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

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

Global Story Sisterhood Relations: 3 Ways to Become Family

Storytellers exist in every city, country, and continent.

When we gather at festivals, conferences, or other events, we experience a kind of storytelling family reunion.

Then everyone goes home.

Nowadays we have the Internet to be updated by our fellow "brothers and sisters" in storytelling. . . .and sometimes that is where it ends.

Or could we do something more?

Storytelling organizations could create Story Sisters much like the Sister Cities or Town Twinning established through government or municipal levels. We could encourage growth and advocacy in the art.

How could such relations be forged?

• Involve Local People and Determine Purpose
• Discover Group with Similar Goals and Make Introductions
• Collaborate and Share Results

Involve Local People and Determine Purpose
A collaboration of any kind always starts with an individual. You. Someone has to envision the partnership.

Then you find another individual in your vicinity. Most likely this would be another storyteller.

Add another individual. And add another individual.

If you have a storytelling club or guild in the area, then it would make sense to involve them. A guild could be a sister to another guild.

Feel free to expand the outreach with other pro-story people. Consider businessmen, educators, librarians, retirees, and youth.

Think about groups such as rotary clubs, churches, hospitals, schools, local government, and anyone else who could be excited to be with storytellers.

When I used to be with the Brigham Young University Storytelling Club, we called other clubs that we collaborated with as "cousin clubs". Performing art groups made sense to join efforts such as Y Juggle, the juggling club on campus. We combined skills to create the program "Once Upon a Juggler". The first and last stories of the session merged storytelling with juggling. Then, we rotated from storyteller to juggler to storyteller throughout the night.

Local collaborations are plentiful.

Chat about the purpose of gathering. What is the desire to connect with other people, groups, or organizations outside the area?

Hopefully, you are thinking beyond monetary reasons. Perhaps there are services or expertise that could be exchanged. Maybe you could create a youth program to teach leadership through story-based methods. Do you need volunteers to run storytelling festivals or events?

Whatever it may be, have everyone in agreement before moving onto the next step.

Discover Group with Similar Goals and Make Introductions
If the group you wish to meet has a website, then read their mission statement or objectives to see if they match the ones that your local group agreed on.

The Internet makes this possible as well as an invention that has been around for a while: the telephone.

For international calls, consider using a service like Skype to save money.

There is something about hearing someone's voice that is more inviting than simply sending an email request.

Some people are fearful of contacting someone from another part of the country or the world, though one only needs to remember that these people could love stories as much as you. . .if not more.

Some national groups to consider for collaborations or guidance:

• National Storytelling Network
• International Storytelling Center
• Storytellers of Canada/Conteurs du Canada
• Society for Storytelling
• Federation for European Storytelling (FEST)
• Australian Storytelling Guild
• Storytelling Association (Singapore)
• Zamaleo ACT
  
• And the list could go on and on

Click here for another online listing of storytelling organizations.

Once the relationship is established, then have each group's leader send the other group's leader an official letter to ask to work together. Be sure to share a general overview of your group, especially if this is the first time to be in contact. You may want to add promotional items like pins, pens, or anything else as a friendship gift.

Collaborate and Share Results
Decide on a project or at least determine a tentative time-line of when certain results would take place.

Did you want to have a Multi-Art event?

Would you like an elementary school class to interview senior citizens for stories?

Do you want Rotary club members to contact their international chapters for a storytelling event with broadcast abilities?

The ideas are endless.

Though, let the world know about them.

Share the project updates through websites, blogs, Facebook groups, Twitter, or any other social media tools.

You may find that spreading the word intensifies support. You could expand the scope you have for the next project or collaboration.

You would experience these storytelling reunions and efforts time after time.

Story Sisters could last for generations.

Now that is a storytelling family reunion!

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

Diversity in Storytelling: Bridge still to be Built

Storyteller Jon Spelman stated, "A lot of people do not get a chance to be heard or to tell their story." While presenting at the 2007 East Tennessee State University Storytelling Institutes, he urged us to be willing to listen to others and to build bridges with other groups.

The Bridge
Sometimes a rushing river of misunderstanding and fear divides racial, social, and religious groups so that nothing can be heard except for shouting stories of anger from one side of the shore to the other side of the shore. Rather than raising our voices with threats and hatred from the places we stand, we could build bridges through the stories we share so that we could meet halfway, look into each other's eyes, observe views on both sides of the river, and finally return home with a new perspective.

We may still hold the same views as when we first stood on the shores without a bridge, though this time we would remember that for every issue or thought there are people, neighbors, and friends involved. You can love people and still disagree with their views.

Perhaps you will hear my story and how being part of a minority group:
1. Influences Current Repertoire
2. Contributes to Repertoire Development
3. Determines Goals for Future Public Performances

As you read my answers, please reflect how these relate to your life and feel free to share them with me.

Background
The following thoughts come at a time when I have been attacked verbally for who I am. My experience is extremely mild compared to what many of my friends have experienced in California where death threats and vandalism is rampant.

What minority group is victim to these hate crimes? Those who belong to The Church of Jesus Christ of Latter-day Saints also nicknamed Mormons or LDS.

Persecution is not new to those who are LDS. We have been driven from New York to Ohio to Missouri to Illinois and finally to Utah in 1847. The last few decades have been relatively peaceful as the LDS faith has become a worldwide religion with over 13 million and growing members and has contributed much in the way of humanitarian causes from the 2004 Tsunami in Indonesia to dozens of hurricane rescue efforts in the United States including Hurricane Katrina to donating over 100,000 wheelchairs to developing nations to shipping 142,000 pounds of medical supplies to Myanmar and countless others.

Though the United States is a land known for freedom of religion, unfortunately this does not prevent hate crimes or people who are unwilling to listen so to understand.

I may have more boldness in my personality than those who find themselves as part of the majority. I was one out of a handful of LDS youth who attended my Wisconsin high school that consisted of over 2,000 students.

Ever since living in Utah where over 69% are LDS, it is strange to be considered part of the majority when most of my life I have been part of the minority. I do not have to explain or defend myself as much except for my online involvement as then I am conversing with people around the world.

I have been asked random questions, sometimes sincere and sometimes mocking, from middle school years to the present like "Do you have horns on your head?" or "Are you forbidden to dance?" or "How many husbands do you have?" The answers: No, No, and One.

Influences Current Repertoire
As a storyteller, I see my role as building the bridge of understanding so that others may see the other side of the shore if they so choose to listen to my stories.

Interestingly, the stories that would add most to building that bridge cannot be shared at one of the storyteller's traditional venues: public schools. Mentioning religion, particularly Christianity, seems taboo these days. This fact encourages me to approach other educational settings such as universities, libraries, and museums that are more tolerant. Diversity is often celebrated at these places.

Even among these more open venues, I am in a constant debate if some of my stories would be appropriate or welcome. One of my signature tales, "Shattered Grapes in One Row Too Many" (can be heard on left side of this blog), does not mention the LDS Church specifically though I do have lines like "It was announced over the pulpit one Sunday that volunteers were needed to help harvest the grapes in the vineyard. These grapes would be dried into over 250 tons of raisins to be shipped around the world for humanitarian causes."

Besides lines that reference my background, I merge many personal and original tales with portions of LDS hymns. Those who happen to be LDS in the audience will recognize them. Usually the hymns introduce comedy to the scene as in my story "Ere I Left" when, as a middle schooler who delivers newspapers, I encounter "the dog" and a song comes to mind that starts, "Ere you left your room this morning did you think to pray?"

At times songs mixed with stroies express views on the profound such as how to deal with the death of a loved one like when my cousin two years my senior died on my birthday while away from family at Girls' Camp. Two hymns "If You Could Hie To Kolob" (traditional or rock version found) and "How Great Thou Art" were sung with the other girls at camp in an attempt to comfort my grief.

Contributes to Repertoire Development
Two years so far I have performed at the Scandinavian Heritage Festival in Ephraim, UT. Perhaps a LDS connection would seem strange until one realizes that most of Ephraim's settlers were Scandinavian LDS pioneers. To fill four 30-minute slots of no-repeat stories, I needed to know at least three hours of folktales. Ever since this repertoire development most of my story sets, outside of this festival, include at least one Scandinavian tale due to the number of stories I know from this culture.

Then in 2006 the Cultural Arts department of The Church of Jesus Christ of Latter-day Saints sent out a call for theatre, music, and visual art submissions that reflect different aspects of the church. Though storytelling was not a category listed, I determined this was a chance to introduce another art. You could say that storytelling is a minority art form.

The theatre category seemed best to pursue and rather than submitting a solo piece, I approached two other LDS storytellers, Suzanne Hudson and David Bullock, as well as two youth tellers to combine for the "Growing up Mormon" storytelling program. Part of the inspiration came from storyteller Ed Stivender as he is known for "Raised Catholic (Can You Tell?)", though he is not alone in creating those kinds of programs. Catholics, Methodists, Jews, and many other religions already have storytelling programs that express their lifestyles; people of all faiths enjoy these stories.

Though we did not become finalists with the "Growing up Mormon" program, it did open thoughts as to how my LDS background may become a more prevalent part to which I am known for in the storytelling world.

Many storytellers tell stories based on the Bible. As LDS storytellers also believe in the Bible, then these stories are possible to add to the repertoire. However, I am unaware of any stories based on the Book of Mormon that is out on the public storytelling circuit. Perhaps part of the reason is that whether or not someone is Christian, most people are aware of certain Bible stories about Noah, Moses, David and Goliath, and others. Yet, if someone is not LDS, then most likely the Book of Mormon stories with Nephi, Lehi, Ammon, and Alma the Younger are completely new. This may affect comedic, tragic, or dramatic moments if the audience receives the stories out of context.

A good storyteller could develop the stories so there would be understanding for the audience regardless of how much they know about the LDS faith.

At the annual 2006 Utah Storytelling Guild StoryFest, there was a discussion on why more LDS-related stories were not shared. It was not because there was a lack of time to develop the pieces nor in finding the venues. The most common answer: fear. More specifically: fear of sounding preachy; fear of how to delicately approach the stories in a respectful manner; fear of being blacklisted as a teller. No one voiced the following fear though I expect it was at the back of many minds: fear of being persecuted.

Other tellers who tell stories from other religious backgrounds may have these same fears, though they are strong enough to pursue the stage and letting the stories be heard.

Everyone at that StoryFest meeting agreed that more stories, that reflected our way of living, needed to be shared. Since that discussion I have not seen any results. There are many LDS storytellers inside and outside of Utah. In addition, the Timpanogos Storytelling Festival, one of the most successful and largest storytelling events in the United States, is predominately organized and attended by LDS people. We are not as scarce as some people think in the storytelling community. We only tend remain quiet when there is the chance to accidentally offend others or cause people to be uncomfortable. . .except when a driving force moves us forward.

Determines Goals for Future Public Performances
So what motivates us enough to step onto the stage and share our stories? What motivates you?

In times of fear or uncertainty, I turn to others for support. My husband is my greatest support while I also have my mother, father, brother and sister to cheer me on. I even conducted a one-question survey with fellow East Tennessee State University classmates if they would like to hear stories that connect with the Book of Mormon or everyday living of a Latter-day Saint. The people I approached seemed eager to hear some of these types of stories though I did not feel ready to share any at that time. There was curiosity and the possibility of having more diversity on the stage.

Storyteller David Novak advised me that rather than have programs that focus purely on LDS stories, that it may be smoother to find stories from other cultures that incorporate our values mixed with one or two that are LDS.

This may have guided me in the structure of a narrative production that I will premiere on February 9, 2009 called "Family Famine: Hunger for Love". Though I expect portions of LDS songs may be included in the program as that is part of my style, the focus will be on multicultural tales outside of my tradition. Healthy family relationships can be found in all cultures. A country in chaos sometimes is thought to not have the same levels of love amongst family members. Usually the corruption lies mainly with leadership of the land rather than what is found in the home.

Throughout story development, I will contemplate upon "The Family: A Proclamation to the World", a document presented by the LDS Church in 1995. It is my source of inspiration for "Family Famine: Hunger for Love" and not something I plan to quote or distribute to those who attend the premiere or any future performances. That would be overbearing, inappropriate and harmful to me as a teller and would abuse storytelling as an art form.

Storyteller Elizabeth Ellis warns of the difference between being religious and being spiritual. Any storytelling experience could be a spiritual experience no matter what faith is mentioned, if at all. Sometimes values expressed in everyday tales provide communion.

I hope to create a safe environment for my audience so they can trust that I will not push my views from the stage and that I allow them to take what they will from the performance. In fact, I expect the "Family Famine: Hunger for Love" to be such a program that even public schools would see no issues in having it presented to their students.

My LDS background will always influence, create, and develop repertoire that will reach the stage. The goal is that I will become fearless in presenting the stories that few have heard while creating a safe environment so that people realize that I love and respect all cultures and traditions.

Perhaps one day a LDS program will be as common as the other religion-based storytelling programs out there.

May we build the bridges from one group to another and be willing to step across the rushing river of misunderstanding and fear so to see from both sides.

Until we tell again,

Rachel Hedman

Professional Storyteller

Former Co-Chair and Current Member 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/