Tuesday, September 19, 2006
Confession: I have told frozen stories--stagnant stories--for over 12 years and I am in the thawing stage.
Hope: Three exercises can replace my constant temptation to use words in a tongue-stuck-to-the-cold-flagpole kind of way thanks to the guidance of storytellers Don Doyle and Liz Warren.
I know there are other storytellers like me who prefer to write their stories. Many times I have heard the warning that writing a story word-for-word will make it nearly impossible to have it evolve or grow in the future. This warning was often heard through my ears the same way when mom called out before I went to school during those Wisconsin winters, "Make sure you wear your mittens!"
The mittens stayed at the bottom of the coat closet.
Though I tend to write my stories, I have convinced myself that I do not memorize my stories. What I am discovering more and more is that my storytelling sounds memorized even if it is not completely memorized. I use many of the same phrases, descriptions, and transitions in the written version of the story as in the oral version of the story. The danger is that I have become bored with my performances, as I have used this style for over 12 years, and this boredom could reflect in my connection with the audience through my tones or expressions.
Now the fact that I have had frozen stories has not stopped the compliments I have received from audience members and program directors on my storytelling. So why change or replace my habits if I have been successful?
Because I know I have frostbite.
Frostbite can get to the point when there is no feeling in the joints or exposed areas of the body. This can be the reason it is hard to even know that I have frostbite. The fingers tend to freeze first. The same fingers I use to write my stories.
If frostbite is ignored long enough, the skin color can change from red to white to grayish blue and finally to black. When black, I must call 911. The medics would not warm up or thaw my frostbite unless there is no risk of refreezing. The question can be asked, "Will I return to my frozen stories?"
If I can answer honestly that I will do my best to remain thawed and alive in my storytelling, then the gradual thawing process can begin. I gently dip my writing fingers in lukewarm water. Scalding hot water would be too much at one time.
Being that I had black frostbite in regards to my writing, my 911 led me to a flight to Arizona to meet with Don Doyle.
Here are 3 ways that are most helpful to me:
1. Create French Scenes
2. Draw Pictures of Key Moments
3. Imagine/Record Dialogue
Create French Scenes--
I was new to the concept of French Scenes when Don Doyle first explained them. French Scenes are main events of the story that begin with one or more key characters enter the scene and ends when one or more key characters exit the scene. Between entrances and exits are developments to the story whether in understanding the environment, revealing character, and forwarding the plot.
French Scenes tend to be divided into 5 parts though I could have as many as 32+ parts for a complicated story.
Let us look at the classic story of Cinderella:
Scene 1--Cinderella asleep at fireplace from working so hard for Stepmother and Stepsisters
Enter Stepmother and Stepsisters as Cinderella's Father gets married
Exit Father as he dies and Cinderella must work for Stepmother and Stepsisters
Scene 2--Cinderella gets Stepmother and Stepsisters ready for the ball
Enter the Messenger from the palace with invitation to the ball
Exit the Stepmother and Stepsisters to the ball without Cinderella
Scene 3--Cinderella weeps in the garden
Enter Fairy Godmother to get Cinderella ready for the ball
Exit Cinderella to the ball
Scene 4--Court, Guests and Prince are in awe of Cinderella at the ball
Enter Cinderella into the ball
Exit Cinderella as clock strikes midnight and she leaves a slipper behind
Scene 5--Prince scours kingdom of who will fit the slipper
Enter Prince into home of Cinderella
Exit Prince and Cinderella to be married happily ever after
If I was videotaping this story and pressed pause, then I have a scene that can be drawn. The exercises involving French Scenes, Pictures, and Dialogue help each other. You may do these three exercises in any order.
Draw Pictures of Key Moments--
I consider myself more of a performing artist than a visual artist so to draw pictures can be intimidating. When I realized that I did not have to create masterpieces and that even drawing stick people would suffice, I breathed easier. Plus, no one else had to see these pictures--only me.
Don Doyle and Liz Warren agreed that drawing in color is most beneficial. I had to truly imagine the surroundings of the story. This will help me remember the images more vividly versus the frozen words during my performance.
Don added that perhaps I could make cartoon bubbles that could be written statements that reflected what the characters were feeling toward the other characters, objects, or situations in the story. Dialogue would not be necessary, only thoughts.
Once I know the characters in the story, whether minor or major characters, then it's time to understand what these characters might say to one another. These dialogues may develop a back-story that is never used in the actual performance of the story. What is important is that I understand the background more than my audience.
Don Doyle and I pressed the record button on the tape player and performed pieces or scenes of the story. Camcorders work, too. If I cannot find another person to play along with dialogue, then I can always represent all the characters. This is all impromptu so pauses, stumbles, and stutters are perfectly accepted.
Keep in mind that these scenes are all dialogue between characters. No narration is given. Even if I choose to tell the story with little or no dialogue, this is a fun way to brainstorm.
This is my chance to imagine the possibilities and reminds me that the story should never be frozen to one way.
I believe I am no longer in the black frostbite zone. Where are you?
When I want to tell the story again, I will review the French Scenes, Pictures, and Recorded Dialogues. Once I go through these exercises and after I have told the story many times--perhaps 50+ times--then I can finally type the story for my legacy.
