Future Success: 3 Key Ways to Tell the Story of Your Goals

K. Sean Buvala, storytelling marketing guru and director of Storyteller.net, inspired this blog post by coaching me to pretend it was December 31st of the new year and what I wanted to accomplish. With his permission, I expanded upon this exercise on ways to share goals like stories. If you would also like to be coached by Sean, then email him at sean@storyteller.net.

Lists, lists, and more lists. Such a thought could cause one to moan and groan when every year the goals must be figured out. Fortunately, there is a more empowering and effective way to enjoy this recurring process: tell goals as stories.

Consider the outlines that a teller may use to learn and develop a tale. When it comes time to perform, the outline is set aside so that the moment can be shared by the teller and the audience.

As for goals, the audience most important to please would be you.

Three Key Ways to Transform Goals into Stories:

1. Characters
2. Settings
3. Moving the Plot Forward

Goal Characters

You
Yes, you are the hero in your story. When December 31st comes of the current year, be prepared to share an epic journey. You will have the expected trials. Folktales tend to have at least three, though do not dismay if you face more than that number. For remember, the hero conquers them in the end.

Family and Friends
Any hero in a story needs the mentors and the helpers. Family and friends are the perfect ones to fulfill these roles. Sometimes family and friends are similar to the cheering villagers found in fairy tales. Others get more involved and might be in contact on a daily, weekly, monthly, or quarterly basis. It could compare to the walk along the path to visit the wise old woman or man for advice.

Business Associates

At times, the hero needs to have accommodations or supplies to make it past the dragon, monster, or other obstacle. Consider the business people who have the skills needed to help you accomplish your goals. You could go a step further and include key individuals into your business plan complete with contact information.

Goal Settings

Home
The hero tends to leave home in search of another home. Yet, we live in an age when home offices are common. Furniture or routines may need to be adjusted to create “another home” that is more conducive to a productive environment . . .and especially as it relates to your goals.

Potential Performance Areas
You are a storyteller. Obviously there will be places in which you will be before an audience. Part of your goals might entail have so many new venues. Perhaps you want at least a certain percentage of places you have told at in the past. Whatever your endeavors, you could close your eyes and imagine perfect performances at these places. Although the likelihood of everything—or anything—being perfect, envisioning such a dream could boost your energy and motivation so you may have many “practically perfect” moments.

Businesses

Storytellers need to collaborate and work alongside businesses from print shops to recording studios to advertising offices. If you have ongoing relationships with people, then it will be easier to picture the places where they do that fantastic work for you. These people and businesses are every part of the setting of your goals. You may want to imagine atmospheres of creativity, understanding, and of clear communication.

Moving the Plot Forward for Your Goals

Breaking Big Goals into Smaller Goals
Stories have scenes. Each moment builds upon each other to the grand goal. Though, if you only saw the “grand goal”, then that would only be a one-sentence story. These short stories may be nice to share at a party, but then they are forgotten the next morning.

Placing Smaller Goals on Calendar
Storytellers are faced with choices in every part of the process. There are endless possibilities. This could become overwhelming unless put on a visual map—also known as the calendar. Color-coding works for quick recognition on the calendar, especially as you most likely want to accomplish more than goal over the course of the year.

Add Details for Flavor
If your goals still feel like an outline of ideas rather than a story, then add details that would excite you beyond the basics. Do you have an outfit planned for that premiere of yours? Who will be at some of your performances? What does your face look like when the package of new CDs is delivered to the door? This is your success story so you have the right to make-up details—realistic or not. You may be surprised what comes to pass.

Keep in mind to share your story in the past tense—as if it already occurred. This act solidifies the glorious image in your head.

Are you ready to tell your future success story now?

Go ahead.

Have your happily ever after.

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

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

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

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/