Celebrating 100: Top 10 Storytelling Posts Over the Years

Reaching 100--whether as an age or the action of doing something that many times--is an accomplishment.

You are reading my 100th post on "Voice--A Storyteller's Lifestyle".

This blog started on August 17, 2006 with roughly two posts a month since that time. The articles here have ranged from storytelling techniques, tips, opinions, insights, and interviews.

Out of these 100 posts, the top 10 were determined by the number of times viewed or based on personal preference.

So drum roll please...

Top 10 Storytelling Posts:

10. Microphone Manners: Loud & Clear Ways for Pros (1/15/08)

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

9. Today's Bards & Seanachies: Irish Wisdom in Storytelling Techniques (3/15/09)

Having the "gift of gab" by kissing the Blarney stone is not enough to be a storyteller.

8. Storytelling Games: Never too old to Play (10/1/07)

Adults seem to shy away from playing storytelling games to improve their skills as storytellers. (Plus game examples)

7. Grant Writing for Storytellers: Art of Success (6/15/07)

You have a fantastic project in mind and everything is coming together . . .except for the funding.

6. Mythical Storytelling Network: Dreams of Reality (8/15/08)

Our dream ideas as storytellers to further the art in the minds of the general public are often hindered by our working within the boundaries--whether drawn by us or others. (Reflections from 2008 National Storytelling Conference Brain Trust Session led by David Novak)

5. Losing Your Voice & Finding it for Showtime (11/1/07)

Once I was told that my voice would be confiscated. ( (tips to care for throat)

4. Stage Fever: How to Make a Portable Backdrop (12/15/06)

The stage beckons many of us storytellers and often we wish we could always count on having a stage.

3. Story & Poetry Slams: 5-Step Evolution of Art (11/16/06)

Storytelling and poetry have existed for centuries and now these art forms have evolved into something more intense and lively.

2. That Fairy Tale called Childhood, Mr. Glodowski, and Lifelong Learning (10/15/10)

When our eyes glaze over and a goofy grin appears on our face, we might have entered that fairy tale called childhood.

1. 5 Ways How Adopting a Story is like Adopting a Child (1/15/10)

My husband and I have always wanted children. (adoption process of a story)

You may know how the #1 post got its position. That is personal preference as my husband and I are going through the adoption process. You can see our adoption profile here or see my "Year of the Adopted Family" storytelling project here.

What has been your favorite storytelling post?

Or, if this is your first time here, what drew you to this blog?

Your comments, as always, are welcomed.

Who knows? Maybe THIS post is your favorite.

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

That Fairy Tale called Childhood, Mr. Glodowski, and Lifelong Learning

When our eyes glaze over and a goofy grin appears on our face, we might have entered that fairy tale called childhood.

Nothing could go wrong...or at least not for long...as memories conjure images of learning how to bike ride and then traveling farther than told to go, hanging around the basketball court and wondering when it would be your turn to shoot the ball, playing a night game of hide-and-go-seek and on and on.

Sparkles and rainbows often accompany the reflections as if anything we touched in those times were full of magic.

Then came the stormy fortress and villains within our life story. A few of us may have called this place "school".

Creativity was set aside so we could learn what all parents wanted their children to know: reading, writing, and arithmetic.

This scholastic kingdom divided its subjects into castes that could not invade another. Tall fences and barricades prevented Social Studies from invading Math and inhibited Science from merging with English.

Fortunately, I had a 5th grade science teacher named Mr. Glodowski.

He was a balding man with a few flicks of hair that gave his head a soft look when the light slipped through the large classroom blinds. His glasses were geometric in nature and magnified his eyes so that he could see what anyone was doing at any one time...like when I wrote stories while he taught.

I slipped my writing notebook under my science notebook when I felt a glance my way. But it was too late. I was caught. I could tell by the way Mr. Glodowski prolonged his gaze in my direction.

Instead of calling my name in front of the class at that time, he walked to my desk when the bell rang.

While stuffing my backpack, I kept my head down as if to thwart any lecture of my creative writing during his class.

