Auditions: Judging Beyond the Story

Listening to the stories at auditions energize me . . .until it comes to judging them. Certain elements are obvious to note such as the story launch, voice, body language, word choice, and story closure.

The story performance, though important, is only part of the storytelling audition process.

The teller on and off the stage inspire other elements to consider such as:

1. Audience Connection
2. Stage Presence
3. Respect the Committee

Audience Connection

While I am often on the judging side of storytelling, at times I am the one being judged. Several contests and auditions abound in my state.

During one particular contest, the judging committee announced my scores for the different categories. I had scored high, though my Audience Connection number was average. I was not surprised. It happened to be a story that I wrote, which then could lead me to sound frozen.

The story probably would have sounded the same with that audience than if there was no one else in the area.

From that experience, the following questions come to mind about Audience Connection:

• Rather than a staged performance, does the teller give the feeling of talking with the audience? This does not mean direct audience participation, though this technique may be used.
• Even if the piece is memorized, does the teller still seem to have a rapport with the audience?
• Is the teller willing to be flexible depending on the audience feedback?

At some contests or auditions, as much as 20 points out of 100 may be for Audience Connection. All other elements, by comparison, have 5-10 points.

Every ballot differs. Some ballots ignore Audience Connection as a category.

Stage Presence

Every time I perform, butterflies abound in my stomach. The trick with Stage Presence is to look as if no insects are having a party with the nerves.

When I first competed in storytelling as a sophomore in high school, sometimes the butterflies wanted to fly out. . .along with my lunch.

During one of the breaks at the Wisconsin finals with about 100 tellers, I slipped away to find an unused classroom with a wastebasket with my name on it. Thankfully, my composure has improved.

A storyteller could improve stage presence simply by breathing deep before getting out of the car or entering the building of the auditions.

Perhaps a pre-recorded motivational CD with your mix of favorite songs or quotes will boost the confidence.

If I need to be energized, I listen to “Dancing Queen”. For a more serene composure, I play “Daydream Believer”. As for a moving quote, I learned this from Don Doyle: “Behind you infinite power. Before you limitless possibilities. Why should you fear?”

Carol Esterreicher taught me the “Circle of Excellence”, a neuro-linguistic technique of picturing an imaginary circle wherein you perform the perfect performance in the perfect setting with the perfect audience. Then you transfer these images upon the actual performance.

Keep in mind that the audition starts as soon as the storyteller enters the room. The audition continues as the judging committee calls the storyteller to the stage. Each footstep, arm swing, and shoulder erectness communicates either fear or confidence.

When judging, I watch to see if the storyteller accepts the applause. Too many rush off or fail to soak in the appreciation from the audience. A professional is poised from beginning to end.

Respect the Committee

This may seem like a strange category. Unfortunately, I added this category for the rare individuals who. . .come off the wrong way.

Before Audition: There are times when storytellers have felt entitled to be part of an event. Performing is a privilege. Sometimes a polished teller is not invited to give a chance to less experienced tellers who need a stage to grow. Consider your words in speech, telephone, or email. Are you too confident in being chosen?

During Audition: Did you arrive on time if a time slot was reserved? Are you pleasant when you turn in your application? Does your tone sound flustered, impatient, or annoyed? If you are a walk-in, do you understand that you might need to wait a while based on the number who came to audition?

After Audition: If chosen to be part of the event, do you continue to have good manners towards any and all people involved with the event? If not chosen, do you keep your anger in check? I like to write a personal letter to each person not chosen to tell. I share the positive as well as what could be improved to possibly be chosen the next year. Much time and thought go into these letters.

The good news is that most people receive full points for the Respect the Committee category.

So be outstanding at the next audition. You could be a star.

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

Mothering a Program: How to Give Birth to Story Success

Most mothers are ready for their baby to come when ten months or so have passed. They have swallowed hundreds of pre-natal pills, stuffed and filled drawers and closets with baby clothes, and packed the suitcase for that urgent ride to the hospital for delivery.

A storyteller could learn from mothers on how to care for the mental, physical and emotional needs.

Mental

For the Story—

A mother does not expect to become pregnant and then deliver the baby the next day. She likely made a lot of to-do lists. Repainting a room for the nursery is probably a priority.

The story needs to be outlined in a way that works for the tellers. Some people prefer the visual way by storyboarding. Whether drawing stick figures or intensely detailed images, these series of pictures could bring order to a complex plot.

I enjoy using French Scenes of which the environment, character feelings, and progression of the plot are explored for each part of the story. I ponder upon the Hero’s Journey structure as shared by Joseph Campbell. The hero’s beginning, call to adventures, road of trials, and the ultimate boon can be adapted to most types of stories.

For You—

A mother dreams what that moment will be like to hold the new precious one in her arms.

Storytellers can also dream of the perfect performance. Storyteller Carol Esterreicher taught me about the “Circle of Excellence”, a neuro-linguistic practice. An imaginary circle is pictured while the teller builds the visual, audio, and kinetic elements that would motivate and create the best environment for storytelling. For example, one might imagine an elaborate opera house with lights up, friends and family in the audience, hearing applause, and feeling warmth and delight from everyone. A cue, like putting on a cap, might trigger these positive thoughts regardless of the actual atmosphere.

Another mental preparation is to have silence. I prefer to have the radio off when I drive to a performance. This allows me to think only of the stories to be shared at the performance.

Physical

For the Story—

A mother’s whole body expands and changes to make room for the little one forming in the womb.

The first time that a story is told aloud, then the story is able to grow and become larger than it was at the beginning. Besides the words, facial expressions and gestures flow with the story. It creates what storyteller Donald Davis calls as “body memory”. The story is beyond outlines and storyboards now.

For You—

A mother attends classes to learn how to breathe properly for delivery.

Does this sound familiar? Storytellers must know how to breathe. We breathe so many times during the day that we may take it for granted. When our breathing is acknowledged, then we can control it to enhance out performance.

Our breath may quicken for showtime. Taking deep breaths in and out could calm the nerves and allow us to do our best. I enjoy throwing in some loud yawns. A yawn is the body’s way of saying that more oxygen is needed and not always that one is tired. If no other warm-ups for the vocal chords are done, then some yawns and breaths could help.

Emotional

For the Story—

A mother could have any emotion emerge at any moment. She does her best to keep the hormones in check.

A storyteller needs to have these skills of detecting when the emotions are too much for a story. Certain tales may remind of tender or outrageous moments. Sadness or anger might come forth from the story and make the audience uncomfortable. The story may need to be “excused” until enough time has passed to feel in control.

For You—

A mother knows ultimate joy because she has felt the sorrows. No matter what the obstacle, a mother knows that everything is worth it for that joy.

Fear could easily beset the storyteller. After the preparations and practices, the showtime—or delivery—of the program is at hand. Grasp onto the feeling of confidence that you did all that you could do to make the program a success. You will feel satisfaction when you hear the applause and realize that you did your best.

So what are you waiting for? Go and deliver some beautiful story success!

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

Storyteller Spirit: 3 Signs When You Have It. . . And When You Don’t

Storytellers are cheerleaders of the stories they tell.

You can feel the difference of a cheerleader who shouts out to the audience with more than 100% effort versus the cheerleader who barely moves the pom-poms with a barely heard “rah”.

Yet, the quiet cheerleader who does not have the heart into the cheers could still perfectly execute the words and the timing. All that would make the change would be an extra “umph!” or snap to cause the crowd to stand and cheer or even start the wave.

As storytellers, we may not expect the audience to give standing ovations; though there is a wish we share that something about the program would move the audience.

True, the audience takes from the program what they wish to take from it, but the thought that a story could inspire action or a new way of thinking often motivates storytellers to keep gracing that stage.

Some Signs Of When You Have It:

• Satisfaction After Telling Story
• Happy Buzz Sounds From Audience
• Audience Members Approach You And Sometimes Share Stories

Satisfaction After Telling Story

National storyteller Bill Harley coined the term “sense presence”. He said that “sense presence” was when the right teller tells the right story with the right audience. There is a feeling of “ahhh”. Harley mentioned that this feeling does not happen every time that one tells, though it is the endeavor for each performance. We may have levels of satisfaction and a performance does not have to be perfect to feel good about it.

Happy Buzz Sounds From Audience

The last story’s mood could determine the “buzz” besides the storyteller spirit. A session rarely ends on a grim or hopeless state. Though, the passion radiating from the teller could be contagious and spread as people rise from their seats to return home. Enjoy the sounds and add to your celebration.

Audience Members Approach You And Sometimes Share Stories

I told stories for a family audience at an elementary school. There was a ten-year-old boy on the front row who usually looked down at his hands while I was telling. Though I made sure to share my energy with the rest of the audience, this boy intrigued me. I made an increased effort to send more positive vibes his way. I wondered if the storytelling had any affect on him. Then, while mingling with the audience as they left for the night, this same boy bounded to me and shared story after story of turtle stories. I told him that he had quite the repertoire and I expected to see him on stage one day.

Some Signs Of When You Don’t:

• Monotone
• Little Or No Facial Expressions
• Attitude of Indifference Or Grumpiness

Monotone

The flatness of voice could occur when the teller is tired in one way or another. It could be a physical tiredness with possible connections to stress levels at the moment. A teller takes whoever they are on stage—the worries, the sadness, and the anger. When life is more balanced, then the positive emotions emerge. Suddenly, the storyteller spirit is recaptured. Keep in mind that a teller may be tired of the story itself. It may be a story forced upon them by a friend, parent, or even themselves so that it fit the theme in a certain way.

Little Or No Facial Expressions

Gestures with hands may be in use, though sometimes the gestures do not match what is happening with the face. An activity to equal facial expressions with gestures would be to place your hands behind your back while telling the same story. Have a friend watch your face to look for improvement. Otherwise, a video camera could work.

Attitude Of Indifference Or Grumpiness

Having the storyteller spirit does not have to mean that you are constantly smiling. However, it is expected that there is a certain positive intensity that can be felt by the audience members. If the feelings exuded are of a neutral or negative nature, then no matter the strength of the story, the audience will walk away wondering what happened. They may not have a name for what was lacking. The teller has then transferred their attitude to the audience. So think positive and send a feeling home with the audience that will be worth to cherish.

Here is a “Rah! Rah! Rah!” to you that you will always have the energy that you wish others to have as they hear your tales.

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

Lost! 3 Ways to Regain the Love and Skill of Storytelling

At one time or another we have lost something.

That moment when we discover something might be gone--whether for a short time or even forever--could cause the most cheerful and calm person to pull hairs, shed tears, and fly into a rage.

These emotions are natural, though what we do next determines whether something is truly lost. There is the hope of regaining and expanding what we originally had.

For other times, the loss of one thing creates room for another.

Such is the case with storytelling.

There are things we can afford to lose. We can gladly say goodbye to:
1. Fear
2. Anger
3. Mediocrity

Yet sometimes, as storytellers, we hang onto the negative and do not move on so to replace the feelings with confidence, patience, and love.

Fear--"Could I ever be good enough? Am I a sham?"
We are always more critical of ourselves than others are of us. Part of human nature is the desire to do our best and to fulfill our potential. When given that moment to shine, as storytellers do on stage, there is the ever need to question ourselves. We look at the audience and attempt to analyze their facial expressions and body language to determine how best to proceed with the story. When our confidence wavers, it may emerge as stuttering or stumbling of words. Sweat may bead from our heads. The whole story may be wiped clean from memory like an erased flash drive.

Way to Regain Love and Skill of Storytelling:

Before walking on stage, remember what drew you to the story you are about to tell. Then think about the reasons why this particular audience will love this story. The audience wants you to do your best and would prefer to give a standing ovation than to boo. . .unless you are at a story slam. Then the boos are more like compliments! What to do for those times when the memory lapses? Realize that you are the storyteller and that the audience is not aware of what will come next in the story.

Anger--"I am mad at the world. . .and the world will know it!"
We might question why certain things happen to us. This innocent curiosity could suddenly dwell on our minds until it transform into anger. Some storytellers use the stage as a way to inflict such negativity to the audience. Suddenly the audience is attending and listening to an intense therapy session, and storytelling is no longer the art form on stage.

Way to Regain Love and Skill of Storytelling:
If you recognize this sensation as you tell, then take some deep breaths and use those times as "dramatic pauses". The audience would rather that you develop some control over the situation rather than plowing through whatever is left of the story to tell. The whole story itself may be one of anger, and you might need to let the audience know that the story will be changed to better suit the intentions of the event.

Mediocrity--"Everyone is a storyteller. . .so why bother?"

Who has not heard the phrase "everyone is a storyteller"? When it is heard often enough, people may not take the times to outline, explore, or practice their stories. If it is a skill that anyone can do, then why bother improving it?

Way to Regain Love and Skill of Storytelling:

Despite storytelling being an art form that has always existed, think about other art forms. Everyone can sing, though does that guarantee them a spot on American Idol as a singer? Now think about theatre. You might have had the role as one of the three little pigs in Kindergarten, though do you assume that you could compete with consummate actors like Tom Hanks and Meryl Streep? You could. . .if you practiced. For extra motivation to improve your craft, think of your role models in the art. What do you think they do each day in preparation? Transform these thoughts into action. Get a story buddy or coach that you could work with in-person, by telephone, or through the Internet.

The great ones always find a way. So go forth and "be found".

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

5 Ways How Adopting a Story is like Adopting a Child

To be released November 1, 2010, National Adoption Month, will be a book called “Year of the Family: 12 Adoption tales to place in your home and to value the process today”. Pre-orders and updates are at www.yearofthefamily.com. All proceeds go to our adoption fund.

My husband and I have always wanted children. I have wished to peak at the Lord’s planner to find out when we would have kids as we have been married over eight years. We are one of many couples in the world who wish to grow their family. Then came the beautiful word of “adoption”.

We knew that whether we were blessed with children biologically or not, part of our family would come through adoption. Things would work out.

Since I am a professional storyteller, I tend to think about stories and how they relate to all aspects of life. While my husband and I began the adoption process, I contemplated how similar the steps were in finding and developing stories.

Here is the Adoption Process of a Story:

• Decide to adopt a story in the first place
• Determine what your heart may be open to receive in a story
• Figure out your story agents in the process
• Be patient and expect changes along the way
• Love the new story as one of the family

Decide to adopt a story in the first place

Sometimes it seems life would be easier to stick to the stories already in your repertoire. There is so much research, refinements, and rehearsals to each tale that it could feel like you truly went through labor to deliver and give birth to the story.

Yet, something inside the storyteller’s heart urges us to have another story and another story and another story. The search for the story that would fit within your style could be an exhausting . . .yet satisfying journey. When you decide to take the first step for a new story, then you are one step closer to performing it.

Determine what your heart may be open to receive in a story

There are so many genres and kinds of stories. Are you interested in telling stories that heal the soul? Challenge the social norms? Stretch and exaggerate the truth? Explain how certain landmarks or traditions came to be? Interact with the audience through improvisation? Relate a personal or family experience to cherish a moment? The list could go on.

Likewise in the actual adoption process, there are lists that a couple marks known as a matching sheet. Preferences such as desired age of the child, racial background, and medical conditions could be pages in length.

As storytellers, we may feel open to experience each kind of story at least once. Perhaps we find our niche or specialty and pursue one or two kinds.

Figure out your story agents in the process

I meet with three different “story agents” normally known as my “story buddies” every week. We divide the time equally so that full attention could be given to our most recent projects.

An adoptive couple may decide to connect with one or more agencies. We have chosen to work with one. We keep in contact with the caseworker appointed to us. With more agencies involved, then the process may quicken. There is also the balance of time and money.

The number of “story agents” a storyteller has may also be determined by time and money. Friends may give of their time for free, though there are storytellers who specialize in coaching and could charge a fee.

Be patient and expect changes along the way

A story may not come to together as fast you dreamed. The creativity could be flowing and then suddenly stop. Months or years may pass before any development actually happens with it.

As for the paperwork involved with adoption, once completed there may be an average of six months to a year because placement with a child in the home. Some potential adoption couples have waited for five or more years.

Love the new story as one of the family

The story will develop and arrive on that stage . . .after the proper time creating outlines, storyboards, imagery explorations, or whatever ways you use to piece a story together. Celebrate this success by premiering the tale with family, friends, or community. Take pictures. Record the experience. Do all you can to relish in the moment.

The story may be new, though you could love it as much as any other story in your repertoire. Mix it with your other tales. Watch as the story grows. Congratulations. The story is part of your family.

The same can be said the moment that a child is placed in the arms of an adoptive parent. Some wonder if one could truly love someone who is not biologically connected to them, and yet this love happens every day. The child will sense your care for them and emulate the feeling.

So. . .are you ready to start the story adoption process?

There are many tales waiting for a teller like you.

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

Freedom-Based Mentoring: How to Transform Resistance to Acceptance

This is the full article I wrote, though a condensed version was published in the January/February 2008 Storytelling Magazine, with the theme "It Is The Right Time for Mentoring".

Out of over 13 years, eight of those years I walked the storytelling path alone. This was was choice. I did not mind being alone. In many ways I thrived on it. When I was ready, I turned to others.

Storytellers have always surrounded me--whether by fellow classmates competing in the storytelling category during high school or whether by peers in storytelling guilds. With constant inspiration, all have earned the name "friend" though only a couple people in my life have earned the title "mentor".

Each one of these special people followed what I call Freedom-Based Mentoring with these levels:

• Freedom to Start
• Freedom to Trust
• Freedom to Dream
• Freedom to Stop

Before connecting with the four levels, meet two key mentors in my life: Doris Sexton and Don Doyle.

Meet Doris Sexton
My first story was a failure. I was a sophomore in high school and my coach from Forensics, an organization of public-speaking contests, made no comment as how to improve my story except, "sign up for more practices." Rather than be mentored, I secretly practiced in the shower, the basement, or in the shed. I could not face Coach Sexton despite my high respect for her skills.

After the first storytelling tournament, I climbed on the bus with the other students. Sexton called out my name and strongly asked to hear my story again. My scores were not good enough for any trophies though good enough for a first-timer at a major event.

I took a deep breath and told for Sexton. She smiled and said, "Ahhhhhhhh, much better." From then on, I met with her every week. Each tournament I improved and by the end of my senior year I received 5th in State for Storytelling.

Despite initial reluctance, I honor Sexton as my catalyst into storytelling.

Meet Don Doyle
I was nervous meeting Don because I never had complete attention for storytelling except for eight years back with Sexton. Until receiving the J.J. Reneaux Mentorship Grant, my only knowledge of Don Doyle was of his stirring speech on connecting the generations of storytellers at the 2004 National Storytelling Conference. In September 2006, I jumped on the plane from Salt Lake City, Utah to Mesa, Arizona for a week-long one-on-one gathering.

When I reached out to shake Don's hand, he ignored it and gave me a hug instead. That action reflected what would occur in the next few days.

Don chose to break the ice by talking about storytelling interests over lunch. By the time we turned to experimenting or "playing" with techniques, Don knew my goals. He wrote them down and referred to them often.

With Don's strong theatrical background, I could receive feedback on how to piece an epic tale. I desired to create a one-hour Greek myth with the gods Hephaestus, Zeus and Hera in regards to child abuse. I knew the techniques needed for this story could be applied to other story creations. I continue to learn from him.

Freedom to Start
Whether with Sexton or with Doyle, I was the one who initiated contact.

Sexton gave me the space I needed though she still voiced that she was interested in what I had to say. Doyle reflected the same openness as he allowed me to set the pace in the techniques we explored together. Even the act of flying to Arizona versus having Don fly to Utah made a difference in my psychological need for freedom. After the first gathering, the place would not be so crucial.

Freedom to Trust
Despite Sexton's illustrious "Coach of the State" award, I depended upon classmates' impressions. I knew she was tough and often intimidating yet the ideas of the students came first.

Out of the week that I spent in Mesa with Don, at least a half-day was dedicated to understanding each other's backgrounds. This reassured myself that Don really had the best of intentions for me.

Freedom to Dream
Never did Sexton cram a story in my face and say, "You should tell this one." If she had, I would have screamed, most likely never to return. She let me decide whether a story was or was not working.

At one point, Don suggested that due to the type of story I wanted to pursue, we invite Liz Warren, who had a Greek myth background. He could have steered me away to a different story I wanted to work on. Instead, he recognized that he could focus on the techniques while also modestly stepping aside when others could guide in different areas. I was allowed to dream the types of dreams I wanted at the moment.

Freedom to Stop
Ideally the mentoree initiates as well as stops the mentoring. This idea could apply to individual sessions and to the relationship itself. A true mentorship will last the ages, even if little contact is made. As for Sexton, I update her on my storytelling through Christmas letters and visit whenever I travel to Wisconsin to see family. Don and I still email and call each other. We strive to connect whenever we are at the same storytelling conferences or festivals.

I no longer choose to walk the storyteller path alone.

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

Asking for Directions: 3 Maps for the Storyteller

We, as storytellers, may not always ask for directions in the stories we create. The images of the stories' settings and perhaps the characters allude us though we have the map of the story as an outline.

The stories I share seem bare-bone until I immerse into the world itself in which the action takes place.

One of the reasons storytellers build repertoire is so they can be more flexible and choose stories that connect best with their audience at a moment's notice. By expanding your view of the story's setting, this, in many ways, expands the possibilities and the spontaneity within one story.

Three maps help storytellers:
1. Map of the Landscape
2. Map of the Mind
3. Map of the Place of Story Development

Map of the Landscape
The Greek storytellers remembered their epic tales by walking throughout the countryside. This promotes a type of body memory in which your feet and legs provide as much memory as your brain. Even your nose, hands, and eyes take part in the memory as the senses pick up details that may be lost otherwise.

Sometimes a journey to a zoo or a botanical garden is enough to open the mind to animals and plants that may be common to the story you are sharing. You might scan a map and find out the lay of the land in regards to mountains, rivers, plains, and other remarkable features.

The story could be historical or even a folktale from another country. If the opportunity arises to visit the actual or similar place of your story, then take it. Sometimes places are imaginary or are difficult to go to even if they exist.

"The Once Upon A Time Map Book" by B.G. Hennessy and illustrated by Peter Joyce introduce you to six lands: Neverland with Peter Pan, the Land of Oz with Dorothy, Wonderland with Alice, the Giant's Kingdom with Jack, Aladdin's Kingdom with the Genie, and the Enchanted Forest with Snow White. Aerial views are shown complete with a compass and a key of special paths. For example, the Enchanted Forest has the hunter's path, the dirt path, the miner's trail, and the winding stream.

Some of the landscapes are labeled even if in the original stories they are not named. Storytellers have as much right to name places as authors. Mentioning these names may not be important to the story, though it does make the places more real and thus more tellable.

At times the location may be your own home as the main character could be you, childhood friends, or relatives. I enjoy drawing my home as if a giant walked by and ripped off the roof and then he placed me on his shoulder so I could look into the rooms from above. Adding color dramtically increases recall ability. Then, when completed, it is time to give a "tour" by pointing out what moments and memories happened in the rooms.

It is not enough to say "Here is the kitchen" and "Here is the hallway". Rather, one could say, "Here is the drawer in the kitchen where Dad kept the flashlight and he didn't know I knew it was there" and "Here is the hallway I had to sneak down and every so often the ground would squeak and I would freeze until I thought Mom and Dad didn't hear me." Storytellers Kevin Cordi and Karl Behling as well as many others use this technique to teach others to find the stories within.

Any maps you draw or create are wonderful to keep in a binder for future reference.

Map of the Mind
Every character has their own back story that often is never known to the audience. Maybe it was not even known to whoever wrote the story in the first place. This has the idea of playing with perspectives that may develop the attitudes, facial expressions, or postures that you decide to use for the actual telling.

The storyteller can ponder on the personalities anyone they may encounter. I say "encounter" because you know you have developed a strong character if he or she reminds you of someone you know--someone you may "encounter" in the grocery store, on the football field, at work, or in the home.

A starting point may be as simple as wondering what the character's favorite color and why that is the case. I recommend having a partner come up with questions so you do not have the pressure of thinking of questions and answers.

I like considering what a character may do in their spare time. As stories tend to focus on action and not necessarily on the "down time", the answers can be whatever you want them to be. I like to be a little accurate in my guesses by delving into the culture from whence the story came from.

Map of the Place of Story Development
Lately for my "Family Famine: Hunger for Love" narrative production, I have gained specific story buddies. I meet every Friday afternoon with Holly Robison to focus purely on "The Gardener's Wife" story from Colombia while I meet every Tuesday morning with Julie Barnson to dedicate time to an Ojibwa tale of "Forsaken Brother". By stepping into their homes, I am reminded of whatever story I practice there.

Upon the stage, if there are moments I fade or forget, then I may take a mental journey through their homes and remember where I was when certain ideas came concerning the story. My mind would have made an imprinted map.

With some maps now in tow, you can find your way through any story. The trick is to transfer your map to your audience. That is something entirely different.

At least you were willing to ask for directions for yourself as a teller.

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

Teller's Dilemma: Hating Practice, Loving Showtime

Practicing—whether stories, piano, sports or anything else—usually prompts someone to say, “It is for your good”. Perhaps this is because they are grateful they are not the one practicing. The word is often associated with torture and boredom, yet it is through this act that a stellar performance comes about.

Practicing can be exciting with these five ideas:
1. Set some goals
2. Dream the final performance
3. Add fun and spontaneity
4. Share with friends and groups
5. Reward yourself

Set some goals
Usually people practice so that the mental “to do” list can be checked off. The deed is done for the day and we move to something fun. . .and so builds the self-fulfilling prophecy that practicing is monotonous and dull.

If goals are determined before rehearsal, then we notice our improvement. With improvement comes reason for celebration and momentum to continue and see how close we can get to perfection.

Once my storyboard or outline is completed, my goal could be to share the story without looking at the “maps”. When details are missed, I plow through the story and I can celebrate only if I did not take a peek. Whether I had smooth transitions or consistency in character voices would not matter in this trial run as my ultimate goal would be accomplished. I could address those other choppy areas in future practices.

Dream the final performance
Sometimes we forget why we practice in the first place—some reasons being that we can perform and receive applause for the effort. Rather than waiting for the performance day to enjoy these sensations, you can imagine them now.

I love to visualize my perfect performance. Each storyteller would have different thoughts and images for this part. Even if the future performance would not have a stage and atmosphere remotely like the one you imagine, you can still benefit from your dreams. Sometimes I have transposed my perfect performance with the one at hand to boost my response to the audience.

