It just flew by? What's going to happen to that lady now? And you find yourself still wondering about that character weeks later…that's the sign of a great writer. To keep you involved with the story even after you leave the theater.
How does Teatro Luna feed your creative life and vise versa?
Since a lot of the TL projects are ensemble-based, I tend to spark ideas off my fellow cast members. I love that they have workshops where you can bring in your writing and get feedback…I think it's such a great environment for developing new work.
What's the significance of working in an all woman-all Latina teatro?
The all-woman all-Latina teatro is a GODSEND. I worked in sketch comedy for a long time, and the male competitiveness is incredible. And if you are a woman who is a talented and prolific writer, watch out! One time, I actually had one of my cast members call me to tell me to stop writing so much…he was upset that I was constantly "showing him up" because I'd bring in 10 sketches to his 3. It's fine to have healthy competition, but not in an ensemble setting. That conversation ruined the project for me. Another wonderful thing about working with all women is when you're having a bad day, you don't get the "she must be PMS'ing" eye roll…you can be more open with your emotions. It also frees you up creatively because you are more likely to be more open with your work and more willing to accept criticism.
I enjoy the COLLABORATIVE feel of TL, and a lot of it has to do with the all-women role. As for all-Latina…it's like being home. I might not speak Spanish, but I identify as Latina…and it's nice to be in an environment where I don't have to explain why I'm not drinking margaritas on Cinco de Mayo!!! It's also inspiring to have this group of strong, talented women who embrace their heritage.
In a related vein, Teatro Luna has plumbed the Latina experience and pushed the envelope on issues of identity, gender and relationship. Talk about TL's significance as a child of traditional teatro, of post-movimiento social commentary.
Egads…that question feels like an essay test I haven't studied for!!!! I think Coya and Tanya will be able to give you a better answer than what I can give…pass!
You work in a variety of disciplines---playwriting, poetry, performance--
Talk about the differences in each. Is there a genre you feel is your "favorite?"
I don't work too much in poetry, except what I write in my journals that will never been shown to ANYONE 'cause it's really bad poetry! But here we go with the other two. My favorite has to be playwriting because I think I have a God complex. Seriously, it's intoxicating to create this whole world and populate them with these people that use YOUR WORDS to express themselves…then if you're lucky you get a chance to see it LIVE!! How cool is that? Also, though…there is that moment of CONNECTION. When you make a bulls-eye with the hearts of your audience members. There is nothing as gratifying as when someone comes up to me after a show and tells me, you were writing about me. I wrote a piece in "The Maria Chronicles" about visiting my brother in prison, and after shows I had several people tell me about their experiences with family members in prison. One lady told me that after my piece she reconciled with her brother and visited him for the first time in years. That really touched me. It might sound trite, but it's true…writing plays for me is like reaching out and saying "I'm not alone, you are not alone…for this moment we will be taking this journey together". I write because sometimes these feelings I have are so intense it becomes necessary to overflow them onto paper. I chose to share my journey, though, instead of locking it up in a diary (well, except my poems. Those don't need to be shared!).
So where does performance fit in? To me, performance is another level of connection with the audience. It's very cathartic, and it's wonderful because you get instant gratification…laughter during a one-liner delivered just right, silence during a dramatic moment…applause. Oh, the applause! Performing is such a high, because you are on this tightrope wire where any sudden change (even something like the theater being too hot or the seats too uncomfortable) will distract your audience…you have to EARN their attention…but once you've earned it what a RUSH.
Talk a little about Proyecto Latina. What do you hope it provides for community writers and book lovers?
I've enjoyed participating in Proyecto Latina in the past…unfortunately I've been absent from the monthly events for a while. However, I think it's such a wonderful opportunity for new artists…and I LOVE that there is a set limit of people that can perform, that it's a 5 minute time limit and that there is a featured performer. That is key…to be able to enjoy these "tastes" of performance without being overwhelmed by a 4 hour open mike. I know being able to hear various artists has inspired my own writing. I'm hoping I can start attending again…I've missed it!