Only this time when I write, I will keep my mittens on to keep my fingers from writing frozen stories.
Until we tell again,
Co-Chair of Youth, Educators, and Storytellers Alliance
Monday, September 11, 2006
The identical twin brothers of egotism and altruism must be watched closely so you can see life illuminate from your business.
In Part 1, assuming that you read that entry, you already know that my father and uncle are twins.
Let me share another story from my dad's family--
It was a cool and breezy day in early November of 1949. Barbara, a sophomore, had just come home from high school. She felt good about the day except for a dry cough that just wouldn't go away. She figured she would be over the cough soon.
But that cough was a persistent one. In time, this dry cough turned into the whooping cough. Now the whooping cough was dangerous because it could lead to pneumonia. It had a way of drawing in your breath as if you were going to choke to death--especially with all the phlegm. Usually you would make deep coughs that sounded like a "whoop"--and thus the name of the sickness.
It wasn't the type of sickness that would simply come and go. Oh no! It came to stay. Once exposed, you showed signs of it within two weeks. Then you suffered it for two weeks. Another two weeks would be recovery time . . .hopefully.
Once a family member had it, the whole family would be quarantined--or forced to stay--in the house so it wouldn't spread to the neighbors. As for my Grandma, she heard the news that her family was quarantined.
Despite the inoculation that was available, it was too late for the two-month-old twins, David and Don, caught the cough like everyone else.
The doctor knew that everyone would be able to pull through except for the twins and told Grandma, "I don't give a plug nickel for these boys' lives."
Grandma wasn't about to accept this fate for her boys. She and Grandpa were convinced that the boys could be saved--if only the boys were watched day in and day out.
Aunt Kathryn, Grandma's sister, also came forward to help with the watch.
Meanwhile, Barbara was filled with guilt. Why did she have to be the one to bring home the whooping cough from school? And yet it wasn't her fault--she didn't realize she had whooping cough until it was too late.
Barbara wanted so much to help along with Grandma, Grandpa, and Aunt Kathryn--but they didn’t let her. She was frustrated that she--a 15-year-old--couldn't be given the responsibility to watch over her twin brothers! She hated the sound of the whooping from the rest of the family. She didn't know how to alleviate their pain.
Barbara, as well as the other three siblings, would peer inot the crib that held David and Don. The twins were so small (only about six or seven pounds each) that they could lay crossway of the bed and still have room.
Grandma slept very little--if at all--from Thursday to Sunday. The phlegm could choke her little boys at any moment, so Grandma devised a way to take the phlegm out with flannel-cloth diapers. She would wrap the cloth around her finger and insert it into the mouths of the two-month-olds.
Sometimes taking the phlegm out wouldn't do the trick. The babies would cough and not be able to catch their breath. When this happened, Grandma would place the babies on their tummies on the lower part of her arm. Then, she would swing them upward so that they could breath again.
Once Grandpa had to do mouth-to-mouth for little Don.
After weeks of constant love and attention, the family was able to pull through--including David and Don.
How often is there someone to watch over us?
We may not all have Grandma or Grandpa or Aunt Kathryn to see that all turns out well. There will always be the people, like Barbara, who wish to help but no one lets them.
The world is also full of organizations and associations that offer their help to us yet few listen. Perhaps these groups have selfish motivations since your adherence to their services creates more prestige and visibility to them. Perhaps these groups have charitable motivations for the people truly believe in what they profess and desire that others do not have to struggle as some might have done.
I believe most organizations have two identical twin brothers of egotism and altruism that can also be reflected on us, as individuals.
As a professional storyteller, it is smart to turn to the local and state arts councils. Many of these councils, like the Utah Arts Council (http://arts.utah.gov/), provide free or minimal fee classes that can guide artists on the business, marketing, or craft areas. The Utah Arts Council also provides a free online database on their website that any artist can submit to, even if the artist resides outside of Utah. Finally, the Utah Arts Council has an online calendar that anyone can submit Utah arts events.
If I want to have a competitive edge, it may seem the best idea to keep these courses, online database, and calendar quiet.
This may show an egotistical route, but this decision must be balanced with kindness.
When a decision leans too much on a selfish side, then, eventually, you will not have friends to turn to in a business crisis. When a decision leans too much on the altruistic side, then you may feel content for what you have done except for the empty wallet.
Here would be a balance in regards to the Arts Councils:
I announce the availability of the courses, online database, and online calendar to the other storytellers in the area. The more storytellers enrolled in these areas will show the Utah Arts Council that storytelling is a strong and visible art. This will generate more respect for the art and the council may gear more of its classes and grants to this art.
As I announce these opportunities to my fellow storytellers, then some of these storytellers may announce opportunities in return.
With more professional storytellers enrolled in the courses, they will learn skills that will raise the standard for storytellers. As more tellers are listed on the database, then there are most chances that I would not be chosen as the storyteller for a particular event. When storytelling events are listed on the calendar, there is a possibility that it may interfere with an event I am putting on.
If Grandma were to watch only one of the twins, then the other twin most assuredly would have died. When the identical twins of egotism and altruism are watched carefully, then everyone can survive and be happy—you, your peers, and even the organizations and associations.
So we can see that we can love the selfish and kind sides or ourselves as long as we do not love one over the other.
Until we tell again,