The Story Seed Idea: 3 Ways to Grow More than One Version on the Vine

Jack grew a beanstalk overnight from one bean. A storyteller plants one version of a story in mind and then cultivates a unique version that can be as impressive as mile-high vegetation.

Sometimes one version is all a storyteller can find after hours in the library. Certain stories are easier to find than others. When researching the classic King Midas story, I read 72 versions before exploring how to develop my voice to the tale.

Most stories do not offer so much material.

So what does a storyteller do when nothing can be found?

3 Ways To Grow More Than One Version Of A Story:

• Culture
• Current Events
• Classifying through Aarne-Thompson System

Culture

Delving into the culture of a tale is most obvious for folktales, though any story has a culture connected to it. Keep in mind that culture could include a region, time period, religion, social group, gender, or generation.

A story tends to state its area of origin. A folktale could be told in general terms and lack any reference to the cultural elements despite being labeled as a “Cuban” or “Ojibwa” or “Vakishamba tribe in Africa”. The story might have a word or phrase of the language that provides flavor. Otherwise, the teller could add foreign words.

A storyteller may find benefit in learning the social traditions connected to birth, marriage, death, or other events and merge it with the original story.

Books from the juvenile literature section provide excellent pictures so that the storyteller could create a pretend map of the scenery for the folktale.

Current Events

The Internet, especially Facebook and Twitter, have expanded exponentially how people access the news.

Through Twitter, people could receive mini press releases with no more than 30 words. A website usually accompanies the post for more details. This tiny version of news makes it possible to scan headlines of 100+ stories in a few minutes. A storyteller could click on the tweet that relates closest to the story that the storyteller may be working on at the moment.

For example, in the Aboriginal Australian story “Gooloo the Magpie and the Wahroogah” a magpie-woman named Gooloo offers to watch over the tribe’s children while the fathers hunt and the mothers gather fruit amongst the trees. When the mothers return, the children are gone.

A storyteller might find a newspaper article or TV broadcast that focuses on a kidnapping. Though the cultures may be different, the news would share the heart wrenching feelings felt by the parents. A storyteller may gain inspiration on how to approach the Australian tale by merging with universal emotions and themes.

Classifying through Aarne-Thompson System

Librarians have the Dewy Decimal System to find books. Storytellers have the Aarne-Thompson System to find stories from the folk and fairy tale realm.

The Aarne-Thompson uses letters and numbers to divide categories and themes.

For the motif of “Conception and Birth”, a storyteller would find those stories from T500-T599. Within these numbers are related subcategories.

Consider some of the types found under T500-T599:

• T511.1—Conception from eating a fruit
• T511.1.1—Conception from eating apple
• T511.2.0.1—Conception from eating root
• T511.2.0.1.1.—Girl called Gatherer because she is best in tribe at knowing and getting plants
• T511.2.0.2—Conception from eating leaves

Underneath the numbers, often one or more story is listed. Sometimes there are complete bibliographies. A storyteller searches for the recommended books and continues the research adventure.

“The Storyteller’s Sourcebook” is a fantastic book compiled by Margaret Read MacDonald with the Aarne-Thompson System as well as the ability to search by subject and title. Although out-of-print, many libraries have this book in their reference section.

Even when a storyteller develops a personal or historical piece, discovering folktales that have similar themes could be considered explorative research. Inspiration comes from everywhere.

Suddenly the one version a teller started with could branch into endless possibilities. . .as endless as that beanstalk that Jack climbed.

Do you have your story seed?

Let it grow!

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

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

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

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

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

Never fear.

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

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

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

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

Remember to track these number types:

1. Audience Types and Consistency

2. Volunteers and Community Involvement

3. Direct Costs and Indirect Impacts

Audience Types and Consistency

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

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

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

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

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

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

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

Volunteers and Community Involvement

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

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

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

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

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

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

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

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

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

Direct Costs and Indirect Impacts

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

These receipts may include:

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

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

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

Classic Equations

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

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

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

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

Your Number Story

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

Play with possibilities rather than being perfect in the answers.

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

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

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

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

Until we tell again,

Rachel Hedman

Professional Storyteller

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

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

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

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

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