On September 30, 2010, Brevity & Wit conducted its first Webinar with the San Francisco chapter of Young Women Social Entrepreneurs (YWSE). It was an intimate and info-packed event, with lots of great tips on crafting media plans, using your technology toolkit strategically, creating effective messaging, and how to handle the press when tragedy strikes.
For those of you who missed it, do not despair. The tech gurus and YWSE were awesome enough to record the event, and you can now view it here: http://bit.ly/bMvJh7
If you're interested in having Brevity & Wit make a similar presentation (with a Q&A at the end) to your trade association or organization, please don't hesitate to contact Minal at minal@brevityandwit.com.
Wednesday, October 13, 2010
Friday, September 10, 2010
Harnessing the power of media -- commercial style
The first chapter of Zadie Smith's most recent book "Changing My Mind" is an eloquent essay on Zora Neale Hurston's masterpiece Their Eyes Were Watching God. (The line that opens chapter three is probably one of the most memorable in literature -- "There are years that ask questions and years that answer." But I digress.)
Smith discusses how she was hesitant to read it when her mother presented her with a copy at fourteen:
"You'll like it," her mother said.
"Why? Because she's black?"
"No, because it's really good writing."
And it is, by Smith's account (and my own). But then Smith says something more profound:
"At fourteen, I couldn't find words (or words I liked) for the marvelous feeling of recognition that came with these characters who had my hair, my eyes, my skin, even the ancestors of the rhythm of my speech. These forms of identification are so natural to white readers -- (Of course Rabbit Angstrom is like me! Of course Madame Bovary is like me!) -- that they believe themselves above personal identification, or at least believe that they are identifying only at the highest, existential levels (His soul is like my soul. He is human; I am human). White readers often believe they are colorblind."
But in reality, as Smith points out, they are just more characters written in their image, allowing them to harbor the illusion that their "like" or "dislike" of a novel is based on more esoteric factors, such as writing style, theme, or plot. They also have the benefit of white privilege, where every ethnic story is made relate-able to them (i.e., the rampant use of the word vermilion in South Asian fiction, a word I did not even know until I read it in a "New Yorker-approved" South Asian American book).
Smith then goes on to explain how Hurston creates such a complex, layered character in Janie Crawford in Their Eyes that it leaves her speechless. The book "allows me to say things I wouldn't normally," Smith writes. "Things like 'She is my sister and I love her.'"
Which is exactly what my heart sang when Archie Panjabi won the Emmy for her role in The Good Wife.
It's probably not fair to draw any parallels between a television drama, no matter how good, and canonical American literature. I admit this is somewhat pretentious on my part. But Archie Panjabi speaks so eloquently backstage after her win about the true value of being able to play a character that is proud of her heritage without being defined by it.
When people say "you can do anything you put your mind to" or believe, or whatever New Age slogan is en vogue at the time, I often want to role my eyes. As Archie Panjabi and Parminder Nagra (both of whom were in Bend It Like Beckham) know, the brown girl doesn't get cast in Pirates of the Caribbean or Pride and Prejudice, like their co-star Keira Knightly did, no matter how good an actress you are.
So it's refreshing to see a South Asian get to play a character that's as complex and layered as Elizabeth Bennett, albeit on the small screen. By doing so, the writers and producers of The Good Wife are showing us how media (even commercial television dramas) can give people more space to be themselves in the world. And it leaves me without words to express the marvelous feeling of recognition that bubbles up inside me when a woman with my hair and eyes and skin plays it tough and guarded, but with wit and grace. All I can say is "She is my sister and I love her."
Smith discusses how she was hesitant to read it when her mother presented her with a copy at fourteen:
"You'll like it," her mother said.
"Why? Because she's black?"
"No, because it's really good writing."
And it is, by Smith's account (and my own). But then Smith says something more profound:
"At fourteen, I couldn't find words (or words I liked) for the marvelous feeling of recognition that came with these characters who had my hair, my eyes, my skin, even the ancestors of the rhythm of my speech. These forms of identification are so natural to white readers -- (Of course Rabbit Angstrom is like me! Of course Madame Bovary is like me!) -- that they believe themselves above personal identification, or at least believe that they are identifying only at the highest, existential levels (His soul is like my soul. He is human; I am human). White readers often believe they are colorblind."
But in reality, as Smith points out, they are just more characters written in their image, allowing them to harbor the illusion that their "like" or "dislike" of a novel is based on more esoteric factors, such as writing style, theme, or plot. They also have the benefit of white privilege, where every ethnic story is made relate-able to them (i.e., the rampant use of the word vermilion in South Asian fiction, a word I did not even know until I read it in a "New Yorker-approved" South Asian American book).
Smith then goes on to explain how Hurston creates such a complex, layered character in Janie Crawford in Their Eyes that it leaves her speechless. The book "allows me to say things I wouldn't normally," Smith writes. "Things like 'She is my sister and I love her.'"
Which is exactly what my heart sang when Archie Panjabi won the Emmy for her role in The Good Wife.
It's probably not fair to draw any parallels between a television drama, no matter how good, and canonical American literature. I admit this is somewhat pretentious on my part. But Archie Panjabi speaks so eloquently backstage after her win about the true value of being able to play a character that is proud of her heritage without being defined by it.
When people say "you can do anything you put your mind to" or believe, or whatever New Age slogan is en vogue at the time, I often want to role my eyes. As Archie Panjabi and Parminder Nagra (both of whom were in Bend It Like Beckham) know, the brown girl doesn't get cast in Pirates of the Caribbean or Pride and Prejudice, like their co-star Keira Knightly did, no matter how good an actress you are.
So it's refreshing to see a South Asian get to play a character that's as complex and layered as Elizabeth Bennett, albeit on the small screen. By doing so, the writers and producers of The Good Wife are showing us how media (even commercial television dramas) can give people more space to be themselves in the world. And it leaves me without words to express the marvelous feeling of recognition that bubbles up inside me when a woman with my hair and eyes and skin plays it tough and guarded, but with wit and grace. All I can say is "She is my sister and I love her."
VINTAGE POSTS: Technology Toolkit
An oldy but goody, here's my post on Wild Apricot on The Essential Technology Toolkit for Start-Up Nonprofits (Part One with a link to Part Two)
Monday, August 23, 2010
Appropriate Cuteness
Now, I have no need to follow the American Academy of Pediatrics, but when I came upon their Twitter "Follow Us" link, I was seriously tempted to. Effective media strategies are usually slick and sexy, but here's one that's cute and subtle, appropriate only because it's the AAP. Bravo.
Friday, August 13, 2010
Chatting with the West Coast
Great news! Brevity & Wit will soon be holding it's first Webinar!
I'm partnering with Young Women's Social Entrepreneurs to bring you a one-hour Webinar dedicated to branding and media messaging for the 21st century. With the ever-changing media landscape and all the new social media platforms, it's more important than ever to know how you can best harness your media options to get you the results you want.
The Webinar is tentatively scheduled for September 30th, 12:30PST/3:30EST. If there's anything in particular you want me to address, or if you have ideas for future Webinars, leave a comment or e-mail me at minal@brevityandwit.com.
And stay tuned for more B&W updates!
I'm partnering with Young Women's Social Entrepreneurs to bring you a one-hour Webinar dedicated to branding and media messaging for the 21st century. With the ever-changing media landscape and all the new social media platforms, it's more important than ever to know how you can best harness your media options to get you the results you want.
The Webinar is tentatively scheduled for September 30th, 12:30PST/3:30EST. If there's anything in particular you want me to address, or if you have ideas for future Webinars, leave a comment or e-mail me at minal@brevityandwit.com.
And stay tuned for more B&W updates!
Sunday, June 27, 2010
I'm a Mac ... and I've Got a Dirty Secret
This, in a nutshell, is how you use media for good (and why I do it).
Thursday, June 10, 2010
Exciting News
Brevity & Wit founder Minal Bopaiah is now on the radio! Check her out twice a week as she chats with host Jeanille Bontierre in The Morning Mixer every Tuesday from 9-10am on One Caribbean Radio, 97.9 HD2 and on Wednesday from 6:30-7pm when she co-hosts Tears to Triumph on Blog Talk Radio! It's sure to be engaging and informative!
Thursday, May 6, 2010
The new Brevity & Wit Blog
Welcome to the new Bevity & Wit blog. We're in the middle of a re-design, but we'll be sure to let you know when we start publishing content more frequently. Until then, feel free to check out my personal blog -- http://minalbopaiah.blogspot.com
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