Then I heard it.

"Rachel?"

Mr. Glodowski's tone had an edge of amusement to it. I was not expecting that.

"Y-y-yes?"

Mr. Glodowski's eyes sparkled and he continued, "I could not help but notice that you are a writer."

"Y-y-yes?"

"Could I take a look at your work?"

I hadn't shown anyone my writing notebook before. Not even in English class. But when you're caught, you're caught. I lifted the bright pink notebook by one edge so that the other half drooped.

Mr. Glodowski carefully took the notebook into his hands and delicately read page after page.

"Hmmm." And then another, "Hmmm."

He looked at me.

"What if I had a special spot in my file cabinet for your writing? You could add your stories. I expect the folder to be thick with your stories."

I scrunched my face in surprise. "Yes, but, Mr. Glodowski, you're a Science teacher. What does writing have to do with Science?"

"Pffaw! Since when is Science Science and English English. So will you continue writing or not?"

A few moments of silence until out of my mouth, "Sure, Mr. Glodowski. Sure."

And so it happened. Story was part of my Science classroom.

I paid attention to what Mr. Glodowski taught. I noticed that he used more and more stories from past and present Science experiments of failures and successes. Sometimes folklore mixed with his lessons.

One time, while studying the constellations, he announced, "I want each of you to create a constellation out of a current star chart."

While addressing the whole class, he smiled at me and said, "I want each of you to write a story behind that constellation. Be creative as you like for, after all, this is a Science class. Science encompasses the world, and the world is full of stories."

That day I knew: storytelling was the action form of learning.

Storytelling still is the key to lifelong learning.

Then it happened one day.

I had a new story to place into Mr. Glodowski's file box. It was about time travel to dinosaur days through the pop of a bubble.

When I looked for Mr. Glodowski, all I found was an empty desk.

One of my classmates walked to me with serious expression on his face.

"I heard Mr. Glodowski died of a heart attack last night. We're getting a substitute."

I scanned the room as if I could find Mr. Glodowski shake his head at such nonsense.

But it was true.

The viewing and funeral was scheduled. I brought my Mom.

We got in line to share our condolences to the Glodowski family.

For the first time, I met Mr. Glodowski's wife. I had no idea what to tell her. Nothing seemed like the right words. I had to say something though.

So I told her about the file cabinet and how he inspired me to write.

She smiled through her tears. She thanked me and took my hand in hers.

When the school yearbooks were distributed at the end of my 5th grade year, I saw that I was not the only one who Mr. Glodowski inspired to write.

One of my classmates, Ka Xiong, had written a poem in his honor.

Here is a part of Ka's poem:

Pencils are wood, A square has an angle.

There I stood, Looking at you as if you were an angel.

Mr. Glodowski's stories are part of my being as they are for others he taught.

All stories become part of our being.

That fairy tale called childhood does not have to end.

Teachers and students alike could take part in a collaborative story that builds and grows with each passing day in the classroom.

As we graduate, that time with story continues in our minds until we achieve what our teachers had wanted to instill in us: lifelong learning.

So go forth and tell, and we will listen.

Every story adds to our education.

Until we tell again,

Rachel Hedman

info@rachelhedman.com

(801) 870-5799

http://www.familyfamine.com

About the Author:

Rachel Hedman is a family folklore expert and youth storytelling advocate who had several teachers like Mr. Gladowski who inspired the creative spirit she has today. She promotes positive communication and relationships through the Family Famine Series, a story synergy experience with fellow storytellers, musicians, and other performing artists. Rachel will publish "Year of the Adopted Family: 12 folktales to place in your home and value the process today" in November 2010 as part of National Adoption Month.

Are You Hunter or Gatherer? Common Ways Storytellers "Live Off" the Art

Ever since learning about the Ice Age during elementary school years, I delighted in creating dioramas to imagine how people survived once the snow melted.

It was as if we had our mini versions of the museum’s mannequins dressed in buckskin clothes or furs while building a fire, sharpening a spear, or gathering seeds to plant for later.

No matter what culture or country, there has been a history of hunters and gatherers. One way of gaining nutrients is not better than another way. They simply are different.

Naturally, these two ways reflect how storytellers “live off” the art.

Are you a hunter? Are you a gatherer? Are you a mix of both?

Before reading the following statements, consider your experience in the art. Are you new? Are you a veteran of over one or more decades in the art? Ponder on how this experience may affect your answers.

Our hunter and gatherer tendencies may change depending on our stage in the art.

Part 1—

On a piece of paper, write the label “Hunter” and then list numbers 1-7 per line. For each of the seven statements, choose any of the following: Strongly Disagree, Disagree, Neutral, Agree, or Strongly Agree.

1. I enjoy the simplicity of working alone and dwelling in my thoughts.

2. I am frustrated by the conflicting artistic advice from friends and colleagues.

3. I am uncomfortable when a certain number of professional storytellers live in my area.

4. The more I am around other storytellers and artists, then the more distracted I am in regards to my own goals in the art.

5. Clubs, guilds, and organizations add little or no value to what I already know about the art.

6. If I was the only professional storyteller alive, I would still feel motivated to progress in my art.

7. Organizations come and go, but the art is forever.

Now give the following point value for any answers for the above seven statements.

Add your points together.

Total possible = 35 points.

If you have 25-35 points, then you have strong Hunter tendencies.

As Hunter:

You seek out and hunt opportunities and independence. You get your “meat” or performances by the direct actions you take rather than relying on other people or organizations to help make those connections. You improve in the art most when alone and in a calm environment. Although you may interact with other artists, it is more to forward your goals than to progress the vision or mission of others.

Part 2—

On a piece of paper, write the label “Gatherer” and then list numbers 1-7 per line. For each of the seven statements, choose any of the following: Strongly Disagree, Disagree, Neutral, Agree, or Strongly Agree.

1. I am quick to join one or more social networking sites involving storytelling. (Examples: Professional Storyteller social networking site, Facebook, Twitter, etc.)

2. I attend storytelling guilds, gatherings, or other social events on a regular basis.

3. I am willing to rearrange my schedule to attend storytelling social events.

4. I refer often to what I have learned at storytelling conferences or gatherings while talking with others.

5. I am anxious to list or share how the art has been strong in the area to fellow artists, neighbors, or acquaintances.

6. My storytelling activity would decrease if certain storytelling groups or events dissolved.

7. A brainstorm session, whether with strangers or colleagues, would be more valuable than a solo brainstorm session.

Now give the following point value for any answers for the above seven statements.

Add your points together.

Total possible = 35 points.

If you have 25-35 points, then you have strong Gatherer tendencies.

As Gatherer:

You gather information and people connections. You harvest so much sustenance that sometimes the “food” goes into storage until you are ready to intake the message(s) or to build upon the relationship(s) formed. You feel an added energy whenever you are around people—whether colleagues or strangers. You improve in the art most when others are there for you as sounding boards, mentors, or as friends. Although you relish in interacting with others, you sometimes feel an overload. The knowledge you meant to apply might be forgotten and the people you meant to keep in contact are lost.

What If You Are Hunter And Gatherer?—

Take the strengths of the Hunter and the Gatherer and create a balance that will keep you fed through any of the “starving artist” times as well as through the plentiful seasons. Be willing to adapt to use the skills that would be most useful during the current economic times.

There are moments when you need to go off into the “forest” to realize and achieve dreams. Though, whenever going alone, you may want to tell one or more people of your intentions so you have a caring support system in case you get lost.

Even the mighty hunter is not meant to be alone. And the gatherer could always use those quiet moments to put everything into perspective.

So go forth and enjoy your catch or harvest! You deserve it.

In case you were curious, I had 21 points as Hunter and 31 points as Gatherer. Feel free to share your results as a comment to this post.

Until we tell again,

Rachel Hedman

Professional Storyteller

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

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

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

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

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

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

Storytellers are cheerleaders of the stories they tell.

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

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

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

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

Some Signs Of When You Have It:

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

Satisfaction After Telling Story

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

Happy Buzz Sounds From Audience

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

Audience Members Approach You And Sometimes Share Stories

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

Some Signs Of When You Don’t:

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

Monotone

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

Little Or No Facial Expressions

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

Attitude Of Indifference Or Grumpiness

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

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

Until we tell again,

Rachel Hedman

Professional Storyteller

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

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

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

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

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

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

At one time or another we have lost something.

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

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

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

Such is the case with storytelling.

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

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

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

Way to Regain Love and Skill of Storytelling:

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

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

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

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

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

Way to Regain Love and Skill of Storytelling:

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

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

Until we tell again,

Rachel Hedman

Professional Storyteller

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

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

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

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

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

5 Ways How Adopting a Story is like Adopting a Child

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

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

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

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

Here is the Adoption Process of a Story:

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

Decide to adopt a story in the first place

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

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

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

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

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

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

Figure out your story agents in the process

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

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

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

Be patient and expect changes along the way

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

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

Love the new story as one of the family

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

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

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

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

There are many tales waiting for a teller like you.

Until we tell again,

Rachel Hedman

Professional Storyteller

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

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

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

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

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

Storytelling Lessons for Kids: 5 Ways to Go Beyond What Piano Can Give Them

Thanks to my nephew, sister-in-law, and mother-in-law for allowing permission to post the pictures.

Throughout all ages of time, parents have encouraged and sometimes "forced" their children to receive piano lessons.

I was one of those kids who took piano lessons.

Currently, I do not have a piano in my home, which I plan to rectify soon. A home is not complete without a piano.

In the meantime, much of my piano skills have gone by the wayside, though the memories sustain me.

Despite the moments when I would rather do chores than practice the piano, I also had moments when I played and played and could not wait for the recitals.

I always was a child who enjoyed the spotlight.

Walking onto that stage was glorious, but once I got to the piano bench, I had to turn my back or side to the audience. Even if the piano was turned in such a way so that I could look at the audience, the piano was too tall to truly connect with the people out there.

Sure, I heard the applause after I played a number, but I missed the continuous reactions from the audience.

Then came high school.

I was a sophomore when my theatre friends encouraged me to look into the National Forensics League, which had several categories in public speaking contests.

One of those categories was storytelling.

Finally, I had an art form that would allow me to look at the audience the whole time.

Nowadays, most children are in front of the computer or television so often that sometimes they forget the joy of looking at the people around them.

They can comfortably interact with a video game or "talk" to online characters through virtual realities.

Then they stutter and stumble in front of real people.

While playing the piano improves creativity and develops a type of work ethic and commitment in the child, there is one art form that can easily adapt and apply to whatever the child pursues in life: storytelling.

Parents celebrate as they see their youth tellers have more sophisticated research skills and the ability to speak smoothly in front of a crowd due to the boost of confidence. Parents and teachers perhaps love the improvement of listening skills the best.

As the child becomes a young adult and must find work, the child will exemplify these skills, which are exactly what employers desire and request.

So where can youth turn for storytelling guidance?

Here are some ways:
1. Clubs
2. Camps
3. Festivals
4. Contest and Showcase Events
5. One-on-One or Small Group Lessons

Clubs
I wish there was a storytelling club during my elementary, middle, or high school days. At least I had the storytelling category through Forensics. In some ways, the other people in my category were part of a "club".

Fortunately, the creation of storytelling clubs for youth is on the rise across the nation.

The best book is Raising Voices: Creating Youth Storytelling Groups and Troupes co-authored by Kevin Cordi and Judy Sima. Youth clubs with a focus on fun and games will have the most success, and Raising Voices has plenty of games to choose that work from Kindergarten to high school students.

As an adult, you will be tempted to play these games, too. Go ahead and give yourself permission.

Members of storytelling guilds could be pro-active to encourage more youth clubs. The Utah Storytelling Guild is considering a youth chapter where kids across the state could gather and meet each other at least once a quarter.

Camps
The strongest states in youth storytelling usually have some form of camp dedicated to the art in order to satisfy the hunger that kids have to tell stories.

The Florida Storytelling Association organizes the most famous Story Camp. The event is mainly attended by adults and workshops are led by national tellers. Five youth are selected as scholarship recipients as a result of the Youthful Voices Storytelling Contest. Each youth has an adult storytelling mentor.

In Nebraska, the guild endorses a camp limited to 15 youth led by a national teller. For 2009, the theme is "In Our Own Voices" geared for 4th to 9th grade students and taught by award-winning singer-songwriter and storyteller Andy Offutt Irwin.

Utah has also had a surge of week-long Story Camps organized by professional storytellers Cherie Davis, Debi Richan, and Nannette Watts. They provide one type of camp for ages 8-12 and another for ages 12-18. They are able to give reduced rates to residents of Orem and Highland due to some generous grants.

Usually these camps are scheduled in the summer time when children may not have as many extra curricular activities and homework.

Festivals
There are always fetivals looking for youth performers on a local, regional or national basis.

These festivals tend to first think of dancers, musicians, and singers, but many are making way for youth tellers. It may be up to you to hint at the storytelling possiblities.

Many cities and towns have art festivals. Contact the director. Have the youth teller share stories for them. Then watch as the director schedules a slot or two for them.

Though some artists volunteer, the festival may offer to pay for the storytelling services of your youth. It does not hurt to ask.

Contest and Showcase Events
Nothing tends to motivate a child more than when it comes to a contest. In the storytelling arena, usually the word "showcase" is put in place of "contest" to indicate that each child is a winner.

The most popular kinds are tall tale and liar contests.

Perhaps parents are not as keen to these kinds as to what they imply, but as these tales are hilarious and high-energy, kids love them. In fact, if given the chance, kids like ot create their own stories rather than telling the classic tales of Paul Bunyan or Pecos Bill.

Then there is the National Youth Storytelling Showcase. Dr. Flora Joy, one of the founders, said, "Tomorrow's storytelling lies in the talents, interests, and motivations of today's youth."

Each state has a representative that forwards videotapes of their top five youth tellers to the Headquarters in Pigeon Forge, Tennessee. Of the thousands of entries, about 15-20 youth are invited to tell in connection with the Smoky Mountain Storytelling Festival. All youth are celebrated as finalists, though one is chosen as the Grand Torchbearer of Youth Storytelling for the year.

One-on-One or Small Group Lessons
Since you are familiar with how weekly piano lessons work, then the same format could work for storytelling lessons.

From a 2008 survey of 300 parents, 209 said they would be willing to pay for lessons or after-school programs in the arts reported by the Helicon Collaborative, a New York City-based arts nonprofit consulting group. Economy may be rough but parents want their art.

Most likely the parents first think of piano or dance, but there is a demand of life-skills that storytellers could pursue.

With many schools slashing out the arts, it is sometimes up to the parents to make sure art is experienced. Connect with a professional storyteller and ask if they would be willing to coach your child.

In fact, I will offer storytelling lessons to youth starting Fall 2oo9. I am considering in-person as well as e-lessons in combination of webinars so that location is not a factor. A workbook will be available for the participants.

As for piano lessons, I fully support them. I had piano lessons and continue to be glad I had them.

Remember that it is not always possible to have a piano on the journey of life.

Stories, especially the ones your youth tell, are for forever.

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

Freedom-Based Mentoring: How to Transform Resistance to Acceptance

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I no longer choose to walk the storyteller path alone.

Until we tell again,

Rachel Hedman

Professional Storyteller

Former Co-Chair of Youth, Educators, and Storytellers Alliance

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

URL: http://www.rachelhedman.com

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

Performance Blog: http://familyfamine.blogspot.com
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Asking for Directions: 3 Maps for the Storyteller

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Until we tell again,

Rachel Hedman

Professional Storyteller

Former Co-Chair of Youth, Educators, and Storytellers Alliance

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

URL: http://www.rachelhedman.com

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

Performance Blog: http://familyfamine.blogspot.com
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller