Jackpot! 5 Ways to Boost Your School's Luck with Storytelling

I am not a gambling person, but I am willing to bet that storytelling would make a difference in any school.

If the art is promoted and supported, then it may not be long before students experience higher test scores and. . .some major life skills.

5 Ways to Boost Your School's Luck with Storytelling:

• Classroom, School, and District Level Events
• Training Teachers to Merge Storytelling with Curriculum
• Storytelling Residencies
• Games
• Schools Standards

Classroom, School, and District Level Events

Any state could be a strong youth storytelling state. One classroom could lead to one school and finally one school district who support the art.

In Utah, the following school districts promote storytelling the strongest: Alpine, Davis, Jordan, Morgan, Ogden, and Weber. The Canyons District is in progress to be added to this list. Private and charter schools are becoming more interested due to the Weber State University Storytelling Festival. In February 2010, there were 87 youth tellers invited to tell for the festival. This did not count the hundreds of students who had classroom, school, or district level showcases to determine the top tellers.

Did Utah become this way overnight? No.

Though if you would like a "fast-forward" approach, then nearby festivals need to extend invitations to schools. You may be surprised at who accepts the opportunity.

Training Teachers to Merge Storytelling with Curriculum

A one-time visit from a professional storyteller can have influence, but teachers are with their students on a daily basis. These teachers could take already-made lesson plans and merge storytelling in them.

A book called “Story Proof: The Science Behind the Startling Power of Story” by Kendall Haven shows that test scores do go up when students learn through story-based teaching. The brain seems to feed off stories and remembers facts much more quickly that way.

Storytelling Residencies

Schedule a professional storyteller for more than the "one moment" with the students. When there are 2-8 weeks dedicated to literacy and communication skills, then a storyteller could guide the course through stories.

The lessons linger longer. . .and so do the "happily ever afters".

Games

Any storytelling game could connect with the curriculum. Kids to adults love these activities. Games serve as a way to kick-off a new topic or section, to reinforce concepts, and to review.

Example Game: Mixed-Up Mayhem

Set aside a bowl for each of the following categories or create your own: Status, God of Choice, Daily Activity, Place, and Object. Note that these reflect social, political, religious, geographical and economical areas. On slips of paper, write a word and place in the appropriate bowl.

For a Greek game, here are ideas to put in each bowl—

a. Status—Rich, Middle Class, Poor, Slave

b. God of Choice—Zeus, Hera, Athena, Hephaestus, Ares

c. Daily Activity—Farming, Sailing, Hunting, Wrestling, Attending Wedding, Running Household, Going to School

d. Place—Athens, Sparta, Mediterranean Sea

e. Object—Lyre, Flute, Petasos (broad-rimmed hat), Metal Headband, Tunic, Hairpins, Rattle, Little Clay Animals, Yo-yo, Terra-cotta Dolls, Pet Goat, Pet Mice

Pull a paper from each of the bowls. Create individual or group stories that connect each of the items drawn. Be prepared for stories to go in any direction as long as all words are used.

School Standards

The Youth, Educators, and Storytellers Alliance has a one-page position statement that could guide states in how to review their school standards.

These standards are not in stone and chiseling the words "story" or "storytelling" into it does not have to be an impossible task.

So take a chance. . .roll the dice. . .and see if you can soon yell "Jackpot! There's storytelling in my school!"

Until we tell again,

Rachel Hedman

Professional Storyteller

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com/

How-To Blog: http://storytellingadventures.blogspot.com/

Family Famine Series Site: http://www.familyfamine.com/

Year of the Family Book: http://www.yearofthefamily.com
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Math Madness: 3 Number Types to Track that Add to Success in the Arts

This post was inspired by past experience as well as by Wendi Hassan, Executive Director of the Alliance for the Varied Arts and a consultant to Utah Presenters. She created a presentation and CD called “A Metrics Primer for the Artistic Mind”. Contact Wendi at whassanarts@gmail.com for more details. Or click here and order a MP3 recording for $5. It was commissioned by the Utah Arts Council.

Hovering over a calculator may be the last thing you want to do.

From taxes to bills, numbers could drive any artist to insanity.

Never fear.

There are numbers out there that have nothing to do with sending money to someone else. Rather, these numbers make it possible to RECEIVE money from others who love the arts.

Every number has a story and it is up to you to transform cold fact to warm experience.

You might be connected with an event that has been an annual tradition for 20+ years. You might be on the brink to start an event.

So what kind of numbers do people want to know about your art?

Remember to track these number types:

1. Audience Types and Consistency

2. Volunteers and Community Involvement

3. Direct Costs and Indirect Impacts

Audience Types and Consistency

Besides smiling at everyone who attends, notice details about the audience. You will often be fascinated by: average age, range of ages, and ethnic groups—attending and “missing”.

Ticket stubs or hand-held metal clickers could be inexpensive items to figure out attendance.

Some events do not require a ticket. Other places have “free” tickets as they serve more of a reservation or RSVP than an actual proof of purchase.

You could provide surveys or feedback forms that use 1-10 scales on enjoyment to receive “hard” numbers. A mix of 3-8 quantitative questions with 1-2 qualitative usually avoids overwhelming the audience member. Attempt to fit the questions on no longer than half sheet of paper.

Be sure to have a place for audience members to put their name and contact information. Include a way for audience members to grant permission for the possibility of using quotes for advertising.

You may want to have a drawing for anyone who returns a form. To promote privacy in answers, a person could receive a ticket stub in exchange for a completed form. Prizes could be mailed to the address on the stub.

The audience type and consistency could give you a hint as to the target market to reach the next year. It could also indicate that the intended audience did not match to those who actually came. Either you could celebrate and continue to connect with the type of audience that did show or you could reevaluate the advertising literature and strategies on why different results were received.

Volunteers and Community Involvement

You probably sent thank you cards to your glorious volunteers and sponsors, but how much do you know about them?

Detect trends, if any, of these people and organizations. You might consider creating a survey similar to what was created to learn more about the audience members.

As for volunteers, these people may range from Cub Scouts groups to retired individuals. Remember any event planners, directors, or Board members who may not have the title of “volunteer” but are still giving of time.

Though most of the attention focuses on event’s profit or impact, time is the most precious commodity for any event or organization.

For volunteers, consider the following and expand to address your needs:

• How many volunteers helped out?
• What is the average age of the volunteer?
• What is the range of volunteer ages?
• What was the average volunteer time dedicated to the event?
• What was the range of minimum and maximum time given?
• How did the volunteers learn about the opportunity to serve?

As for community involvement, this could mean corporations, associations, or individuals who sponsor through money, in-kind, or services.

For sponsors, consider the following and expand to address your needs:

• What category or type of organization or business does the sponsor fit in? Examples: Art Group, Retail Business, Civic Organization, Youth-Oriented Association, Retired Individual, etc.
• What was the value of the donation? (Product vs. Service)
• What donations, if any, has this sponsor provided in the past for your event? Plans to provide for the current year? Intends to give in future years?
• What is the key motivation for the gift? Other motives?

Direct Costs and Indirect Impacts

Consider the cash flow. Gather all the invoices and receipts in one place throughout the planning and implementation.

These receipts may include:

• Location Rental
• Artist Fees
• Employee Wages
• Stipends or Grants
• Advertising Event
• Website Space and Maintenance
• Certificates and Awards
• Hospitality Bags
• Transportation/Lodging
• Food
• Sound Equipment
• And on and on and on!

Correlate the not-so-obvious impact with such things as:

• Hotel Occupancy Rates
• Restaurant Receipts
• Retail Sales
• Property Values

Classic Equations

• Cost Benefit Analysis = Expected Benefits vs. Expected Costs
• Return on Investment = (Income – Investment)/Investment
• Sales Tax Gap Analysis = Expected City Expenditures/Estimated Taxable Sales (less than one means leakage)
• Lifetime Value of a Patron = Annual Expenditure X Average Years Retention
• Economic Impact = Direct and Indirect Spending X Multiplier

Multiplier is a measure of how quickly new money “leaks” out of a geographic area.

Leakage is what fails to be consumed, attended, etc. and could refer to money, taxes, products, or performances.

If these equations seem “scary”, then recruit someone to work out these calculations for your event or organization.

Your Number Story

Tell the story of the event’s results once numbers are gathered about the audience, community impact, and other costs. What do you believe caused or impacted the numbers? Why?

Play with possibilities rather than being perfect in the answers.

The telling of this audience story may be most useful when shared aloud, written down, or recorded. There could be several versions of the story. As the story is told over and over, feel free to tweak or change the story as more information or insights are illuminated.

Sometimes the numbers provide a “happy ending” for the event. . .or it could be better described as a Greek tragedy. No matter the results, recognize that “things happen” for good or bad. Be humble with high and encouraging numbers. Comfort yourself that there will be improvement with any pit-of-the-stomach numbers.

Besides, you are involved. That should count for something!

***Besides collecting statistics for your event, search for any other number stories available for events that are either similar in art form, style, or that match your intended audience. When gathered before your event, personal goals could come from it. You might also gage your success by looking at those numbers.

Until we tell again,

Rachel Hedman

Professional Storyteller

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com/

How-To Blog: http://storytellingadventures.blogspot.com/

Family Famine Series Site: http://www.familyfamine.com/

Year of the Family Book: http://www.yearofthefamily.com
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Are You Hunter or Gatherer? Common Ways Storytellers "Live Off" the Art

Ever since learning about the Ice Age during elementary school years, I delighted in creating dioramas to imagine how people survived once the snow melted.

It was as if we had our mini versions of the museum’s mannequins dressed in buckskin clothes or furs while building a fire, sharpening a spear, or gathering seeds to plant for later.

No matter what culture or country, there has been a history of hunters and gatherers. One way of gaining nutrients is not better than another way. They simply are different.

Naturally, these two ways reflect how storytellers “live off” the art.

Are you a hunter? Are you a gatherer? Are you a mix of both?

Before reading the following statements, consider your experience in the art. Are you new? Are you a veteran of over one or more decades in the art? Ponder on how this experience may affect your answers.

Our hunter and gatherer tendencies may change depending on our stage in the art.

Part 1—

On a piece of paper, write the label “Hunter” and then list numbers 1-7 per line. For each of the seven statements, choose any of the following: Strongly Disagree, Disagree, Neutral, Agree, or Strongly Agree.

1. I enjoy the simplicity of working alone and dwelling in my thoughts.

2. I am frustrated by the conflicting artistic advice from friends and colleagues.

3. I am uncomfortable when a certain number of professional storytellers live in my area.

4. The more I am around other storytellers and artists, then the more distracted I am in regards to my own goals in the art.

5. Clubs, guilds, and organizations add little or no value to what I already know about the art.

6. If I was the only professional storyteller alive, I would still feel motivated to progress in my art.

7. Organizations come and go, but the art is forever.

Now give the following point value for any answers for the above seven statements.

Add your points together.

Total possible = 35 points.

If you have 25-35 points, then you have strong Hunter tendencies.

As Hunter:

You seek out and hunt opportunities and independence. You get your “meat” or performances by the direct actions you take rather than relying on other people or organizations to help make those connections. You improve in the art most when alone and in a calm environment. Although you may interact with other artists, it is more to forward your goals than to progress the vision or mission of others.

Part 2—

On a piece of paper, write the label “Gatherer” and then list numbers 1-7 per line. For each of the seven statements, choose any of the following: Strongly Disagree, Disagree, Neutral, Agree, or Strongly Agree.

1. I am quick to join one or more social networking sites involving storytelling. (Examples: Professional Storyteller social networking site, Facebook, Twitter, etc.)

2. I attend storytelling guilds, gatherings, or other social events on a regular basis.

3. I am willing to rearrange my schedule to attend storytelling social events.

4. I refer often to what I have learned at storytelling conferences or gatherings while talking with others.

5. I am anxious to list or share how the art has been strong in the area to fellow artists, neighbors, or acquaintances.

6. My storytelling activity would decrease if certain storytelling groups or events dissolved.

7. A brainstorm session, whether with strangers or colleagues, would be more valuable than a solo brainstorm session.

Now give the following point value for any answers for the above seven statements.

Add your points together.

Total possible = 35 points.

If you have 25-35 points, then you have strong Gatherer tendencies.

As Gatherer:

You gather information and people connections. You harvest so much sustenance that sometimes the “food” goes into storage until you are ready to intake the message(s) or to build upon the relationship(s) formed. You feel an added energy whenever you are around people—whether colleagues or strangers. You improve in the art most when others are there for you as sounding boards, mentors, or as friends. Although you relish in interacting with others, you sometimes feel an overload. The knowledge you meant to apply might be forgotten and the people you meant to keep in contact are lost.

What If You Are Hunter And Gatherer?—

Take the strengths of the Hunter and the Gatherer and create a balance that will keep you fed through any of the “starving artist” times as well as through the plentiful seasons. Be willing to adapt to use the skills that would be most useful during the current economic times.

There are moments when you need to go off into the “forest” to realize and achieve dreams. Though, whenever going alone, you may want to tell one or more people of your intentions so you have a caring support system in case you get lost.

Even the mighty hunter is not meant to be alone. And the gatherer could always use those quiet moments to put everything into perspective.

So go forth and enjoy your catch or harvest! You deserve it.

In case you were curious, I had 21 points as Hunter and 31 points as Gatherer. Feel free to share your results as a comment to this post.

Until we tell again,

Rachel Hedman

Professional Storyteller

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com/

How-To Blog: http://storytellingadventures.blogspot.com/

Family Famine Series Site: http://www.familyfamine.com/

Year of the Family Book: http://www.yearofthefamily.com
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Generation Gap of Tellers: 3 Ways to Prove This Myth Wrong

By the way some storytellers sound, it seems that the 40+-year-American Storytelling Movement is coming to a close as more and more tellers are aging . . .and passing on.

At one time, I, too, had wondered about the generation gap.

Every time I attended a National Storytelling Conference, I was lucky to find 10 tellers within the 18-35-year-old range. Youth tellers, except for the Kids’ Koncert there, were practically nonexistent.

So we thought.

Then, after seeing the curious and excited looks of college students as I ran a booth on the art on their campus, I realized that the generation gap was only as looming as one made it to be.

Suddenly, I needed sunglasses to see the bright future.

Three Ways to Prove Generation Gap Myth Wrong:

• Use Different Names for the Art and the Artist



• Make Appearances on Campuses Beyond Performances



• Promote Generational Participate at Events

Use Different Names for the Art and the Artist

We are attached to the name “storyteller”. The name has a long and cherished history with people of all ethnicities, tongues, and climes.

Then something changed.

People have their lists of what de-valued the status of storytellers: television, video games, Internet, falling family values, drugs, gangs, etc. Whatever the reason or reasons, the name “storyteller” does not have the power it once had with youth and college-aged students.

Although the term “storyteller” could still be used as a label or profession, we need to add other words to our daily vocabulary within and without the storytelling community.

Otherwise, we run the risk of having certain images evoked when saying “storyteller” such as the picture of an old lady reading stories to preschoolers. Yes, we do have storytellers that have talents in “story-reading” as well as connecting with preschoolers, but our art offers even more variety than this pre-conceived idea.

So how can we increase other storytelling images when youth or college-aged students think of our art?

We connect with other narrative-based art forms and use some of their words to invite others to our art form. Some terms to consider: humorist, slam artist, spoken word artist, sit-down comedian, solo performance artist, etc.

For new festivals or events, we can experiment of naming it a “story festival” rather than a “storytelling” festival. For example, out in Hawaii there is the Talk Story Festival. Director Jeff Gere said that the phrase “talk story” was slang used often on the islands and thus it was adopted as the event’s name.

Make Appearances on Campuses Beyond Performances

Imagine the chance to introduce storytelling as an art to pursue with 3,500 or more people. . .in one place. That is easy to do when you connect with a campus.

Weber State University has an annual tradition of booths, prizes, and food also known as the Wildcat Block Party each Fall Semester. I cheered when given approval to have a booth to promote the Weber State University Storytelling Festival there.

Since there would be over 100 booths, I knew our booth had to stand out. We had to have a drawing with many storytelling-related prizes and candy. We also had the basic email list, festival business cards, and fliers.

After about five hours, I earned some sunburns—red battle scars—that told me that the day was victorious.

The results: 98 people entered the drawing, 56 signed the email list, 70 cards were taken, and 30 applications to audition for the festival were taken.

Yes, I do understand how the numbers work. Though 30 applications to audition were taken, perhaps five actually make the effort.

Yet, if five new college tellers were gained per Fall Semester over the course of 20 years, then that would be 100 new artists to storytelling.

Consider now that this was done for Fall and Winter Semesters at 50 universities, with one per state, what would your number be?

That would be 500.

The current membership for the National Storytelling Network is about 2,000 people.

Though, this idea of booths is not limited to college campuses. Although the main place to find storytellers are in elementary, middle, and high schools, there could be booths dedicated to the art during events where these students could be found.

We could play with numbers all day—and this is all hypothetical—but you can imagine that the generation gap of tellers does not have to exist.

Promote Generational Participation at Events

Most storytelling events unintentionally ignore youth and college-aged students by the tellers they invite. Every event is entitled to figure out how they go about choosing their tellers, however, if concerned about the generation gap of tellers, the next step is to invite them to tell.

As mentioned earlier, the booth promoting the Weber State University Storytelling Festival had applications so that college students could audition with 8-minute-or-less stories.

When students approached the booth, we called out, “Are you a storyteller, a story appreciator, or both?” Regardless of their answer, we could either guide them more about storytelling events happening and/or share opportunities of how they could be storytellers . . .and get paid.

This way, we start each session with two 3-minute story slots for youth, one 8-minute story slot for college students and adults, and finally about a 25-minute slot for the featured teller.

Returning to the numbers game, what if every storytelling festival reserved 3-5 slots for college students and youth?

Perhaps you will no longer believe in the generation gap of tellers, too.

Until we tell again,

Rachel Hedman

Professional Storyteller

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com/

How-To Blog: http://storytellingadventures.blogspot.com/

Performance Blog: http://familyfamine.blogspot.com/
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Within Grasp: 3 Effects and 11 Trends of Art Audiences for Storytellers to Reach

Oftentimes the audience sets the trends more so than the artists. Applause and attendance inspire what is shared with the rest of the world, especially when funding is concerned.

Artists either adapt these trends into the way they present or the art itself may fade.

Storytellers usually are the last to embrace newfangled ideas such as technology or philosophies. Yet, storytellers could lead the way for other artists this time through the three forces and eleven trends reflective of art audiences. Kelly J. Barsdate, from the National Assembly of State Arts Agencies, presented these forces and trends at the Mountain West Conference on the Arts on May 7, 2009. I have applied them to storytelling with permission from Barsdate.

Three Forces:

1. Effects of a Digital Age
2. Explosion of Choice
3. K-12 Education Gaps

Barsdate said, "These three forces equal profound changes in cultural participation norms." Though positive changes have occurred, Barsdate worried over the headline in newspapers that said people spend more time with their computer than with their spouse. She also discovered that driving while distracted was on the rise. At least there was a rise in visual IQ for people.

"Customization is now common place," stated Barsdate. She mentioned that people are looking to buy an experience rather than a product. Besides the performance or the exhibit, people notice the physical and emotional experiences. Even the ease or difficulty of parking or the structure of intermission could make the difference.

When it comes to schools, sometimes it seems like there is a never-ending "intermission" of art within its walls. Children who see arts are more willing to become artists or audience members. As youth graduate from high school, employers cannot find employees who are creative enough in the workplace. From a national survey, 97% of employers said that creativity was important while 85% of employers could not find these people from those they interview.

Eleven Trends:

1. Aging Arts Audiences
2. Digital Natives as Creators
3. "The Curatorial Me"
4. Time-Shifting
5. Virtual Experiences
6. Audience as Actor
7. Participation at Home
8. Crowd-Sourcing
9. Distinguishing Design
10. Blending of Science & Marketing
11. Mega-Impact of Micro-Trends
    

Aging Arts Audiences
Across the nation, the media age of adults is 44. The median age is at least 3-10 years higher when compared to the typical audience for opera, classical music, theatre, musicals, ballet, and other events.

Many storytellers are concerned by the generation gap. Out of 300 storytellers at a conference, perhaps 10 to 15 are from the 18-35-year-old range. Yet, it is from the audience from which many storytellers are born. After hearing stories, someone often thinks or says aloud, "I could be a storyteller, too."

The National Storytelling Festival has had the Youthful Voices tent since 1997 with two years as the exception. These youth range from elementary to high school ages. Over twenty national tellers headline this festival, but again there is a gap of featured tellers involving 18-35-year-olds.

To combat this harmful trend, the Weber State University Storytelling Festival will create marketing materials geared specifically for college students to audition for the event. Existing venues as well as new venues could make room so that all generations experience storytelling and promote its growth for decades to come.

Digital Natives as Creators
With free and relatively inexpensive ways to record CDs and DVDs, there is no excuse for storytellers to lack in CDs and DVDs to share with their fans. Products made from home may not be as high-quality than if it was done through a film and duplication company, but that result could be pursued for future projects.

Storyteller Karl Behling uses Dexster, editing software for audio. He only had to pay a one-time fee of $40.00. He now can have back-of-the-room sales. Another storyteller, Carol Esterreicher, burns a single story on a CD as a giveaway at each of her performances.

"The Curatorial Me"
Libraries and museums will always be grand places to gather and collect boundless information. Lately, we as individuals have taken on this curatorial role as we buy individual songs and stories rather than whole albums or our iPods and mp3 players. Websites like iTunes.com and iTales.com are places to build collections.

Most of the time, the storyteller chooses what stories will be experienced on the CD or DVD. The latest trend is to give customers the power on the outlook of the final product.

Some day soon it will be common practice for storytellers to work alongside third-party companies so that the fans could create on-demand CDs or DVDs. For example, the CD or DVD titles could be something like "My Favorites of Bill Harley" or "My Favorites of Elizabeth Ellis", etc. The storyteller would have already-submitted artwork so that when the third-party company burns and mails the professional copy to the fan, then it still looks as slick as if it was bought from a store.

Time-Shifting
The idea of on-demand burning of CDs and DVDs relates to being able o hear or watch the stories when it suits you. Obviously, storytelling is best experienced by the audience live. Yet, with our busy lives, we need to make it easier for storytelling fans to enjoy stories.

The trend of time-shifting will only make the idea of audio or video recording as necessities rather than luxuries.

Besides performances, some storytellers have grasped onto the power of podcasting. These shows can be downloaded whether it be 2:00pm or at 2:00am. Some of the most note-worthy podcasts: The Art of Storytelling with Children hosted by Brother Wolf; Timeless Tale Podcast hosted by Djeliba Baba the Storyteller; and The Amphitheater Series hosted by Sean Buvala.

Virtual Experiences
We love to enjoy storytelling in a live setting, but sometimes it is not possible if you want to gather many listeners together from different countries. As the Internet is not a place of boundaries, then people can "gather" at their computer screens and enjoy virtual experiences.

Kids have jumped into this world through programs like Disney's Club Penguin where you are told to "waddle around and meet new friends. Over 30 million 11-12-year-olds have joined this crazy adventure complete with a penguin avatar/character to interact with other penguins through filtered chats and live moderators.

For adults, the most popular program is Second Life (SL), a 3-D virtual world found on the Internet for social and business purposes. At least 20 million people registered are over the age of 30. Once there, you could join the Storytelling Guild of Second Life headed by storyteller Dale Gilbert Jarvis. Several storytellers have told in this setting complete with earphones hooked to the computer. You can read about my own experience here.

Audience as Actor
If us storytellers love to be on stage, then imagine all of the audience members who secretly--or not so secretly--wish to be on the stage, too.

Some of my most precious memories are when I ask for volunteers from the audience to play different parts in a folktale I am about to tell. Instead of the original "Three Aunties" Norwegian story, it became "Two Uncles and an Auntie" due to the people who volunteered. We all had a laugh and the story became more meaningful. I still had the audience learn a part so that they did not feel left out of the fun.

Storytelling in and of itself is an interactive art form. Whether or not audience participation is used, storytellers look into the eyes of the audience and are willing to adapt their stories to match the feedback they sense from them. Of all the art audience trends, storytelling excels in this category.

Yet, there are ways to increase this strength.

Take, for example, the video game Guitar Hero. Although a controller shaped like a guitar is used, the sales of "real" guitars soared. Perhaps such a boost would happen if there was a "Storyteller Hero"-type game geared specifically for kids and youth. Since storytelling games are popular, perhaps it could be translated into a computer game where kids could play with other friends on the screen or even play with kids halfway around the world. If we can do it for Wii, then we could do it for us.

Participation at Home
Musicians and comedians have held House Concerts, and suddenly this venue-in-the-backyard has reached the hearts of storytellers. Rivka Willick, Dan Keding, and Priscilla Howe are all experienced storytellers in this arena.

The Utah Storytelling Guild became intrigued with the idea and will launch House Concerts as a guild-sponsored "professional development series" in Fall 2009. This program was designed to provide a place for storyteller to share material for older audiences.

With such terms as "staycation" creeping into our vocabulary, then perhaps "house concerts" will become as well known and revered.

Crowdsourcing
American Idol is certainly one of the most popular forms of crowdsourcing where feedback from the audience determines the results. These types of shows and entertainments believe in "the wisdom of the crowds". However, as popularity tends to trump quality, sometimes new or unknown artists are overlooked.

Every so often, creating the event is full of chaos. Parameters, therefore, need to be set so expectations can be met by both the creators and the participants of the events. For example, Voromator.com had a design contest where anyone could create original art from eight shapes posted online.

A similar activity could involve eight items that need to be in a story that was submitted by audio or video means online. People could vote on their favorite stories.

In the storytelling community, the tall tale or liars contests are prevalent. Professional storytellers and/or community tellers could sign-up to share a story within a certain time frame and allow the live audience to decide on who was best.

Story Slams would qualify as having one of the highest levels of crowdsourcing while the National Youth Storytelling Showcase would be at a more moderate level.

Distinguishing Design
People could be attracted sophisticated marketing through the use of visual art. Most people make judgments about people, places, and things within 90 seconds. Though many factors are involved, the artist's attire, body language, and demeanor are key elements.

Some storytellers have unique garb to have them stand out from others. Donald Davis is known for wearing bow-ties while I am known from wearing my Dutch cap. Some storytellers, like Dianne de Las Casas, have logos that people could recognize hundreds of feet away.

If color is involved in the branding, then brand recognition jumps to 80%.

Art audiences notice these details; us storytellers would benefit to keep this in mind as we design posters, fliers, websites, and even in what we wear on stage.

Blending of Science and Marketing
We know that storytelling has great power, but unless we have some of the "facts" to back it up, some people are not interested in hiring artists. Some people may consider what we do "fluff". However, if you can prove that there are socio-developmental needs or that enzymes in the brain respond in positive manners, then you will be heard and respected that much faster.

Kendall Haven has published many books with quantifiable statistics such as STORY PROOF: The Science Behind the Startling Power of Story. You may also find these kinds of academic articles in Storytelling, Self, Society: An Interdisciplinary Journal of Storytelling Studies published by Taylor and Francis, Inc.

Proof is not the only needs. Scientists have discussed the power of "sensory branding" in that what we see, hear, smell, taste, and touch add to our experiences. With our events, what are the emotions and associations that are appealed to in a positive manner? Could there be some changes to enhance these sensations?

Mega-Impact of Micro-Trends
The world permeates with specialized groups or micro-trends. Yes, we can say that we are all human beings, but there we have the people who are the:

• Working Retired
• Native American Language Speakers
• Young Knitters (over 6 million as teens and in 20s)
• Video Game Grown-ups (Average age of 33 to the 50+)
• New Luddites (also known as "America's great unrushed" or the "Tech-NOs"
• And many more

For every trend, there is always a counter-trend.

Any artist could explore the places they tend to share their craft and discover what groups are living amongst them.

Storytellers could gear programs for these niche groups.

As you consider the current art audience trends, remember that anyone could be a trend-setter. It may be one of those timeless roles that the storyteller has always had.

Until we tell again,

Rachel Hedman

Professional Storyteller

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com

How-To Blog: http://storytellingadventures.blogspot.com

Performance Blog: http://familyfamine.blogspot.com
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Marketing Storytelling Fools: 3 More Tricks We Play on Ourselves When We Don't Ask--Part 2

Note: Part 1 focused on questions to ask the sponsor. Part 2 are internal questions for the storyteller. You may ask, "Why is not Part 2 then Part 1?" I believe most storytellers either want to ignore or to forget these internal questions because they are hard to answer. Some storytellers who have told for two or more decades still struggle with the following questions.

Sometimes "niche" is as naughty a word as some of the colorful language that can be heard up and down high school hallways.


Every storyteller needs to know who they are as a teller, and once we get over the shock of hearing the word "niche", then it is time to explore what it means to us. . .before we look like fools.

1. What is my niche?
If you answered "everything", then think again. You could be one of those curious people who love any subject or story that you hear. However, a sponsor asks "What kind of stories do you tell?" and expects to hear some specifics. They want to know that they can count on you as an expert to match their intended theme.

You may have more than one niche, though in the beginning there is less stress as a performing artist and as a business owner when you have one.

Remember that each niche requires its own press kit and marketing plan. Michael Port, the author of Book Yourself Solid, has urged people to have a full schedule of appointments and presentations in one niche before you add another niche.

2. I still cannot figure out my niche. Now what?
Breathe. It is perfectly natural to be confused. We are always questioning ourselves.

Here are some hints to guide you--

• What types of stories/programs do you already offer? What other types of stories/programs would you like to offer?
  
• What audiences do I tend to attract? What audiences do I wish I could attract?

It is possible that you tell so many different kinds of stories that placing labels or categories on them are difficult.

Ideally, niches delve into your passion and energy for the subject. Sometimes niches develop because you receive the same requests from various sponsors. They usually start the conversation with, "You are the person who tells ____________ kind of stories."

3. How do I find the right words to describe my niche?
There are three areas that inspire how to say what your niche entails to others--

• Topic
• Audience
• Result

You could think these areas like T.A.R. as in the niche should stick to your mind and heart as much as the sticky black goo itself.

Though you could say "I tell ghost stories" or "I tell Appalachian ballads", this is not as strong as if you said, "I tell ghost stories to adult in order to scare their socks off." Now you have topic, audience, and result. Your name would buzz around as "the storyteller" for this kind of program.

There is a warning about result-inspired niches. The teller can only do so much to inspire their audience to "scare their socks off" or whatever kind of result chosen. The audience members will take what they will when the actual telling takes place. However, if the sponsor realizes that your intention is for the majority of the audience to react or respond a certain way due to the stories you share, then the sponsor may be more likely to hire you.

The danger is when we seem to guarantee certain results and then we fall short. We must always exceed the expectations of the sponsors.

The T.A.R. way to discover your niche can also work the opposite way. What topics, audiences, or results do you not want?

I would never recommend myself as someone who "tells ghost stories to adult in order to scare their socks off". However if someone wanted a safe yet entertaining environment to address family social concerns to middle school to college students through storytelling, then I would say, "Yes, I am an expert in that area."

At times, I wish I had a list of every storyteller in the world with their corresponding niche next to their name. Then, when I get a call or email asking for stories or programs that I do not share, then I could pass along contact information.

Perhaps this is a trick we play on ourselves as a storytelling community. What if we shared our niches with each other so to create one huge database?

In the meantime, let us focus on ourselves as individuals and encourage our friends to do likewise.

In time, "niche" will not be such a naughty word after all.

Until we tell again,

Rachel Hedman

Professional Storyteller

Former Co-Chair of Youth, Educators, and Storytellers Alliance

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com

How-To Blog: http://storytellingadventures.blogspot.com

Performance Blog: http://familyfamine.blogspot.com
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Marketing Storytelling Fools: 8 Tricks We Play on Ourselves When We Don't Ask--Part 1

Whether you bring people to your events or whether you are the performing artist, there are certain questions we are afraid to ask--or forget to ask--that could have brought a more professional and exciting atmosphere to the whole event.

One thing is certain: We look like fools when we don't ask.

There are the normal questions that storytellers ask of sponsors such as the expected composition of the audience, the theme, or the number of people likely to attend. Sometimes the conversation between artist and sponsor seems like a blur and time is not given to these questions found below.

If you are not an artist or a sponsor, then apply to your field of industry.

1. How did you learn about me?
This is usually the first question I ask when receiving telephone calls or emails with requests. I appreciate the person currently on the line, but I also appreciate whoever might have referred me. This way I can give a personal call and thank the person who recommended me. Sometimes my thanks is in the form of giving a reduced rate for the next time I am booked. Do you know what happens as a result? I receive even more referrals.

2. How would you rate your sound system?
We have all performed at schools, libraries, or other venues that have had sound systems at least two decades old. . .or perhaps from the Jurassic period. Sometimes the feedback from the system screeches, as you would expect from a pterodactyl or a T-Rex. Unless you want to incorporate these sounds into the storytelling session such as, "There was a scream from upstairs", then be prepared to find another solution. The storyteller may have a higher quality sound system and can be notified by the sponsor to bring it. Otherwise, the sponsor may want to rent a better sound system for the day.

3. Who will be my emcee? What kind of information would they like from me?
Notice it is not "Will I have an emcee?" because I find it strange to introduce myself. I may be a storyteller who people expect to talk, but having an emcee gives the feeling that I was wanted or welcomed at this event. The sponsors who say "Go ahead. Start on your own" are usually the same ones who do not attend the event. This makes it difficult for the sponsors to reflect on the overall quality of the performance. By having an emcee, I assume that this emcee will stay the entire time and be the liaison between the audience and the venue.

The emcee determines the energy level of the session. For the shy emcee, I am willing to give an introduction card that can be read. There are also the emcees that enjoy creating their own introductions. The emcee needs to be happy. If the emcee is excited, then it will spread to the audience and on through to the storyteller.

4. What kind of picture--posed or action--would you like for your advertising literature?
Whatever picture(s) you send, you will want it to be at least 300 dpi quality. Anything less than that and it would have been better not to have a picture at all. A scanned picture is now a thing of the past with the presence of digital cameras. It is also easier than ever before to send pictures by email or to have downloadable pictures on your website as part of the online press kit.

5. What is the word count for the biography on your advertising literature?
Nowadays "advertising literature" could vary from fliers and posters to emails to websites and on to the programs. I understand if there is not room--or the proper permissions--to have pages and pages of information on the storyteller. However, nothing says respect as to when my name and website are on all advertising literature.

I am satisfied if I have five words: Professional Storyteller Rachel Hedman (www.rachelhedman.com). Most sponsors can allow five words. Ideally the sponsor's website would link to my website so potential audience members can learn more information, if desired.

Some sponsors have told me to send them "a paragraph". Then I scratch my head and wonder. . .Ernest Hemingway paragraph or J.R.R. Tolkien paragraph? I have seen paragraphs that are single-spaced and cover a page or more. Then there is the two-sentence paragraph. Word count is the easiest way to define what is meant.

6. May I have a place to have a booth to provide information? Do I need to bring my own table?
It is awkward if the permission is granted to have a booth, but you arrive and there was nothing to place the items on. One time I went to an outdoor amphitheater with permission to have a booth. The only tables in sight were picnic tables chained and bolted to cement slabs in the ground. There were tables. . .only not close to where a booth should be. Luckily, I happened to have a box and a solid-green blanket to act as table and tablecloth. It was not my most radiant booth, but it sufficed.

Some must-haves for a booth: email sign-up list, business cards, fliers, and attractive set-up. To be more popular, add a bowl of candy.

7. Could I sell my items at your event? May I have a volunteer to handle sales for me?
A storyteller can be so thrilled to officially be booked to perform that their line of merchandise is forgotten. Most sponsors expect artists to have materials in the form of books, CDs, DVDs, or wear-able items like T-shirts and caps.

School performances during the day probably will not have opportunities to sell items. The same can be said of most libraries. Yet, evening school performances when parents are around are appropriate places. Museums often have gift shops, so why not bring your own "gift shop" to your newly formed fans after hearing your stories? Having someone handle the sales as part of the contract is wonderful and allows the storyteller to chat with audience members afterward without feeling rushed.

8. Who else do you know would benefit from my storytelling services?
This question relates to question number one. Most people are willing to give referrals. When no one asks, then nothing happens. I could take this moment to say, "Hello, blog reader! Who else do you know who would benefit and enjoy reading this blog? Feel free to invite them to follow it."

Now. . .was that so hard? I know you can do the same.

9. Did I say there are 8 tricks we play on ourselves?
Then I better not say anymore, though there are so many tricks we play on ourselves. What other "tricks" do you know? Please share.

Remember that this is Part 1. Part 2 is around the corner.


Until we tell again,

Rachel Hedman

Professional Storyteller

Former Co-Chair of Youth, Educators, and Storytellers Alliance

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com

How-To Blog: http://storytellingadventures.blogspot.com

Performance Blog: http://familyfamine.blogspot.com
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

National Storytelling Network as Matchmaker

"Matchmaker, Matchmaker, Make me a match, Find me a find, Catch me a catch."

When Tzeitel, Hodel, and Chava sang about Yente the Matchmaker on Fiddler on the Roof, perhaps we have sung such tunes on business and social levels as storytellers or storytelling organizations. The National Storytelling Network could be the Yente of our time.

Two different Brain Trust Sessions at the 2008 National Storytelling Conference in Gatlinburg, Tennessee alleged to the idea of the National Storytelling Network in this connecting role, though not much time was spent to look at the possibilities.

National Storytelling Network as Matchmaker could:
1. Introduce Storytellers to Storytellers/Performing Artists
2. Seek Suitable Sponsors for Storytellers
3. Connect Storytellers to Organizations
4. Encourage Organizations to Partner with Organizations
5. Uphold Storytelling as Desired Art to General Public

Sometimes fate needs an extra push for like-minded storytellers, sponsors, organizations and people to come together and edify each other's goals and visions for the art form.

Before discussing the ideas, meet my own matchmaker:
I met my husband, Casey, through Mandy. . .and because of the airport (see picture).

While sharing a Communications Law class at Brigham Young University, Mandy and I talked about our projects. . .as well as our plans on going home for Christmas. As my family lived in Wisconsin and her home was in Pennsylvania, we were surprised that the first part of our flights to fly home was the same!

"Great!" we shouted. "Let's ride to the airport together!"

We both said that hoping that the other person had a car. No such luck. So we made ourselves a deal--whoever found a ride to the airport first would let the other person know so we could travel to the Salt Lake City airport.

After about a week, I received a call from Mandy. "I found us a ride," she said.

The driver lived in the same apartment complex as Mandy on the opposite side of campus as me. I went to the place to meet for the ride.

One other guy needed to go to the airport. He sat in the back seat. Mandy had the "hots" for him and strategically placed herself in the back. The front passenger seat was open so that is where I sat. Of course, front people talk to front people and back people talk to back people.

I had a wonderful conversation with the driver.

I arrived at the airport, flew to Wisconsin, had a wonderful Christmas, and then returned to BYU. About a week into the new semester I received a phone call from Mandy. She asked if I remembered the driver.

"He called me," Mandy said. "And he wanted your phone number. So I was wondering if it was okay to give it out."

Apparently Mandy had played Matchmaker before and things didn't turn out so well.

I replied, "Sure!" and hung up the phone laughing and laughing. Well, I did get that call from the driver--Casey--and now we've been married since May 19, 2001.

By the way, when Casey and I became engaged and went to the Salt Lake City airport to fly to Lake Havasu in Arizona to celebrate with Casey's family, who should be at the airport waiting for her own plane but Mandy! The picture above is of that moment. That is how she learned her matchmaking was a success.

Now on to the ideas--

Introduce Storytellers to Storytellers/Performing Artists
There have been attempts to have a mentorship program. Sometimes names are gathered though the lists seem to disappear or at least are not as visible as expected. With all the technology tools available, we could transform these written lists and ideas into audio and video files that people could play to understand the hopes of potential mentors and those who wish to be mentored.

The written word only captures so much about an individual. Hearing or seeing how someone is like has greater chance for success. All of the audio/video files could be found on one website. When the mentorship is decided, then the matches could also be displayed online.

Even if someone is not looking for a mentor, there is always searching for a friend. When like-minded individuals find each other, then grand endeavors come to pass.

In the meantime, Eric Wolf's The Art of Storytelling with Children podcast introduces us to storytellers almost on a weekly basis.

Seek Suitable Sponsors for Storytellers
A professional storyteller wears many hats. Storyteller Elizabeth Ellis views the three main areas as artist, craftsman, and businessman. It is the business and marketing sides that many people avoid, though it is this same area that builds relationships with past, present, and future sponsors for performances.

Most of the marketing effort would still need to rest on the storyteller, though NSN could nurture opportunities.

When Finn Bille at one of the Brain Trust Sessions mentioned this idea, the facilitator David Novak asked if a type of switchboard operator would be needed to take the calls and direct them to where needed. Bille responded that he imagined a system with "excellent data easily available on the Internet and backed up by personal contact that could guide aspiring professionals or those semi-starting out."

The switchboard image may not be feasible at the moment due to NSN having two full-time staff members while such a venture would need many more people. Yet, Bille encouraged us to look at the practices of writers' guilds as queries are accepted and then passed on to appropriate publishers. In many ways, the publisher is equivalent to the sponsor/producer for the storyteller.

At one time it was proposed for event producers to come to the National Storytelling Conference as a way to observe tellers. Even the 2008 National Storytelling Conference had the Southeast State Showcases (eight states/concerts) scheduled throughout the event as well as the Regional Concert (one person from each of seven regions across the United States). Though there will not be a conference in 2009, there will be one in 2010 and every year after that time.

Perhaps, when these showcases are organized again, the slots could be given by lottery with entries being charged a certain amount to participate as is done for other performing artist showcases. Finally, there would need to be some kind of verbal, preferably written, agreements from various event producers to attend one or more of these showcases. An incentive for the producers could be for the first 25 to sign-up for registration to receive 50% off registration. Part of the application would need a place to list any event(s) or organization(s) they are representing in the name of scouting out tellers.

Usually the reason a storyteller makes it on the festival circuit is when seen with an audience with a sponsor being among that audience. These showcases could make it possible to have a Booking Conference aspect within the National Storytelling Conference.

Connect Storytellers to Organizations
Whether or not a storytelling guild or organization is affiliated with the National Storytelling Network, a database of these pro-storytelling groups would prove beneficial for NSN to share with others. Such a database may inspire more of these groups to be connected with NSN, particularly those ones that may not see storytelling as their main objective.

Every organization has a history to share with others. Turnover of board members and leaders--as terms begin and end--are not the only ones who would like to know past accomplishments, present feats, and future endeavors.

As I considered how to create the Youth, Educators, and Storytellers Alliance ethnography, I called Eric Wolf on the possibility and the usefulness of recording interviews between former and current co-chairs on a conference call system similar to what Wolf uses for The Art of Storytelling with Children podcast. Wolf noted the increased quality of sound if the people could gather at a physical location. However, people have an easier time locating a telephone than in locating the funds to fly across the nation to an event.

Despite this difficulty, three events would be most likely for YES! co-chairs: National Storytelling Festival, National Storytelling Conference, and the National Youth Storytelling Showcase.

Once the best methods is determined, then the audio and/or video versions of the interviews could be made available online for any leaders, members, or general public who wish to know more about an organization.

Encourage Organizations to Partner with Organizations
Storytelling guilds and organizations at similar phases in growth or with overlapping goals need to know about each other and combine efforts. Individuals need individuals and organizations need organizations.

The National Storytelling Network could be the liaison between the organizations.

Rather than assuming we know what training, guidance, or help each organization would like, NSN volunteers could survey guilds and other storytelling organizations on their needs. The storyteller often needs to know the audience in order to tell the "right story at the right time" and so it stands for organizations.

With the surveys completed, the database could reveal to NSN what guilds and groups need to build relationships. A 20-person-sized guild in Montana could be introduced to a 20-person-sized guild in New Hampshire and so on. On an international scale, many cities have sister cities. Could not the same concept be applied? Perhaps the guilds would link each other's websites and let their members become aware of the "sister" friendship. Thus, the "Network" in the National Storytelling Network name would be fulfilled.

It would not be enough for NSN to make introductions and then leave the picture. NSN could follow-up on the friendships and see how often these guilds are communicating with each other.

Uphold Storytelling as Desired Art to General Public
The Oral Tradition Journal made their publications available online for free, which Tim Ereneta announced on his "Breaking the Eggs: Performance Storytelling in the 21st Century" blog. He challenged the Storytelling, Self, and Society Journal to do the same thing. He talked with the National Storytelling Network on the possibility to attempt such a feat with the Storytelling Magazine.

I support Ereneta's ideas though I would recommend that all issues except for the current year be made available, as these publications are membership benefits for the Storytelling in Higher Education and the National Storytelling Network. Most people renew membership once a year. Then we have a balance between availability and exclusivity.

Though why stop at the written way? As there are books on tape, the same concept could be used for any storytelling books and publications. These could be read and recorded by the authors, one specific person, or someone who has experience with voice-overs.

Matchmakers use the tools available to promote coupling. As from the ideas shared above, technology is the grandest and, interestingly, the least costly of any other choices.

However, time is needed for the technology to produce desired results. As with any enduring relationship, time is something the matchmaker cannot control.

Rather than simply sharing ideas, now is the call for those who want to see them transform into reality.

Who is willing to give the time to make these relationships work?

Until we tell again,

Rachel Hedman

Professional Storyteller

Co-Chair of Youth, Educators, and Storytellers Alliance

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com

How-To Blog: http://storytellingadventures.blogspot.com

Performance Blog: http://familyfamine.blogspot.com
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Top Book for Professional Storytellers: "The Story Biz Handbook" by Dianne de Las Casas

One book was left and I lunged for it. A lady took it before I could grasp it. Perhaps when the lady saw my disappointment, she offered the book to me and I shyly yet happily took it to the cashier in charge of the 2005 National Storytelling Conference bookstore.

The lady may have been Linda Gorham, the same woman who wrote the foreword to the 2005 edition of a book called The Story Biz Handbook: How to Manage Your Storytelling Career from the Desk to the Stage by Dianne de Las Casas.

My spiral-bound copy was from when Dianne self-published it in 2005. Other national storytellers, like Elizabeth Ellis, still have the even older binder version. Elizabeth recommends The Story Biz Handbook in her suggested reading list for her advanced storytelling course. Some tellers read the book at least once a year if not more to refresh on the techniques and tips. Regardless of which type you may have (or have yet to get), the book is revered among professional storytellers and performing artists alike.

It is no surprise that Libraries Unlimited approached Dianne to publish a revised version, with special attention to technological tools. September 30, 2008 is the availability date. (Check out Fall Catalog)

What makes this book so special?—
1. Transforms passion into profit
2. Gives most comprehensive look to business/marketing/social needs of the storyteller
3. Influences storytellers to raise professional standards for the art

Transforms Passion into Profit
When you open the The Story Biz Handbook, there is a dedication to Antonio, Dianne’s husband. She laughingly said, “He doesn’t argue with me. He just lets me do what I want to do.” She continued to say that from the beginning, he recognized her commitment to the art. He told her, “Dianne, if this is going to make you happy, I will support it.”

Before becoming a professional storyteller, Dianne came from the legal field as a secretary/office manager in which she earned anywhere from $35,000 to $40,000 a year. For a while, the switch in careers only provided about $10,000 a year. Dianne reflected, “Many people don’t understand how difficult it can be, especially when you start out. In order to become successful, take risks, but make sure they are calculated risks.”

Storytelling became a viable career and with all the touring and publishing requests, Antonio could see that it was worth the wait. Dianne declared, “My husband invested in me. He also invested in my career.”

With Dianne as an independent contractor, Antonio’s job provides crucial health insurance and stability. Dianne, in the meantime, enjoys and shares the secrets to her success in The Story Biz Handbook.

Gives Most Comprehensive Look to Business/Marketing/Social Needs of the Storyteller
“When I first got into storytelling, there was no one to guide with the business sense.” Perhaps Dianne was not alone with this statement.

At the time she pursued her career in 1994, there was Margaret Read MacDonald’s The Storyteller’s Start-Up Book. By 1997, there was Harlynne Geisler’s Storytelling Professionally: The Nuts and Bolts of a Working Performer and the co-authored book by Bill Mooney and David Holt, The Storyteller’s Guide.

Several topics were addressed in these aforementioned books, though not to the depth provided by The Story Biz Handbook. The book is 30 chapters and nearly 400 pages long. Her book, the author said, “is for storytellers who have been on the frontlines but need a push in certain areas.” Often storytellers are retired educators or librarians who decide to turn to storytelling as a career. This means they already have been storytelling most or all of their lives and it is now the matter of gaining some business and marketing sense.

“Not everyone wants to become a touring international artist,” pointed out Dianne. She continued to say that some tellers, like David Joe Miller, pride themselves in making a nice living telling stories within a 150-mile radius from his home. Then there are those like Diane Ferlatte who travel all over the world.

With her strong and ever-rising reputation as a storytelling marketing guru, Dianne finds the pressure challenging. She noticed, “When you are considered an expert in your field, you are expected to stay on top of the trends and be a trendsetter. I don’t pretend to know everything. Every time I get on the web, I learn something new.”

Dianne said, “The [storytelling] community helped me write the book, and I wrote it for the community.”

As if to give the book an added blessing, Margaret Read MacDonald wrote the foreword for this 2008 edition of The Story Biz Handbook.

Influences Storytellers to Raise the Professional Standards for the Art
With the approach of Hurricane Gustav, Dianne and her family evacuated from the New Orleans area in a 17 hour drive to Birmingham, Alabama. This included her immediate family (husband and daughter), her parents, and her brother’s four children (her brother had to stay behind due to his duty as a police officer).

As soon as the hotel was secured and the luggage stashed, Dianne half-jokingly announced to everyone, “Aunt Dianne is working on a book deadline. You are not allowed in the room. Don’t even knock on the door unless someone is dying.”

When Hurricane Katrina devastated the same area in 2005, Dianne had two book deadlines that she pursued with vigilance in order to remain professional for the publishing companies. Some people thought Dianne should have postponed her projects, yet she persevered, saying, “If I miss my deadline, then it misses the production deadline. That means a loss of money for the publisher and for me.”

Ever since Katrina’s destruction and with the number and intensity of hurricanes rising, Dianne has made her work more mobile so that she can gather her files at a moment’s notice and still carry out her career as a professional storyteller. The Internet has also made it possible to prosper during hard times.

She insisted, “Today is the deadline—hurricane or no hurricane. I’m going to make my deadline.”

Such determination is present throughout The Story Biz Handbook and makes it possible for professional storytellers to be as respected as musicians, actors, motivational speakers and other performing artists.

So lunge after this book and add it to your library. Better yet, read it often and apply its techniques. You’ll be glad you did.

Other Books by Dianne—

• The Story Biz Handbook: How to Manage Your Storytelling Career from the Desk to the Stage, Libraries Unlimited--$45.00, Available 9/30/2008

• Tangram Tales: Story Theater Using the Ancient Chinese Puzzle, Libraries Unlimited--$27.00, Available 12/30/2008

• Scared Silly: 25 Tales to Tickle and Thrill, forthcoming

• Handmade Tales: Stories to Make and Take, Libraries Unlimited--$30.00

• The Cajun Cornbread Boy, Pelican Publishing--$15.95

• Kamishibai Story Theater: The Art of Picture Telling, Teacher Ideas Press, an imprint of Libraries Unlimited--$27.00

• Story Fest: Crafting Story Theater Scripts, Teacher Ideas Press, an imprint of Libraries Unlimited--$27.00

Workshops/Retreats Offered by Dianne—

• 90 Minute Workshop

Abbreviated version on how to get booking and where to get them also includes a handout. Dianne shares examples of marketing materials from other professional storytellers. Perfect for conferences.

• Whole Day Intensive

Combines business and marketing techniques that any high-quality storyteller would appreciate. Provides booklet handout and many real world examples in the field.

• Weekend Retreat

Packed with details as well as one-on-one business/marketing coaching. Develop a personal plan on marketing materials, slogans, and other strategies.

About Dianne—
Touring internationally, author and award-winning storyteller Dianne de Las Casas sizzles on stage with “traditional folklore gone fun!” and “revved-up storytelling.” She performs and advocates arts-in-education programs and residencies at schools, libraries, festivals, museums, and special events. Interviewed by “Wall Street Journal”, de Las Casas is a sought-after international professional development workshop leader. She is a frequent presenter at IRA, ALA, AASL and other literacy and education conferences. Dianne de Las Casas continues to make the story connection with thousands of children every year, reaching and teaching through the wonder of stories.

***If you want more revealed about how Dianne and her family are working through this hurricane season, check out her Story Connection Blog or follow her on Twitter.

Until we tell again,


Rachel Hedman

Professional Storyteller

Co-Chair of Youth, Educators, and Storytellers Alliance

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com

How-To Blog: http://storytellingadventures.blogspot.com

Performance Blog: http://familyfamine.blogspot.com
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller