The ultimate guide to crafting your GopherCon proposal
The Call for Proposals for GopherCon 2021 is open from Monday, April 5th to Sunday, April 25th. Kris Brandow, an experienced GopherCon speaker, has published a series of guides to assist Gophers as they craft their proposals and think about submitting.
In this episode Kris reads through his guide, discussing the four parts with a GopherCon newbie, Angelica Hill, who spoke for the first time at GopherCon last year, and is a first time CFP reviewer this year.
Matched from the episode's transcript đ
Kris Brandow: Part 2: Storytelling
When you step on stage you become a storyteller. Just because youâre not acting doesnât mean you canât employ the same techniques that have been used for centuries to captivate your audience and tell great stories. Before the stage though, youâre storytelling on the page, weaving the narrative of your talk through a proposal. But how do you achieve this?
First, note that your proposalâs audience differs from that of your talk. The former consists of a group of Go community veterans, who read hundreds of proposals to organize an exciting and intellectually stimulating program. The latter is a group of Gophers looking to learn and grow. The story you tell in your proposal to captivate your first audience differs from the story youâll tell on stage for your second.
When I started crafting my first proposal I searched for articles and blog posts to aid in the process. I easily found resources that guided structure, but few on how to tell an engaging story. Through this guide I aim to fill that gap, helping you tell your stories in a captivating way for both the review committee and the audience at GopherCon.
Before I dive in, I want to emphasize that while this advice may help increase the odds of selection, it will not guarantee acceptance of your proposal.
How To Think About Your Proposal
When starting something new I use analogies to make connections between what Iâm doing and what Iâve done. As an author, I connected that the storytelling techniques I use in my prose translate to the writing done for a proposal and a talk.
Listening to one person talk for 25 minutes can be difficult if the speaker is not telling an interesting story; this is even more true when itâs 45 minutes. Similarly, when reviewing hundreds of proposals on a tight deadline, itâs difficult to engage with each proposal individually, unless the material pulls the reader in and excites them. The key component in both situations is time: an abundance in your talk and a scarcity in your proposal. Techniques like suspense and foreshadowing are handy in your talk, but not so much in your proposal, where you need to get straight to the point. In the latter, opt for concise but exciting language, where each word can serve a purpose.
[36:01] Another element to consider is competition. At the maximum, there are four options for attendees at the conference: the three session tracks and a hallway track. That gives you an odds of 25%. Contrast this with the proposal review process, where your odds are closer to 10%, and your opportunity to hold the audienceâs attention is far shorter. Holding that attention requires not just writing in a concise manner, but also adding elements to your proposal that set it apart from the rest, and this is where storytelling elements are helpful.
Combining these two elements, we arrive at an important piece of advice: donât bury the lede. The structure of your proposal does not need to match that of your talk. Letâs use an analogy. Your talk is like a book; you want to pull the audience through all the pages, even those treacherous middle ones, through to the end. You make that task more difficult if you front load all of the interesting information. Your proposal though? Thatâs more like a newspaper article; you want to put all the interesting information upfront, and then extrapolate over the remainder of the space. In your proposal, that end space is where you discuss elements like foreshadowing and suspense, which can be conveyed either directly in prose, or indirectly through an outline. This is also where you can discuss elements like timing, context, and why youâre the best person to give this talk.
Finally, while there are a variety of formats that conference talks come in, the structure of your proposal is static. You want to address the same requirements and criteria I laid out in part one, while ensuring that you include as much context (including storytelling elements) as you can compactly fit.
At the end of the day, storytelling is about the way you use words and less about the structure used to contain them. Whenever youâre storytelling, think about your audience and cater your story to them. Craft it based on the time you have, the structure the audience is expecting, and the other things competing for your audienceâs attention.