When is a Folktale a Folktale? Today’s Changes to Yesterday’s Story of the People

A folktale tends to conjure images of shrouded forests with country peasants, majestic mountains inhabited by isolated hermits, or dusty deserts pitched about by canvas tents of nomadic tribes.

A folktale is usually not thought of in a setting like New York City with its skyscrapers and bustling people.

Yet, a folktale, in all its simplicity, is a story of the people.

Time does not really factor into the folktale equation. We like to add the “long ago and far, far away” as probably a part of nostalgic and romantic notions.

New York City could be admitted to be as grand as any kingdom spoken of in classic folktales.

Universal themes are still the same from the past to the present. These themes provide the foundation for folktales.

There are three main areas that have changed:

• Common Characters and Jobs
• Self-Made Monsters and Disasters
• Rural to Urban to Viral

Common Characters and Jobs

In the folktales of the “long ago and far, far away”, the main character or hero tended to start as a farmer. Oftentimes, some royalty made an appearance.

Today we continue to have our workers and our leaders, though we name them differently.

Jack’s mother may not be asking for her son to take a cow to town for some money (and have Jack bring back magic beans instead). Now Jack’s mother is asking for her son to take his college education and find a job in this high unemployment world. Jack is lucky to bring home some beans.

People like Jack and searching for the gold that would support their homes. Climbing the beanstalk is often the only way to do it. That could mean gaining further education or climbing the corporate ladder.

Folktales could center on the adventures of being a student. Passing final exams circulate as stories with the rituals and traditions involved.

Besides the perpetual student, we have occupations that did not exist to such a degree a hundred or more years ago.

Horse-drawn carriages have made way for automobiles. Sending letters by carrier have many times been sent through email. Books and programs could be placed on microchips and in software packages. Vaccines and cures have burst forth from healthcare research. And the list could go on.

Self-Made Monsters and Disasters

We still have killer crocs and devil pigs. We even have giants, though ours today go on to swallow fire and swords and become a finalist for “America’s Got Talent”.

One of the largest self-made monsters of the day: identity thieves.

So the idea of becoming someone stealing or becoming someone else is not new.

Consider the infamous folktale character “Master of Thieves”. If you delved into folktales from Iraq, it seems every other piece involves a man dressing as a woman or a woman dressing as a man so as to gain glory and gold or to avoid death and detection.

Now people are becoming other people without the clothes . . .only dressed in a social security number.

As for disasters, we live in a time when millions of gallons of oil could spill out from reckless offshore drilling and destroy coastline communities faster than any hurricane or flood. Though, not to be forgotten, these natural disasters still pound from the skies and the earth and compound the self-made disasters.

Stories of the past always involve battles, but now the bow and arrow and guns have made way for bombs. Earthquakes are not the only things that tremble the earth.

Rural to Urban to Viral

As we share the news of events with others, we can credit many words used to explain storytelling from country influences such as “spinning a tale” or “old wives’ tales”.

Whenever there was a barn raising or a celebration of some kind, the farmers and their wives would gather. The women had their area of their quilting bees and spinning wheels and would share stories and gossip while doing these repetitious tasks.

Then the printing press became more common and newspaper were born. Cities housed these machines and the stories disseminated mainly from these heavily populated places rather than the countryside.

Now we have the Internet. A person could zip a message to a friend on the other side of the world in seconds.

Our folktales and folklore are being chronicled mainly through Facebook, Twitter, and YouTube.

Stories are continuously before our faces. The question becomes, “Do we value them?”

You are part of the people. The answer lies with 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

"Storytelling is Dead!": 3 False Readings to the Art's Vital Signs

Once upon a time the art of storytelling was born. The world celebrated the birth as the human family became more unified and edified upon each tale told.

People seem unable to pinpoint storytelling's exact time of birth or that first story.

We have relished narratives without knowing all the details.

Some details have been important. . .particularly to storytelling's death.

Is the art living or shriveling?

Vital Signs Of Storytelling In Relation To:

• Technology Ticker
  
• Generational Gauge
• Political Pulse
  
  

Technology Ticker
False Reading: Technology will doom Storytelling.
Tick. Tick. Tick. Tick. Tick.

To some people, the progression in technology sounds like a metronome alongside a piano to provide the steady inspiration to create something extraordinary like concertos or full-orchestra pieces. People build relationships or collaborate who--due to distances--could not otherwise meet.

Others account the ticking to a time bomb. The explosion of social networking on Facebook, Twitter, and blogging could cause casualties, but will storytelling be one of them?

In the article "Native Canadians and the End of Storytelling" written by Jerry Mander, a woman believed this was the case.

She watched as television came to her village. Less and less children had any desire to sit around the elders at night to learn of their culture. Instead, the culture came from the television. She lamented, "The generations are sitting all together now, silently watching television. And on TV it seems like being young is all that matters and that the old have nothing to say."

No matter your view, we must remember that for every trend there is also a counter-trend.

Anyone who vocalizes their opinions strengthens these trends and counter-trends.

Society will seek for ways to interact the more that people latch onto laptops, cell phones, blackberries, or whatever else is the next vessel for technology.

Storytelling is often the counter-trend to technology despite existence of digital storytelling or virtual teller sessions through programs like Second Life. In fact, storytelling is more rooted in society than ever before because of the existence of technology. As long as the human race progresses with ideas and inventions, then there will always be the ones to uphold the narrative art in its purity.

Yet, we still come upon titles of lectures as given by Douglas Rushkoff like "The End of the Story: How the net killed narrative, and what - if anything - comes next". This was presented by The Brooklyn Experimental Media Center and the Dibner Family Chair in the History and Philosophy of Science and Technology.

Rushkoff questioned, "Is the traditional story itself a relic, incapable of providing meaning over time?" He continued, "Is it our job to create stories capable of competing with the ones currently programming our society, or to abandon this arms race altogether in favor of new artistic and cognitive mechanisms. And, if so, what are they?"

Lately we have witnessed storytelling combine with other art forms so Rushkoff may be right that some of us are "in favor of new artistic and cognitive mechanisms." Though does adding different styles to storytelling constitute a death of some kind?

The essence of the art must exist in order for other styles to be added to it.

Generational Gauge
False Reading: Storytellers are dying out with no one to replace them.
Needle up. Needle down. Needle still down.

Or are we reading the gauge upside down.

While interviewed by the Reading Eagle, professional storyteller Charles "Chill" Kuhn from Coatesville, Pennsylvania said, "Yes, I do believe storytelling is a dying art." He added, "But I would like to add that we are all storytellers whether we realize it or not."

This comment was enough for the article's author, Rebecca Strauss, to dubb the headline as , "Pro says love your stories: Professional tale weaver Charles 'Chill' Kuhn laments his dying art".

Not everyone agrees with this verdict, as was apparent when Betty Smith, who has worked with the National Storytelling Network staff as well as with the International Storytelling Center, responded to this article and declared on Facebook, "Hey storytellers. . .someone needs to let this guy know that storytelling is alive and well."

Reading the regular column of "Remembered Voices" compiled by Wendy Gourley in the Storytelling Magazine may seem that we lose at least one well-loved storyteller a month. However, for every storyteller who passes on, we gain at least two more new tellers.

Whether or not these new tellers align themselves with storytelling guilds or organizations does not change the fact that they do exist.

The Weber State University Storytelling Festival, which celebrates over 70 youth tellers as part of its program, has considered expanding from a three-day event to a four-day event in order to give at least 20 more youth opportunities to tell. Such a change may happen within three years. This does not count the hundreds of youth who participate before tellers are selected.

Whole schools or school districts declare storytelling units or festivals to fulfill the demand for this art.

The generational gauge certainly has the needle up.

Political Pulse
False Reading: Storytelling Organizations have lost their influence.
Thump. Thump. Tha-thump.

Can you hear the life of storytelling organizations? We did not always have them.

In an excerpt from The Way of the Storyteller, Ruth Sawyer, the author, wished, "there might be a guild for storytellers today where masters and apprentices might work together for the upholding of their art." She died five years before the National Association for the Preservation and Perpetuation of Storytelling (NAPPS) was formed in the United States in 1975.

Sawyer was not the only one who desired organization, as Kathryn Tucker Windham, key person of the American Storytelling Movement, wanted to be the first paid member of the NAPPS. Nowadays, NAPPS is known as the National Storytelling Network (NSN).

In NSN's golden time, there were over 4,000 members. This membership has dwindled to about 2,000 members.

During a personal interview in 2000, Windham reflected, "Organizations come. Organizations go. Storytelling remains. . .I'm at a place where I'm not scared anymore about what happens if this stops or that stops or whatever."

Though every organization, whether connected to storytelling or any other industry, have their periods of growth and then times that plateau. We are in such times.

Organizations do not equal storytelling. Windham was right that the art would continue whether people promoted the name of the National Storytelling Network or any other organization. These entities exist to give structure and possibility to what we cannot accomplish as individuals.

As if to respond to the current economical instability, there are still people who wish to join in the efforts. Tim Ereneta pointed out that Europeans tend to be more adept at these unions. He shared the promise for the International Storytelling Network, also known as Red Internacional de Ceuntacuentos. You can read Ereneta's blog post on this discovery here.

So membership numbers may rise or fall, though it appears we will have many organizations and guilds for decades--if not centuries--to come.

You must ask the question: Do you believe storytelling is "alive and well"?

You know my answer.

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

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

Storytelling Bloggers: Basics for the Blogosphere

Almost every day I hear the word "blog" referenced on television, radio, or conversations with strangers and friends ever since being on the Technology Panel (left to right Eric Wolf, Rachel Hedman, Robert Kikuchi-Yngojo, Mary Margaret O'Connor) at the 2008 National Storytelling Conference. What some people thought would be a fad has grown to hundreds of thousands of sites and growing--even millions.

To create your own blog, these are the most popular ones:
1. Blogger
2. WordPress
3. Thoughts.com
4. Blogs automatic through social network sites like Professional Storyteller

Most of the types of blogs are of the personal or journaling nature, though several people have also tapped into the technology as a tool to:
1. Share advice
2. Promote advocacy
3. Enhance interaction for classes, workshops, programs and events
4. Market individuals, organizations or causes
5. Tell stories

The interactive aspects that draw people into the art of storytelling is often the same draw of why people enjoy the two-way constant communication with the worldwide web through blogs.

What kind of storytelling blogger are you?

So as not to confuse your readers, you need to know.

Will you have a article-based/resource type?
Example--

• Voice--A Storyteller's Lifestyle, focus on marketing, business, and ideas to further the art

Will you have a personal and somewhat intimate look for your fans or family?
Examples--

• Granny Sue's News and Reviews, storytelling life of Granny Sue as well as on writing, life and all that intervenes

• Storytelling Notes, storytelling life of Priscilla Howe with miscellaneous notes on puppetry and the eternal search for the best restaurant pie on earth (fruit, not cream)

• Family Famine: Hunger for Love, a look into the making of a major narrative production from story development to marketing

Will you call for advocacy and create your own editorial?
Example--

• Breaking the Eggs: Performance Storytelling in the 21st Century, public discussion of issues and practices in contemporary oral storytelling as a performance art.

With these questions answered, you need people to find your blog. You will want to register it--usually for free--at several blog directories such as BlogFlux and BlogCatalog as well as search engines run by Google and Yahoo.

Through BlogFlux, besides figuring what category you deems yours to fit, you are allowed up to five tag words. These are helpful for when people do searches online. Be sure that "storytelling" is one of those words. For this blog, I chose to have the words "storytelling", "storyteller", "tips", "artist", and "drama". Yours may differ depending on the focus.

Searching within BlogCatalog gave me 44,260 results for "storytelling blog" though rarely could I find one that focused on the oral art at first glance except for "A Storied Career", "The Stories La Tells", "The Art of Storytelling with Children", "Storytelling Notes", or "The StoryTeller".

One place to find several blogs was started by the National Storytelling Network under the Resource section, though the last time I looked only 18 were listed there. There are definitely more than 18 storytelling blogs in the blogosphere. This means people need to search out where to list their blogs.

When people do find your blog, make sure that there is RSS feed capability. Certain blogs, such as ones through Blogger, automatically provide RSS to each article you post.

If this is a foreign concept, or even if you are familiar with RSS, please watch this entertaining yet educational video called "RSS in Plain English" in YouTube by Lee LeFever of The Common Craft Show:


Finally, post condensed versions (or complete versions if you have short posts) at social network sites and always direct to your regular blog site. I always post a shorter version on Professional Storyteller as those are the kind of people who would be more likely to enjoy what I have to say.

If you have a specific blog entry that other art forms or groups may be interested to read, then discover the blogs run by those other groups. Read some posts and make comments. You can ask them to review your particular post and see what they have to say about a subject.

Having comments for your posts boosts your rank for Internet searchability. In order to receive comments, often you must be willing to give comments as well.

Online Resources for Blog Tips:

• ProBlogger
• Blog Badly
• Into the Blogosphere
  

Feel free to ask me about blogs and other details as the blogosphere is a big world and it's one in which you want to be found.

Until we tell again,

Rachel Hedman
Professional Storyteller
Co-Chair of Youth, Educators, and Storyteller Alliance
(801) 870-5799
info@rachelhedman.com
http://www.rachelhedman.com
How-To Blog: http://storytellingadventures.blogspot.com
Performance Blog: http://familyfamine.blogspot.com

Storytelling Nonprofits in a Changing World

Dedication and thanks goes to Anthony Radich, Executive Director of the Western States Arts Federation (Westaf), for giving permission to post the picture of us as well as to apply his workshop session “The New World of the Nonprofit Arts: Adapting to a Shifting Landscape” to storytelling nonprofits on May 9, 2008.

Technology and social trends have changed the environment for the average nonprofit organization so that members within these groups must decide to either continue with standard procedures or to merge with new tools and structures available. Storytelling nonprofits share the same decision.

The National Storytelling Network (NSN), one of the largest storytelling nonprofits with 2,600+ members, has announced the need to make major changes for the first time since the 1973 creation of the National Storytelling Festival in Jonesborough, Tennessee. This is not to say that new programs and ideas were never implemented in the last few decades. However, technology or out-of-the-box thinking were never fully embraced by the membership or by the Board besides the basic website and a few member grants.

When Dianne de Las Casas started the Professional Storyteller social networking site, the amount of members surged to over 350 in three months. Dianne was surprised by the rapid growth and wondered what other possibilities could be unlocked from this group.

Some people grumbled that the NSN stamp was not to be found on Professional Storyteller despite the fact that a NSN member created it. These people talked as if NSN had to be the leader of any progress-moving idea versus being a participant in it.

However, the online world is not the place for any one storytelling nonprofit or for any one nonprofit for that matter. The Internet has global impact and could build collaboration rather than strictly self-promotion, whether of individuals or organizations.

Almost in response, the NSN Board took a big yet simple step in creating a forum and a blog to promote open communication on issues and concerns. Few members know of its existence, though slowly the site and activity grows. The features available are limited, though actions are being taken to make it more inviting.

With perceptions of NSN fighting to stay alive (as most nonprofits do nowadays), perhaps the Board falls under the “Heroic Model”. Anthony Radich, Executive Director of the Western States Arts Federation, warned against this model as he believed it to be prevalent with most struggling nonprofits.

Common traits of the “Heroic Model”:
• Highly Orthodox
• Based on Classical Management Theory
• Mechanistic in Character
• Dominant
• Guilt Producing

Compare to what Radich called “Functional Success Model”:
• Functions are more important than process used
• Regular negotiations regarding how coalition will accomplish functions
• Flexibility in approach is highly valued

With the “Functional Success Model”, Radich explained that people on the Board could still have titles and be over certain areas though people could, at any time, switch duties depending on strengths.

He urged nonprofits to be aware of the ways people enjoy art in determining how to evolve the nonprofit structure. The Board model may need a mix of the “Heroic Model” as well as the “Functional Success Model”.

Radich commented, “People are not always willing to go to a building in the old way that opens at 8:00am and closes at 5:00pm.” Whether this applies to offices or to events put on by nonprofits, it certainly shakes the need of a physical place and tests the flexibility of any organization as often shown in the “Functional Success Model”. Radich did not suggest to get rid of the nonprofit’s location, though an open mind for having a stronger Internet presence could reach potential members, sponsors and new audiences.

People have the same level of interest today in the arts as was found in the 1960s and 1970s when the “socio-cultural inertia” started, resulting in new programs and grants. Attendance is down for many symphony concerts, theatre shows, and storytelling performances. As a result, interest seems invisible because people enjoy their arts beyond the traditional “Let’s go to the theatre” attitude.

Radich warned, “If the only metric used to gage success of your event is in how many are sitting in the seats, then you are in trouble.” This comment assumed that at least one tool like webcasting, podcasting or blogging were used to broadcast or display art beyond the building. (Explore the site The 59 Smartest Orgs Online put out by Squido.) Otherwise, counting people in their seats would be the only statistic for nonprofits to report when writing grants.

To determine the 59 Smartest ones, Squido asked the following questions:
1. What does the org's website look like?
2. Does it just ask for donations?
3. Do they have a way for members to share their stories?
3. Do they have lenses or Groups on Squidoo?
4. Do they have MySpace groups?
5. You Tube videos?
6. Flickr sets?
7. Do they value microdonations or only $1000 and more?
8. Do they run contests or challenges to engage their members?
9. Do they send out weekly or monthly newsletters?
10. Do they have RSS feeds?
11. Are people blogging about the org?
12. Are they stuck in the land of direct mail, control, and offline fundraising?
13. Are they optimized for the new cadre of young philanthropists?

After reviewing the technology and Board structure possibilities, the nonprofit may consider another way to label itself:
• For-profit Organization
The profits become more important than the social, cultural, and/or political causes.
• Temporary Advocacy Organization
If a particular project is needed, then a group is formed with the knowledge that it will be disbanded as soon as the goals are met such as in two, three, or more years.
• Cooperative
Controlled and owned by all members and they act as creators and consumers of any products or projects.
• Venture Capital Approach
Tends to have a group of wealthy individuals who finance ventures and have greater say in the future of the group as well as taking on any risks or successes.
• Nonprofit with a For-profit Subsidiary
Allows for the group to participate in moneymaking ventures, especially when significant profits are expected, that may or may not relate to its main purpose.
• Out-of-Business
Doors are closed and the group “dies” and may be reborn in the future.

As a National Storytelling Network member, I prefer the Nonprofit with a For-profit Subsidiary structure. We have causes that benefit our communities as well as services that people would be willing to pay for to keep programs running.

If the National Storytelling Network developed a storytelling library/museum of world-class renown, a gift shop or rental of computer equipment to stream live storytelling performances, then we would have other forms of revenue and not have to rely as heavily on membership dues and conference attendance.

Check out the article "Four Reasons Why You Should Consider a For-Profit Subsidiary" by NFP News.

Whatever is decided, I agree with Radich when he said, “Learn from the Past. Operate in the Present. Imagine the Future.”

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

***Several comments have been made to this post at Professional Storyteller. Click here to read them.

Microphone Manners: Loud & Clear Ways for Pros

As the microphone rests on the stand, waiting for you to grab it, confidence swells because you know the show will be successful.

Or will it be?

Before a single story is shared, the audience is keenly observant to your comfort level with the microphone. The people may not have a pad of paper to dock points on your stage presence yet judgments are made.

Storytellers tend to fall in one of three categories--

1. The “No-Mike-for-Me” Teller
Some storytellers avoid the microphone completely unless begged by the emcee or of the hard-of-hearing in the audience. These tellers strain their voices for 30 minutes or more assuming their vocal chords are powerful enough to reach 25 to 100-plus people. These tellers seem to be shouting their stories rather than telling their stories. Little do these tellers know that projected voices tend to make stories monotone; a whisper is almost shouted and a shout is practically the same volume as the narrator/character’s regular voice.

2. The Eardrum-Buster Teller
Then there are the storytellers who “eat” the microphone. They do not trust the device to pick up sound. The microphone is so close to their lips that unpleasant sounds are picked up such as dry mouth clicks and smacks to the extra “pah” on any words that start with the letter “p”. Audience members may be seen with cringed smiles as they attempt to ignore the technical difficulties.

3. The Smooth and Professional Teller
These are the storytellers who grab the microphone and, as they tell their stories, the microphone seems to disappear from the stage. The words are still being sent across the room so that all in attendance can hear, only there are not any technical distractions to take audience members out of the moment. If there are times of fuzziness or echoes in the sound—known as feedback—then these tellers acknowledge this problem to the audience, pause the story, and then continue the story when fixed. The audience then leaves the auditorium with respect for the teller’s stories and for the teller’s grace.

Obviously, a storyteller wants to be known as smooth and professional. Here are some “loud and clear” tips to achieve this status:

• Request One or More Sound Checks

• Discuss and Choose Microphone Options

• Plan for the Worst and Dream for the Best

Request One or More Sound Checks
In society it is good manners to put out your hand to welcome another person. For microphones, the etiquette is no different. You need to put your hand out to the microphone and see if the two of you will work well as a team on performance day. If you rely on your own sound system rather than others, then this step is done before the purchase of equipment.

Arriving 45 minutes to an hour early to a performance gives time to play around with the sound. If a microphone needs to be exchanged for whatever reason, this may give enough time to make the switch. Ideally, you would have at least two sound checks with the first check a day or more before the performance and second check the day of the performance.

If I will perform at a nearby venue for the first time, I like to meet the sponsor a month or two before the performance day and check out the sound system. I can take notes as to the types of microphones available and determine if feedback will be a problem. For farther venues, I must rely on the sponsor’s opinion of the sound system.

When testing the microphone, some people are tempted to “tap, tap, tap” it. They may have seen other people—even professionals—do this technique but, of all things to do, tapping the microphone is the most damaging to the equipment. As you want to have your microphone in happy order as long as possible, then test the microphone by saying “1-2-3” or—better yet—sharing pieces of your story.

Discover how well the softest and the loudest parts of your story sound when using the microphone. Normally, the microphone is a good six to eight inches away from your mouth. For whispers you may need the microphone brought a couple inches closer while shouts may require to put the mike at arm’s length.

Discuss and Choose Microphone Options
Be aware of how you present a story to the audience when figuring out what type of microphone to use.

Questions on choosing a microphone:

1. Am I a stand-up or a sit-down storyteller? How much do I move my body while standing or sitting?

2. Do I prefer the use of two hands or could I still effectively tell the story with one hand?

3. Are there any other options of microphones in the first place?

Corded or Non-Corded Microphone with a Stand
This microphone could work for both the storyteller who plans to stay in one spot of the stage or for the storyteller who wants to move around.

Whether staying still or moving about, the best stand is the one that has two beams—the first is vertical from the stage while the second can be adjusted to dramatic angles. Make sure this second beam is always pointing up. The same rule applies to the microphone itself. Always aim the microphone up. For shorter people or sit-down tellers, sometimes the second beam and/or the microphone are mistakenly angled toward the floor. This gives a psychological feeling that the microphone is in control rather than the teller. The downward angle also upsets the acoustics in the room.

If you plan to stay in one area, then you will not need to hold the microphone so this frees both of your hands despite if you stand or sit.

I usually take the microphone off the stand so I can hold the microphone roughly six to eight inches from my face regardless if I turn my head to the right or to the left. Of course, holding the microphone limits me to one hand in telling the story. If I already know I will have a corded or non-corded mike, then I practice telling the stories with one hand.

For a corded microphone, I quietly unwrap its cord from the stand. I have seen other storytellers unwrap the cord from the stand while jumping into a story. This action is distracting. The audience will not mind waiting some seconds for you to be ready. The pause actually builds excitement and anticipation, which could only improve your reception with the audience.

Since I do not use the stand, the proper thing to do is to place the stand far enough behind me so I have room to move. When my story or program is done, I accept the applause for a moment, turn around, pick up the stand, and return it to its original place. As there may be another performer after me, this is my way of showing respect. Even if I was the sole performer, the emcee may return to the stage and need everything in order.

Lavalieres
If body movement is really important to you as a storyteller, then you may prefer the lavaliere. This type clips to your shirt while the battery pack is often clipped to your belt, slacks, or skirt. If there is no where to hook the battery pack, then some storytellers bring a small bag that hangs diagonally from their shoulder. The bag is about the size of a pocket and usually matches the storyteller’s outfit.

Lavalieres are not recommended if you wear a low-cut blouse or shirt as the microphone is best situated close to the bottom of your neck. Some storytellers wear vests, sweaters or even suit coats, and so clip the lavaliere to the side. Later these tellers wonder why the sound system was so bad. Unless you always speak on the sides of your mouth, center the microphone.

Please note that while you have both hands for performing, you must still be aware at your head’s direction in comparison to the microphone. You may need to turn your whole body if you want to face the right or left. If you only turn your head to the right, then your storytelling will suddenly get soft (unless this is your intention). This does not mean you have to dip your chin. If someone is over the amplification system, then that person may be able to adjust the power.

Plan for the Worst and Dream for the Best
You may adjust the microphone perfectly and still there are problems. The batteries could run out or the feedback could be impossible to fix. Bringing extra batteries could fix the first problem, but what of the second?

While telling a story, sometimes it is easier for us to “plow through” when we have technical difficulties. We pretend the problem is not there. We may be able to ignore, but our audience often cannot. Feel free to pause when there is feedback. You may even address from the stage to the sponsor or to the sound tech guys to fix the problem for you. It may be a few minutes before everything is in order, but your audience will thank you.

To prepare yourself for these situations, you could practice your stories and have a friend make “crrrrr” sounds as if a microphone went crazy. Then you can practice pausing and addressing the imaginary sound tech guys.

The night before I tell, I like to visualize the perfect storytelling concert. Part of the dream includes how I handle the microphone with ease.

Perhaps the next time you see a “No-Mike-for-Me” teller or a Eardrum Buster teller, you can shake your head, tap them on the shoulder, and guide them to be smooth and professional--like you.

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

Storyteller's New Year: Goals to Celebrate

If you need an excuse to aim for the stars as a storyteller, then now is the time. It doesn’t have to be January 1^st. Your goals are waiting for you to pursue them.

Some Storyteller Goal Categories:

• Artistic

• Business

• Marketing

• Technology

Please feel free to explore other categories or questions as you progress in your storytelling. Share any goals you have as this makes it more likely for your goals to be accomplished.

Artistic

Your friend--the right side of the brain--will enjoy these goals. Research, repertoire, and practicing of stories are a few in this realm.

National storyteller Elizabeth Ellis is quick to say that most storytellers prefer to only set goals in this category, especially as it is considered the “fun” side of the craft. Of course, this could also explain why the term “starving artist” came about as the business, marketing, and technology sides are ignored.

List how many new stories you performed in the past year. How many new stories will you add to your repertoire?

You may have those stories that you tell over and over again, but if you do not have any new stories ready for the stage by the end of the year, then you are missing opportunities.

Last year I had a goal to create at least one new story every month. As I went to monthly storytelling guild meetings, that gave me deadlines to accomplish this goal. Now I go to two different monthly guild meetings so I want to have at least two new stories every month.

Often I have performances that request themes. One time I was asked to share two hours of Scandinavian stories (four 30-minute sessions with no repeats). At the time of the request, I had about 30 minutes worth of stories that fell in that category. After much research, I gained at least 2 ½ hours worth of Scandinavian stories. I certainly met my monthly goal due to that gig.

How much time will you dedicate to work on new material? Existing repertoire?

National storyteller Bill Harley dedicates at least one hour every day to creating stories. He admitted that there are days he does not feel like doing it, but he pushes through. Other days he goes for hours developing material. Depending on his schedule, he has had late nights where the temptation would be to go to bed and make up the hour in the morning. Instead, he stays up—even if it is past 1:00am—to meet his goal. That is commitment.

I am not to that level yet. I have decided that 30 minutes a day for six days of the week will be my step in the right direction.

Perhaps you do not feel you have the time to spare. Some people solve this problem by waking up 30 minutes or so earlier than normal.

Business

Here is where you admit to yourself that a professional storyteller is also a business owner. You determine your hours and what days you can take off. You also determine how successful you will be.

Do you have some sort of business plan in place?

A business plan often merges with other important documents such as a mission statement, vision statement, and artistic mission statement. If you are expecting to be paid as a storyteller, then you need to realize that these plans give you the foundation to base other goals.

How many thank you cards did you send last year? What is your goal for this year?

This is hard-core office work since thank you cards involve writing and/or typing, stuffing envelopes, sticking on stamps, and mailing. If these tasks sound scary, then perhaps you want to hire a neighbor kid to do these things.

I prefer to type my cards as I write about a page worth of memories to my sponsors. I always share specific instances. By the time the thank you letter is done, I have a one-page storytelling journal entry. Two important things happen as a result: you have a record for your business and your sponsors appreciate and remember you more often.

Marketing

Storytellers need to be “loud” on and off the stage. A microphone is often held with ease though many storytellers are slow to spread the word about them. I am one of those strange storytellers that love the artistic and the marketing side.

How many venues do you wish to perform at for the year?

I am always honored to perform at the same venues as the year before. I also like to challenge myself and put a number of new venues I would like to perform at for the current year.

How many referrals did you get last year? How many do you wish to have this year?

One of the first things I ask a person is where did they hear about me. I want to know if there is a specific person to thank.

A sponsor receives a file from me with my resume and other materials including at least 10 business cards so they can feel free to give them to others. For the person who refers me to others I give discounts for future performances.

Technology

Using technological tools could build credibility and confidence for how others look at you the storyteller. Embrace the possibilities.

How is your presence on the Internet? How can you have more of a presence?

One way to determine your presence is to go to a search engine—like Google—and type in your name. My three most common searches are “Rachel Hedman”, “Utah storyteller” and “Utah storytelling”. The listing for my website and my blog usually top the search. Every so often I find comments or references about me from others. The more links connected to you, the more likely a sponsor can find and hire you.

I have also set up a Google News search so anytime my name is in the online media—newspaper, magazine, newsletter—I am sent a notification. Certain venues are wonderful at submitting your name and even a link to your website on their own website. Be willing to ask if this is possible. They will most likely say yes.

If you do not have a website for others to link to, then create your own blog. Usually you can set one up for free—like through blogger.com. Then you can give this web address to venues to hire you as well as print it on your business cards.

List any online directories/calendars or social networks you participate in. List any online directories/calendars or social networks you wish to join by the end of this year.

Two specific storytelling directories are a must for storytellers: Storyteller.net and National Storytelling Network.

Other places to consider: Chambers of Commerce, Art Councils, Storytelling Guilds, Facebook, LinkedIn, etc.

I recently joined “Networking in Utah” as well as Facebook. Both of these places allow me to list any events that I am participating in. This is a great way to advertise to others “hey, I could tell for you, too.”

Hopefully you have been inspired to improve as a storyteller in at least one way. Who knows? This could be your best year yet!

Until we tell again,

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

Balancing Act: Old & New Storytelling Traditions

Finding balance on views of how to expand the art of storytelling amongst the elders versus the next generation of tellers of 18-30-year olds is not impossible as some may think in the storytelling community.

Perhaps it is fairer to keep age out and name the two views as traditionalists and innovators. Most people will probably see themselves as mixtures of both. This may already show that we as individuals and as a community must decide our stance.

Let us see how these two groups may fare in three categories:
1. Technology
2. Discovery
3. Coming Together as a People

Technology—
Traditionalist: Tends to resist mixing the art with other mediums, especially for radio programs, television broadcasts, podcasts, blogs, etc. Narrower definitions of storytelling are common to exclude performers who do not normally call themselves storytellers such as radio personalities, stand-up comedians, filmmakers, etc. Though microphones may be used to perform or recordings may be made on CDs or DVDs to sell as merchandise, this is usually the extent of technology considered acceptable.

Innovator: Promotes the use of technology including downloadable stories on ipods, podcasts, blogs, MySpace, digital stories, or anything that advances the visibility of storytelling to the general public. Theatrical elements such as lights and sounds are more open to use though not always incorporated. There is more acceptance of using other words to describe storytelling such as spoken word, performing art, and narrative theatre in advertising materials.

Discovery—
Traditionalist: Honors stories from all times and cultures and seeks to show respect from which the roots of the stories take place. Any act of irreverence is looked down upon. There is recognition that each storyteller brings something unique in the telling. Often the teller searches for how to build bridges of understanding, peace, memories and information for the audience.

Innovator: Encourages the exploration of the art form in most, if not in all, ways. Respect for the roots of the story are acknowledged though not always respected through use of humor, shock-value or other dramatic tools. Sometimes this leads to riskier or sensitive subjects, which could shake the typical “G” or “PG” material produced for most storytelling audiences. Fringe festivals, story slams, and coffeehouses that support the spoken word are venues for this kind of teller. Tends to invite all as storytellers despite backgrounds.

Coming Together as a People—
Traditionalist: Supports storytelling as a way to strengthen families, communities, and nations through informal gatherings such as front porch tellings (also known as kitchen table tellings), neighborhood block parties, or other spontaneous functions. Other forums such as storytelling festivals, story swaps, and conferences are welcomed. Sometimes seeks others within the art through membership of a guild or with the National Storytelling Network. At the same time, if the organization should disappear, the teller comforts self that the art would continue as it has from the beginning of time.

Innovator: Outreaches through service or action-based projects, as these activities are popular on campuses across the nation. Whenever there is a natural disaster, medical need, or call for peace, several of these college-aged people rush to make a difference. The storytellers of this age group have often put together benefit concerts, like what was done for Hurricane Katrina, without any direction from organizations.

If you are both traditionalist and innovator, then you are not alone.
In many respects, one could say that there is already a balance of tradition and innovation within the American Storytelling Movement. The general mixture of the storytelling community is not split 50/50. My guess is that we are seeing more of a 70/30 with 70% leaning towards traditionalism. As the current 18-30-year-olds age, however, we will see a shift more to the innovation side. There is not a right or wrong percentage for the split to occur. Whatever the balance needs to be at the moment, that is what we will see.

Rather than define the “proper balance” of the American Storytelling Movement and the direction of storytelling, here is what an ideal balance would feel like:

Trust would be placed upon both traditionalists and innovators that decisions are in the best interest of respecting the art of storytelling

Value as a member of the storytelling community would be felt even with the differing views

Recognition would be given to those who uphold the traditions as well as those who evolve the art

Leadership of the art would evoke experience from traditionalists and from innovators

Here are shifts towards the innovator side through some actions by the National Storytelling Network:
1. Desires to have an 18-30-year-old on the Board of Directors
My proposed next step: As every state has a state liaison to represent the area, so could there eventually be a second state liaison from the 18-30-year-old range.

2. Reserves space in Storytelling Magazine for New Voices column
My proposed next step: This column could be offered to colleges across the nation for part of their campus newspapers. This would not be the first time that newspapers glean from other sources. Think of the Associated Press and the relationship with worldwide newspapers. Campus newspapers are no different.

3. Supports New Voices Discussion Group (18-30-year-old tellers and allies)
My proposed next step: With the monthly conference calls that are made for this group, there is small attendance. When goals are established and at least 30 members maintained, then the Discussion Group could transform into a Special Interest Group. Interestingly, membership to a group is not as important to this age group as to action. If the National Storytelling Network desires to see more of 18-30-year-olds, then "make-a-difference" programs need to be in place. Benefit concerts structured on a national level could be one such program.

4. Promotes Fringe at National Storytelling Conference
My proposed next step: Embrace a story slam as part of the National Storytelling Conference. Ever since the Fringe was introduced a couple years ago, the draw increased for 18-30-year-olds as well as for performers who may not label themselves as storytellers. Even so, only 10-15 of this age group attended versus over 250 of mainly 50+-year-olds. Varying the types of events/activities available at the conference serves as an invitation; sometimes all one needs is an invitation and feeling welcome in the storytelling community.

Balance is easier to accomplish if we remember that, regardless of age or views, that we are lured to storytelling for similar reasons.

Scott Russell Sanders lists ten main reasons:

1. Stories entertain us
2. Stories create community
3. Help us to see through the eyes of other people
4. Show us the consequences of our actions
5. Stories educate our desires
6. Stories help us to dwell in place
7. Stories help us to dwell in time
8. Stories help us to deal with suffering, loss, and death
9. Stories teach us how to be human
10. Stories acknowledge the wonder and mystery of Creation

***Sanders, S.R. (1997, Spring). “The Power of Stories.” The Georgia Review, 51(1), 113-126.

Within these reasons, is there room for traditional as well as newfangled ideas?

You know my answer.

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/

Grammys: Is Storytelling Category Possible?

Storytelling is not officially recognized by the Grammys, though the question is being asked more often of creating a separate category since national storyteller Bill Harley received the 2007 Grammy of Best Spoken Word Album For Children (consisting of predominantly spoken word vs. music or song) for “Blah Blah Blah: Stories About Clams, Swamp Monsters, Pirates & Dogs”.

National storyteller John McCutcheon was also nominated for the same category for his “Christmas in the Trenches”.

At the February 2007 meeting, Cathy Fink and Charlie Pilzer, Airshow Mastering and Grammy nominee, promoted the creation of a storytelling category to the Grammy committee. They wish for storytellers to help in this possibly 3-5 year process, depending on the support. Fink remarked, “Creating new categories is very difficult, but not impossible. The biggest challenge is to prove that a new category would be well served. Would the storytelling community get more active?”

Debbie Block of Round River Records said, “There are so many tellers in this community who are putting out wonderful work, it would be great to have the opportunity to be recognized in a wider community of artists.” Block urges storytellers to reflect on the opportunity and submit ideas to Fink and Pilzer (emails found at end).

Fink and Pilzer agreed that placing Harley’s “Blah Blah Blah” against McCutcheon’s “Christmas in the Trenches” was an unfair comparison as one was primarily a full-length spoken word while the other was about 10 minutes of spoken word. Fink noted that a similar situation occurred with Tom Chapin’s readings of stories that consisted of five minutes of spoken word plus music.

From Fink’s suggestion to make the storytelling community “more active”, I propose the following ideas:

1. Create Two Sets of Membership Standards with National Storytelling Network

2. Share Submissions from Other Storytelling Awards with the Grammys

3. Promote Professionalism on Local and National Levels

4. Educate Storytellers on How to Use Technology for Recording Purposes

Create Two Sets of Membership Standards with National Storytelling Network
The January/February 2007 “Storytelling Magazine” published by the National Storytelling Network (NSN) had a fitting theme of “In Pursuit of Excellence.” Several articles expressed the need of standards among storytellers while some articles showed signs of fear of having standards at all.

With two opposite views, it would seem best to have two sets of membership standards with the National Storytelling Network.

For those wishing to be more career-oriented with storytelling, certain guidelines could be followed to be in “good standing”. It would not go as far as licenses found in occupations like doctors and lawyers. Rather, there would be an application process beyond the regular contact information asked currently to be part of NSN. Submitting annually such items as an artist statement/vision, references, listing of repertoire, résumé, and education background should not intimidate professional storytellers, as these are common things asked for when applying for grants.

Once a committee reviews all information, then the storyteller could receive some sort of certificate indicating “good standing”. Storytellers could share their status with potential sponsors/patrons.

Storytellers who wish not to be judged by such standards (or even story appreciators) could decline the application process and be a regular member of NSN.

Share Submissions from Other Storytelling Awards with the Grammys
Many storytelling materials including CDs, DVDs, and books are already being submitted to Storytelling World Awards, Parents’ Choice Awards, and “Circle of Excellence” as part of the NSN Oracle Awards. The list could go on. With the right rapport, the Grammys could receive duplicate submissions from the other awards.

Promote Professionalism on Local and National Levels
Sometimes I am shocked at how many storytellers do not even give an invoice for a sponsor/patron. Having an invoice alone would boost how the general public views storytelling.

Librarians talk to librarians and educators talk to educators and so on. When someone is professional, then the visibility of the art increases. Imagine what could happen if storytellers promoted standards within their local guilds and friends?

I would recommend having the following items given in a file/folder for sponsors:

1. Storytelling Résumé
2. Introduction Card (for emcee/sponsor to read to avoid terrible introductions)
3. One-Page Quote from Others
4. Contract/Service Agreement/Invoice
5. Questionnaire (to understand event and audience)
6. Photo
7. Extra Business Cards

Educate Storytellers on How to Use Technology for Recording Purposes
There are so many free ways to use technology and many storytellers do not know the possibilities.

Did you think that YouTube and MySpace are for teenagers? Guess again. Storytellers need to be familiar with such things as blogs, podcasts, mp3 players/recorders, and iTales. Some ways to educate storytellers the lingo and use would be having workshops within guilds, the National Storytelling Conference, and through teleconferences.

Teasers and trailers of storytelling CDs and DVDs could be posted on websites as well as other online places such as YouTube and iTales. As a recording receives more hits, it will eventually catch the attention of the Grammys.

Regardless of what happens with the creation of the storytelling category, Grammy-winner Harley has this to say, “I spent the morning after the Grammies telling stories in a second grade class. Most of them had no idea what a Grammy was, and couldn’t have cared less.”

If you have ideas in regards to this amazing opportunity, then urgently email Cathy Fink at cfink@mindspring.com and Charlie Pilzer at charliepilzer@earthlink.net.

Until we tell again,

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