Re: [Callers] How to devise a program

On 9/15/2013 7:34 AM, Maia McCormick wrote: Maybe more info than you want... I try to get an idea of the level of the group first. If I've called for them before, I look at my previous programs. I may also ask other callers who've worked there recently about their experience, or talk to the dance manager or programmer. Once I have an idea of what to expect, I'll start going through my cards and pulling out dances that I think would be a good fit for the group and seem like they'd be fun to call. I'm not thinking about program order at this point, but just pulling out what I call "rough picks," the pool of dances from which I'll assemble a program. I'm paying attention to the expected level of the group and also to what I've called recently (trying to avoid too much duplication from recent programs). Once I have the rough picks pulled from the card file, I sort them into dances that start with "neighbor do something (balance, dosido, or gypsy) and swing" and everything else. It feels to me that starting more than a couple of dances in a row with N bal & sw gets repetitive. While programming my most recent dance, I stuck a paper clip onto the edges of the cards when a dance included a hey, and also I have a notation at the top of the card to let me know when a dance does not have a circle L 3/4, and when it's missing either a N or P swing. These indicators are helpful when I'm scanning my rough picks looking for a dance with particular characteristics. A searchable database would be even better, but I'm not there yet. With all the cards laid out on the table, the N bal&sw dances on one side and the other ones on the other side, I usually start by trying to identify good candidates for openers and closers. The first two dances are usually pretty simple and low-piece-count, since I'm assuming the new folks will be doing their best just to stay oriented and I want to help them relax and enjoy the dancing. If the group is really new, the first dance acts as a "mine sweeper", showing me what the group could use reinforcement on. By the third dance I often throw in a hey (and I just read Jack's post so I know I'm not the only one to do this), usually one where the hey has a really clean and obvious entrance and exit (Carousel is a dance I like for this, or Flirtation Reel). I'll often introduce Becket formation around this time as well, and by 5th dance or so will start to add a few more elements (CA twirl, box the gnat, things at that level). I usually try to end the first half with something on the rip-snorty end of the range, but not too hard, often preceded by something a little smoother. Second half gets more complex, generally with the hardest dance or two of the evening the 2nd and/or 3rd ones in. I'm more willing to challenge the crowd in the second half, but like to end with something not too thinky and with lots of energy. I'm still dithering about what makes a dance a good closer. For example, how important is it that the dance naturally end with a partner swing if everything else about the dance is great? I've gone both ways. Other callers out there, what features do you think make a dance a good closer? Ben's summary of the overall complexity curve of the evening was just about the same way I see it, as was his mention of having some branching in the proposed program, some ways to tailor it to newer or more experienced groups. I often program a slot with a "hard/medium/easy" group of dances that share similar characteristics but offer different levels of challenge so that I can easily switch gears without needing to rearrange what comes after. Jonathan's comment reminds me that I always forget to use mixers. They can be huge fun, especially early in the evening, and I'm still working my way up to calling 4x4s. As Jack does, I try to vary the structure of the dances, not clumping too many heys, or 4-in-lines, or wave balances or what-have-you, and keeping the common elements like M allemande L 1-1/2 spread apart as well. It gets tricky to find just exactly the right puzzle piece to fit into a program slot. Sometimes I'm looking for, for example, a dance with no LL F&B, _with_ a half hey, where the swings are separated by something other than either a circle or an allemande and that doesn't start with N bal and sw but features a lot of N interaction. Gotta get that database happening... Once I've got a sequence of dances I like, I put it away and then look at it again the next day. I usually catch something I missed, or make a change that makes it a stronger program. The rest of the rough pool get rubber-banded together and kept as emergency spares for the evening, in case I want to make a last minute change. Saves me having to go through that whole selection process again. And I love Woody's suggestion about finding callers who are willing to give some pre- and post-game commentary. That's a great idea. Might be tricky to find enough time before and after when you won't be in the way, but it would be very interesting to do. My current quandary is this: I would love to get my contra notes into a database, but my programming process is completely card-based. The thought process as I put the program together involves having cards all over the table, all visible at the same time. Those of you who work exclusively on the computer for your programming, what's your process as you're winnowing down to a finished program? How do you keep track of the dances that are the "maybes" and the "yesses", and what do you do when you've got a slot an have 2 or 3 dances you're considering at the same time? Kalia