What are you sources of inspiration? What's the role of female friendship in your daily life and as a writer?
My family is a HUGE source of inspiration for me—we have this carefully honed sense of humor that I use in my writing. They are very supportive of me—I talk a lot about them in my pieces and I haven't been disowned. Yet. I love comedy, so of course I'm all over female writers like Tina Fey—even watching the old episodes of The Carol Burnett Show gives me inspiration as a writer. Currently I'm working on a two-woman show, and we are using "The Search for Signs of Intelligent Life in the Universe" as inspiration…Jane Wagner and Lily Tomlin collaborated on this piece, and it's amazing.
Where would you like to be creatively and professionally in ten years?
Creatively, I'd like to still be writing and getting my work produced…if I can perform occasionally that would be a bonus. It's hard because I do have a family now, and I'm the primary breadwinner…so not only do I have to balance work with family, I have to find time to write and stay involved in projects as well. The good thing is that my husband is VERY supportive—in fact, he's the one that keeps pushing me to take on these projects and he's great about covering the night shifts at home, taking care of our daughter and the house. So it's just a matter of figuring out what the next step is…the point is, I can't figure out next year, much less TEN years from now!!
Tell us something not in the official bio.
I am a HUGE fan of science fiction—my favorite authors include Ray Bradbury, Richard Matheson, HP Lovecraft, Charles Beaumont…and I LOVE TV shows like "The Twilight Zone", "Heroes", "Lost"�anything with a sci-fi edge to it! And yes, I was one of those geeks that stood in line for Star Wars tickets. Han Solo was my first crush.
Women and Creativity Conference/Lisa Alvarado Shameless Self-Promotion Department
Gente: I've been blessed enough to have been asked to perform The Housekeeper's Diary at the conference -- Friday, March 7, at 8 PM at the National Hispanic Cultural Center's Roy E. Disney Center for the Performing Arts, as well as a reading for high school students at the Center's Wells Fargo Auditorium, Monday, March 10th at 10 AM.
Conference Info: Women and Creativity 2008 is organized and presented by the National Hispanic Cultural Center in partnership with more than 25 local arts organizations, artists, writers and independently owned-business. This year, we have an inspiring offering of more than 50 exhibitions, performances, workshops, classes, and engaging discussions in Albuquerque and Santa Fe.
Women and Creativity partners invite you to dedicate an afternoon, evening or entire weekend in March to attend events and workshops that awaken and nourish your own creativity and support the creativity of our communities. Although we shine a special light on women’s creativity during this festival, we invite and encourage the participation of men at all events.
The National Hispanic Cultural Center, along with our partners in Women and Creativity 2008, believe that creativity, art and self-expression are central to sustaining healthy individuals, organizations, business and communities – so, join in and celebrate the creative women in your community and the creativity inside yourself.
There will also be a fabulous PEÑA FEMENINA Sunday, March 9th at NHCC's LA FONDA DEL BOSQUE;
Other Artists:
Alma Jarocha,
Leticia Cuevas, Anabel Marín, Otilio Ruiz, Victor Padilla
Jessica López
Bailaora Xicana, Flamenco
marisol encinias, vicente griego, ricardo anglada
Lenore Armijo
Angélica
Cuevas
National Hispanic Cultural Center 1701 4th St, SW Albuquerque, New Mexico
More Conference News from Demetria Martinez
Hola to Everyone:
I will be participating at the Nuestras Voces: Women's Poetry Night at the University of Illinois Urbana-Champaign this Thursday, March 6, 2008. The event will take place at from Caffe Paradiso7:00 to 9:00 pm. This will be my first time at U of I, so I'm extremely excited.
If you live in the area or know people that live in Urbana/Champaign, please come by or let them know.