Perhaps fear of failure captures your imagination quicker, especially when you perform a new piece for an audience rather than for your mirror. If moments of stuttering and booing permeate your thoughts, then the act of practicing could only amplify your fear to reach such an end.

Ask your storytelling friends to share favorite memories of performing. Soon your fears will be relieved and you can concentrate on positive images for your perfect performance.

Carol Esterreicher, professional storyteller and practitioner of Neuro-Linguistic Programming (NLP) often teaches the concept of the “Circle of Excellence” in which you step in and out of an imaginary circle that represents the perfect performance. Each entrance into the circles means a different sense to trigger happy memories whether through calming visuals, encouraging sounds, or even stimulating smells.

Add fun and spontaneity
Going in a corner to practice telling a story to a wall seems close to what naughty kids endure when told to sit in a chair until they are told time-out is over. Sometimes all it takes is for different scenery to add some fun.

Every so often I find myself in an airport and practicing a story with people waiting for your flight could work. Perhaps you would like to experiment by placing a blindfold around your eyes so that you can more easily focus on the images within the stories.

If ever I am in a down mood, then I find wearing Hawaiian leis perk me up. By laughing at myself, I am more willing to practice telling stories.

So avoid going to the same place to tell the same story at the same time. Switch at least one of those elements and you will enjoy practicing more.

Share with friends and groups
There is only a certain length of time when telling to the mirror, the wall, stuffed animals or pets when you want real human connection. You can adopt a class—or another venue that is common for your gigs. These places would be your official practice group, and you will most likely earn some fans, too.

Call a friend to stop by to hear the latest story. Or go to the library and randomly gather people (ask the librarians first) and suddenly you have people to give you feedback and improve other aspects of your story besides knowing the sequence of events.

If meeting with other people is out of the question, then get out the mp3 recorder or the videocamera. When I was a kid, I would tape record my piano playing so I could send a copy to my grandma. Even as an adult, this trick still works for you have an extra reason to practice. If you are the grandparent, then send the recordings to your grandkids.

While I was with the Lemoore High School storytelling class (California), the students were given the following situation--You need to find someone to share your story. Mom and Dad are still at work. You don't have any brothers and sisters. You have plenty of friends, but they are at sport practices or other extra-curriculars after school. What could you do?

Try one or more of what they brainstormed:

• Use a webcam to tell your story to strangers (or friends)
• Be a door-to-door storyteller or at least tell to those on the streets
• Walk to the library and ask permission to share with patrons
• Call one of your grandparents and give story over the phone
• Go to the store/mall and randomly tell story to others
• Share at church, retirement center, homeless shelter, etc.
• Go to a funeral home and cheer others with your story
• Post your story on MySpace or YouTube
• Pretend to tell story to a famous book character
• Set up story booth outside a store (like when selling Girl Scout cookies)
• Grab the phonebook, call a random number, and share your story
• Chat with the mailman
• Sing your story on a Karaoke machine
• Tell story with those who are sick in the hospital
• Jump on city bus and share with everyone (sometimes driver will give intercom)
• Ask teacher/mentor/coach to listen

Reward yourself
Hearing the applause at a performance is a grand reward for practicing, but do not let the celebration start or end there. Think about what you love—besides storytelling. Is it chocolate? Books? Ice cream? Going horseback riding? Whatever you love, reward with that item or activity after you practice so many days in a row.

With all these ideas, perhaps we will be better at practicing our practicing. Who knows? Maybe we’ll enjoy our rehearsals as much as when it is showtime.

Until we tell again,

Rachel Hedman
Professional Storyteller
Co-Chair of Youth, Educators, and Storytellers Alliance
(801) 870-5799
info@rachelhedman.com
http://www.rachelhedman.com/
http://www.yesalliance.com/