For more information got to my blog at:
http://johannyvazquezpaz.blogspot.com/
or to the University Site at:
http://www.mechauiuc.org/ThursdayChicanasLatinasInTtheArts.html
Hasta la vista, Johanny
Lisa Alvarado
By: Lisa Alvarado,
on 8/1/2007
Blog: La Bloga (Login to Add to MyJacketFlap)
JacketFlap tags: Johanny Vázquez, poetry, women of color, Palabra Pura, MARCH/Abrazo Press, Puerto Rican, Latino writers, Johanny Vazquez, Add a tag
Johanny Vázquez Paz was born and raised in San Juan, Puerto Rico. She holds a Master of Arts in Hispanic Studies from the University of Illinois at Chicago and a Bachelor of Arts in Sociology from Indiana State University. Her book Streetwise Poems/Poemas Callejeros was recently published by Mayapple Press (Michigan, 2007). She co-edited the anthology Between the Heart and the Land / Entre el corazón y la tierra: Latina Poets in the Midwest (MARCH/Abrazo Press, 2001) and was included in the compilation Poetas sin tregua (Spain, 2006) of Puerto Rican poets from the 80's generation.
Some of her poems appeared in the anthology Más allá de las fronteras (Ediciones Nuevo Espacio, New Jersey, 2004), and she was published in the collection Carpetas de Luz after winning the Voces Selectas 2000 poetry contest of Luz Bilingual Publishing. Johanny has been published in the literary magazines VOCES Journal (Univ. of California), El Centro Journal of the Center for Puerto Rican Studies (Hunter College, N.Y.), Beyond Borders (De Paul Univ.) and Yagrumal (Puerto Rico), among others. She currently teaches Spanish at Harold Washington College in Chicago, IL.
Johanny Vázquez Paz nació y se crió en San Juan, Puerto Rico. Posee una maestría en Estudios Hispánicos de la Universidad de Illinois en Chicago y un bachillerato en Sociología de la Universidad del Estado de Indiana. Su libro Streetwise Poems/Poemas Callejeros fue recientemente publicado por Mayapple Press (Michigan, 2007). Co-editó la antología Between the Heart and the Land / Entre el corazón y la tierra: Latina Poets in the Midwest (MARCH/Abrazo Press, 2001), y fue incluida en el libro Poetas sin tregua-Compilación de poetas puertorriqueñas de la generación del 80 (España, 2006).
Además, algunos de sus poemas aparecen en la antología Más allá de las fronteras (Ediciones Nuevo Espacio, New Jersey, 2004), y fue publicada en la colección Carpetas de Luz después de ganar el certamen Voces Selectas 2000 de Luz Bilingual Publishing. Johanny ha sido publicada en las revistas: VOCES Journal (Univ. of California), El Centro Journal of the Center for Puerto Rican Studies (Hunter College, N.Y.), Beyond Borders (De Paul Univ.) y Yagrumal (Puerto Rico), entre otras. Actualmente es profesora de español en Harold Washington College en Chicago, IL.
Aside from the obvious descriptors in her bio, Johanny Vázquez Paz is quite simply a force of nature. She's warm like earth, clear and bracing as running water, and bright as the canopy of morning sky. She's also a Chicago literary fixture, and it's been our very good luck indeed that she's been the host of Palabra Pura since its inception. It's Johanny's voice you hear each month at California Clipper welcoming you, teasing you, coaxing you to relax and enjoy. With her inimitable presence, the bar becomes nuestra joint, an opportunity to savor. And the experience is made richer by her sharing her own poetry, setting out the first course in that feast of words that is a Palabra Pura reading.
There is so much to appreciate. She is also a poet of what I like to consider working class sensibilities -- direct, honest, but full of profound feeling, true feeling. In the 2007, the release of Streetwise Poems/Poemas Callejeros, Johanny shows us how deeply the streets run in her veins, the public and private ways her heart holds the love of family and their stories. No matter how much her work is anchored in an urban base, she is tethered always to la isla, to Puerto Rico and its sorrow and strength, always writing from an solid place of female dignity. Take a moment and read for yourself.
Daughter of the City
I feel the streets in my veins
avenues
highways
alleyways
boulevards
roads without stop signs or lights or signals
live within me
circling the bewildering labyrinths of my being,
noises echo loudly at every corner,
each step banging like a hand on a drum,
horns demanding that others move out of the way,
shots crying farewell to their reasons for hate,
screams hiding by the anger of a barking dog.
Daughter of the city
citizen of hell
resident of purgatory.
I am a skyscraper inhabited by urgency,
a map of nameless streets,
only the suicidal wind dares to speed
past the danger signs of my curves.
Hours merge without boundaries into dawn;
my anxieties open for business twenty-four hours a day
without ever finding peace and quiet
inside the insistent beating of my sleepwalking heart.
Letter to My Mother from Chicago
Don’t worry about me, madrecita,
everything seems fine in the northlands
and I perfect myself before your eyes.
No problem disturbs me
more than ten hours a day
my health is excellent
without doctors or healthy diets
and there is no one to interrupt
my eternal solitude.
But, don’t be worried, mami,
it’s not as bad as you think.
There are millions of jobs here
that don’t pay well
there is a lot of money
in other people’s accounts
new buildings go up every week
with people trapped behind each door.
If I sound sad maybe it’s because
I miss my homeland, my family and everything,
because the weather chills my bones more each year,
because of the things-to-buy list
that grows like a well fed child,
because of the problems that visit me daily
without an invitation.
I’m fine,
I survive day by day
taking care of things myself,
don’t feel sad, viejita,
life is perfect here.
Reasons of Worth
because I sin in secrecy and silence
keeping before the world
a record of impeccable morality
because I have withstood deserved insults
in the dark corner of rancor and hate
because I could have taken advantage of many men
but I chose solitude over lies and convenience
because I did not prostitute my ideals under the assault
of those whose only ideal is profit
because I was born woman and I bleed
and I am impregnated and I give birth
and I raise and nurture and clean and organize
and I stop bleeding
for these and many other reasons of worth
I deserve fame right now
be it fifteen minutes of praise,
be it an ovation of applause and roses,
be it my image glowing on television,
or my touched-up photo in some important magazine,
be it an honorable mention in some contest
or a trophy with my name engraved,
whatever it may be, but let it be grand...
because
I deserve fame!
I deserve glory!
For more of Johanny's writing, please enjoy the following:
PUBLICATIONS-
Book Poemas Callejeros / Streetwise Poems published by Mayapple Press, Michigan, 2007.
Poem published in the anthology The City Visible: Chicago Poetry for the New Century, Cracked Slab Books, Chicago, 2007.
Poem: Our Revolution.
Poems: Sentada en la arena mirando el mar, Anónimo Lo que queda, Un infierno mío, Fuerza de voluntad, En comunión, Jardinera.
Poems published in Más allá de las fronteras anthology published in New Jersey, USA, Ediciones Nuevo Espacio, 2004.
Poems: Sentada en la arena mirando el mar, Sin debida sepultura.
Article "Café con demasiaaaaada leche: I am a Black Woman Trapped in a White Woman's Body" and poem published in Que Ondee Sola, Northeastern Illinois University-Chicago, IL, March 2003.
Poem: Anhelo africano.
Song lyrics written included in the compact disc Compromiso by Luis Jahn, Chicago, IL, Del Sur Music Publishing, 2003.
Poem: Cada familia.
Co-edited and published poems in Between the Heart and the Land/Entre el corazón y la tierra; Latina Poets in the Midwest anthology published in Chicago, IL, 2001, MARCH/Abrazo Press.
Poems: Liviana / Light Heart (both versions in all indicated), Por un hilo / By a Thread, A la vida / To Life, Morning After.
Poems published in VOCES: A Journal of Chicana/Latina Studies, Volume Three, Number One and Two, University of California, Davis, Spring 2001.
Poems: Con fe / With Faith (both versions in all indicated), Dedicado a Soledad / Dedicated to Solitude, Veinticuatro Horas / Twenty-four Hours, Liviana / Light Heart, Razones de Peso / Reasons of Worth.
Poems published in Centro Journal of the Center for Puerto Rican Studies, in the article "New Rican Voices", Volume XII, Number 1, Hunter College, New York, Fall 2000.
Poems: African Yearning, Carta a mi madre.
Chapbook El filo de la esquina published in the collection Voces Selectas 2000, Carpeta de Poesía Luz Número 4, Luz Bilingual Publishing, Sherman Oaks, CA, 2000.
Poems: Por un hilo, Con fe, Palabras cortas, Juerga de dos, mentira de muchos.
Poems published in ¡Sin linderos ni arrabales, hacia el Siglo XXI!, Segunda Parte. Anthology published in Madrid, Spain, 1999, Calíope Press.
Poems: Liviana, ¡Qué grande estás!
Poems published in El Otro Newspaper, Chicago, IL, December 1999.
Poems: Si alguna vez, Razones de peso.
Poem and short story published in ¡Sin linderos ni arrabales, hacia el Siglo XXI! anthology published in Madrid, Spain, 1999, Calíope Press.
Poem and Short Story: En las mañanas, Con fe.
Poems published in Yagrumal literary magazine, 1999 issue, Peñuelas, Puerto Rico.
Poems: Callejón, Cada familia, ¡Hay que...!, Con fe, Bailando bolero sola, Resolución de fin de año.
Poems published in ¡Y Dios la hizo mujer! anthology published in Madrid, Spain, 1998, Calíope Press.
Poem: Razones de peso.
Poems and article published in La Raza Newspaper, Chicago, IL, July 1999.
Poems: Bailando bolero sola, Callejón.
Interview published in Que Ondee Sola, Northeastern Illinois University-Chicago, IL, March 1999.
Poem published in Que Ondee Sola, Northeastern Illinois University-Chicago, IL, April 1999.
Poem: Our Revolution.
Poems published in Beyond Borders: Más all de las fronteras literary magazine, De Paul University, 1997-98 issue.
Poem: Cada familia.
Poems published in Diminuendo, volume ii, issue 1, Loyola University literary magazine, October 1998. Poem: Alleyway.
Poems published in Karacola literary magazine, 1998, Santiago, Chile.
Poem: Razones de peso
Poems published in Abrapalabra University of Illinois literary magazine, Chicago, IL, 1996
Poem: Anuncio.
Poems published in Fe de erratas, August and November 1993 issues. Poems: Mujer, Débil.
Lisa Alvarado
Wow! I never would have thought about the copyright part. Thanks! I really hope I get to use that particular tip.
... and last but not least, Photoshop is your friend (at least in my case).
If you're in Seattle, Laurence Kim does an excellent job.
Actually, neutral greens and blues are also great for indoor photography. That's what my photographer suggested and she took some great shots of me.
But I have to say, once every 18 months? I wasn't planning on taking another set of professional photographs for at least five years--though part of the reason is that my photographer is so good I ended up spending a huge amount buying a big old special-mounted portrait of myself. Ah, the vanity.
Oh dear. I had my author shot redone a few months ago for promo with my current publisher, and I broke rules 3 4 and 6 in favour of number eight.
I am happy with the result (out of 31 shots taken), and think it looks glam. And isn't that what counts?
Dunno about the every 18 months at this point. Right now, it's been every five years.
Someone can talk me out of that later if they can present a plausible reason.
Another good way to find a person who will give you an excellent headshot, rather than a portrait (which is often formal and stiff) is to use a photographer who does actor headshots. You can call any local professional theatre or talent agency and get recommendations, or look on the web. My headshot is about five or six years old, but I look exactly the same. If you saw it, you wouldn't be able to tell if I'd just had it done or not, so I'm still using it. I think what Kristin is saying is if your look changes, a new one is necessary.
Joelle
http://www.joelleanthony.com
That's something I really hadn't thougth about before, so thanks for the info. I definitely didn't know about the photo copyright.
Thanks a million!
Can't I just use a picture of my dog? She's a very cute golden who has a real nice smile. Or the cat? She's all black so should photograph well.
:o)
Just how important is the photo?
I'm definitely in favor of getting photos redone every few years. In fact I'm working on arranging a new one now. (Last one was early 2005.)
I'm discombobulated when I meet people in person that look nothing like their photos, only to find out that the photo was taken 20 years ago.
If it's important, I think it's because if you do an event, you want to look like what people think you do. You want to be recognizable at conferences or booksignings.
Ditto what aimless writer wrote. What if I don't want my photo on the book jacket? I've seen a few books with no author photo at all. If I, as a new writer, say "no photo," what happens?
how vapid
Wow anon. Jealous much?
I agree about getting the headshots updated to suit your changing looks.
It actually makes being an actor tricky. There are times I would love to go wild with my hair, chop it all off, dye it a drastic colour, but I can't because then I won't look like my headshots. If I do decide to do something like that, I also have to take into consideration the cost of having new headshots done and whether I wish to commit to that look for a couple of years.
Why must things be so complicated?!
Looking forward to seeing the shots!
I had to have a professional photo done long ago, didn't know any of the above, and wound up looking like a total idiot. So I don't think this is a vapid post, at all, anon.
I have succeeded in avoiding any professional photos for 20 years now, which for me works quite well.
As a veteran of stage and television, I've endured more than my share of head shots and so I thought I'd throw in my two cents.
First some hard and fast rules: Never get a haircut, a perm or anything freaky within two weeks of your head shot. If things go badly, at least you'll have time to shop for hats. Also, don't get a dark tan - you'll look stupid.
Now decide what image you are trying to project: loving grandma who knits and bakes cookies or a person glamorous enough to entice a television producer to take a chance, invite you on the local talk show for an interview? Obviously, it depends on what you write and your own personal outlook on life.
Forgot about your good side and worry about your goofy "camera face." Check out candids and family pics - do you look like you just sat on a pin or have had lemon juice squeezed into your eyes in virutally every shot? If so, it's time to practice looking "normal" in the mirror. A really good photographer who is accustomed to taking headshots for television or theatre personalities can bring out your best side, but I'm not so sure about your average portrait photographer, thus the advice to practice not looking goofy (unless that's the look you're going for.)
As for makeup: wear it! Don't know how? Then it's time you learned, and practiced, so you don't end up looking like Amy Winehouse. Every big department store has makeup artists who are more than happy to demonstrate the use of foundation, powder and eye makeup. Tell them that while you don't want to look like you just finished cleaning the garage, you still want to look natural. And if you're not happy with a particular look, have them remove the makeup and try again or try another product line.
As far as doing your own makeup, a good rule of thumb (in unskilled hands) is that less is more.
After the makeup person shows you how to apply the products, you can either buy them (This can be very expensive. But if you're going to be making a lot of public appearances, then it might be a good investment.)or arrange to have the same person apply your makeup the day of the shoot.
Take extra makeup, hair products and hair appliances to the shoot. (For touch-up, drug store products shoudl be fien.) A good thing to have on hand is a scarf and a wad of paper towels or a man's handkerchief. When you change your top, tie the scarf so it protects both your hair and makeup. Tuck paper towels into your collar when touching up or applying your makeup.
Congratulations on six years, Kristin! It's so great that someone as nice as you can do business in a hard-driving world like publishing and stay true to who you are! You are so great for helping all of us with your super blog, and your advice means so much to all of us. I can't think of anyone who has done more to lend a hand to unpublished writers than you. As the saying goes, "Don't let the haters get you down!"
Personally, I've read most of your clients' books, and have to say that it is an amazing body of work that you have represented. And all in only six years! This site is the first one I click on in the morning and the last one before I go to bed. When I eventually get published, I hope you won't mind if I mention you in the acknowledgements!
Sunny
Does this mean I need to get a new rat? ;-)
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Wow, mortgage AND headshot advice in one easy blog post!
Jan, I don't think anything happens. Don't get worked up about it. It may say something in your contract about providing an author photo (or it may not), but you can negotiate, and have you seen the one they use for the Shopaholic books? there's a LOT of leeway as to what constitutes a picture of the author. Publishers understand that some authors have privacy issues. You're right, most paperbacks DON'T have them.
I'd love to know more about author photos taken outdoors. Anybody have any advice?
How exciting for you and what an amazing blog you have! As an aspiring writer there is nothing as refreshing as finding a fellow writer who is farther along this road than I, and who liberally gives advice based on personal experience. May the future see you achieving your heart's deepest desires, and a grand audience awaiting your work!
Cheers!
- Jo
I act as well as write, and I agree completely with what lorra said above. Headshots matter less in the writing world then in the acting world, but they're still important and I wish more of my favourite authours had more pictures up of themselves on their websites.
Personally speaking, I really think the "traditional" actor potrait should just be retired already. Especially the ones that show the author staring off into the distance at nothing and not making eye contact with the camera. Investing with a good actor's headshot photographer would almost certainly alleviate that. But one thing I really disagree with, is having to get a headshot every year. For actor's, a new headshot is not required unless your look has dramatically changed. So, if you cut 6 inches off your hair, yes. If you've aged significantly, yes. But otherwise, it's just a waste a money.
I can't see how that would differ with writers where looks are not the first, nor the second, concern.
some excellent advice here, but if we're talking about book jacket photos, how much does the author really have to say about the photo? the publisher's marketing department is all over this stuff, drives the process, and has the final say on which photo is used.
a friend of mine's book photo tries to make him look like an edgy intellectual, and though he is extremely intelligent, he's a lot goofier than edgy.
As someone who hasn't been headshot since graduation, what kind of price range should we expect for this service?
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Bababooey.
I have a tabby cat. I love the color. She is also very snuggly for a cat. When I come home she actually greets me at the door. It makes even the worst day wash away. That's how I feel about this blog. I look forward to it every day, just like my tabby, Matilda.
Allison
I love reading this blog so much that I don't eat until after I get to stop in and take a look at the day's helpful topic. When I'm done with work for the day, I rush to my pc and log on, just to get my fix before I have any dinner at all!
That Mrs. Nelson should take any time out of her very busy day to drop us these valuable nuggets of wisdom is reason for acclaim and praise. Thank you so much for all your help, Agent Kristin! Without you to tell us about the publishing industry, many of us would be aimlessly spinning our wheels, taking stabs in the dark and accomplishing nothing.
MaryAnne
Great advice. I'm not published, but I am working hard on my writing. Obviously, I would like to be published in the future, but I dread the whole author photo. How common is it for an author to say no to having a photo? Do you need to have a good reason? Is it difficult to take that position?
Have any of your clients gone with a big name photographer like Marion Ettlinger? Do you think using like her adds any value?
You think getting one person to look normal for a camera is rough. Try four.
We had a coupon for one of the frou frou family portraits. You know, cost as much as a compact car for anything other than a postage stamp. It was fun, but we never smiled at the same wattage in any pic.
So we picked the serious one. We kind of look like we're on the beginning of Family Feud.
cmr
Anonymous asking about the cost--I paid about $350 for a one hour session done at a couple of different angles, all digital. The cost included the rights to the pictures. (This was in Colorado by a photographer who does a lot of publicity stuff as well as portraits.)
$350 for ONE hour? That doesn't sound right. The top headshot photographers here (Toronto) and many in L.A charge about that for 4 hours with four outfit changes.
It was for the total package--prints, disk files, rights--of 20 to 30 images taken with a couple of backgrounds, a couple of clothes changes. There was also an option of doing it again for free if I didn't like any of them. It was worth it, I think.
Ah that's different :)
My husband is a professional photographer with years of experience doing head shots, weddings, catalogs, etc. In that time I've learned much about the trade.
When checking out a photographer, ask to see their website for samples of their work. Also ask what the fees are since they differ and you can have a sitting fee and then find out that there are other costs that are tacked on afterwards, such as editing.
Depending upon the subject editing of just ONE photo can take between 2 to 20 HOURS and you have to pay the photographer for that time, so find out the hourly rate. Some will have package deals as well. So shop around!
Karen Dales