Receiving Rate vs. "Starving Artist" Syndrome

Sweat trickles or teeth clatter for some professional storytellers when they are asked, “How much do you charge?”

Either the traditional path of the “starving artist” could be taken or the more self-respecting road of the financially independent.

Which road do you choose?

Ways to Combat “Starving Artist” Syndrome:
1. Polish your craft
2. Decide now what you want (as well as for exceptions)
3. Ask questions before giving rate
4. Speak with firm and confident voice (with pause)
5. Assume the positive

Polish your craft
The first storytelling gig you ever do will probably not be paid. It may go for the second, third, fourth and so on. This is fine, and even encouraged, for every storyteller needs to have some sort of apprenticeship time.

Recently I was asked what my training was as a storyteller. Sometimes I say, “Do you want the short or long answer?” I could spout things such as I started as a sophomore in high school and competed in the art. If the person opts for the long answer, I may share how my first story was a failure but I made a promise to prove to myself that I was a great storyteller. I could also delve into the how and why I started the Brigham Young University Storytelling Club or my venture of working on my Storytelling Masters program at East Tennessee State University.

My favorite answer is usually, “My mom said I was a storyteller as soon as I opened my mouth.”
No matter what examples are shared, the important part is that there is continual polishing of the craft and professional development.

The “starving artist” tends to forget all the training they went through to be who they are today. They are nervous to charge what they ought to charge because they ask themselves “Am I worth it?” If you happen to fall in this slump, then brainstorm a list of how you have improved yourself through the years.

Some ideas:

Telling at places (this could be a few pages already)

Attending storytelling and art conferences

Receiving time from coaches/mentors

Participating in local, regional, national, or international storytelling organizations

Pursuing higher education in your field

Researching stories and techniques at the library or other resource places

Decide now what you want (as well as for exceptions)
Every so often the sponsor’s budget will fall short of your quoted rate. Figure out what amount is the lowest you would accept as well as what you would refuse.

The artist inside the professional storyteller has a tendency to want to say “yes” to everything, which is part of the “starving artist” syndrome. I cringe when experienced tellers disrespect themselves by taking $25 or $50 for what could have easily been 10 times or more that amount. This could be the result of craving the stage and putting that love for it above the money to cover the costs we entail from each performance such as research, practice, travel, etc.

At the same time, have you noticed how easy children are at saying “no”? Most likely they had parents, teachers, and other adults tell them “no” so many times that this answer naturally comes out of their mouth first. Somewhere between childhood and adulthood the “yes” word dominates our vocabulary.

For example, let us say that someone can pay $250 out of your normal $300 rate. Some storytellers would be tempted to take the $250 and not say anything more. Yet, $50 is still missing. Before you get in this kind of situation—and you will many times—you need to brainstorm in-kind or service solutions.

If in-kind or service solutions do not interest you, then this may be a gig in which you walk away. Storyteller Bill Harley has often said that you know you are a professional when you can say “no”.

Not all budgets that fall short are bad. You may be surprised at how other types of payment could benefit you. Depending on what service or in-kind item is offered, I may indicate on my service agreement that I want at least half the payment to be in cash to cover my costs.

Some venues have offered family passes for their places. Tellers with children may jump at these opportunities. Perhaps these tellers would also delight in trading for some free babysitting hours.

Brainstorm your “power perks” beyond cash.

These are some of mine and how I generally value them:

Research assistance for finding folktale variants ($20/hour--so if short $100 of my price, I would get 5 hours of research on top of the cash)

Office work such as stuffing envelopes, updating contacts, etc. ($10/hour)

Letters of recommendation (roughly $1 per contact, usually maxing at $50)

Books (retail value compared to my rate)

Home improvement gift cards (equal to my rate)

Business/Marketing/Skills training (equal trade of time)

With your list developed before sponsors call, you will be ready to offer suggestions if they are slightly off in their budgets. Whatever is decided, make a note in your service agreement. Then everyone will remember what was agreed and you have a win-win situation.

Ask questions before giving rate
Besides knowing the types of stories you like to tell, one of the first questions is “What is your rate?”

If I am at a social event like through a Chamber of Commerce and the person generally wants a number, I state my hourly rate without going into details except to say that the rate is based on length of performance/workshop as well distance from my home. The person may simply want to know to budget accordingly in the future.

Many times a specific event is implied, especially when a rough date or theme is given. Then I stall in stating my rate. I acknowledge that I will answer the rate question, though I would like to find out some things first.

I gage by their vocal tone and/or body language as to how long I could ask questions to determine their expectations and needs. This reveals my professional side to the potential sponsor. Since they see that I want to have their event be as successful as possible, they are more likely to want to hire me when I give my rate afterwards regardless of what they had originally planned for their budget.

Speak with firm and confident voice (with pause)
Stating your rate should be just that—a statement.

The “starving artist” has a waver to the voice that always ends in a question mark. Whenever a potential sponsor hears that tone, they know they can ask for a lower rate and be likely to receive it from you. Most people are in search of a good deal. However, this does not have to cut into your living as a professional storyteller.

Say your fee in a few words. Memorize the phrase. If applicable, make constant eye contact. Then pause. Keep looking at them. You did your part and now it is up to the sponsor to respond. Give them time to assess how you could work within their budget.

Assume the positive
There are performance queries that have said “We don’t have much in our budget” or “We are non-profit”. The “starving artist” may take these words, turn pessimistic and assume payment of $25 or $50. When it comes to quoting rates, this kind of artist may chop from their normal fee before the potential sponsor has a chance to say what these statements really mean.

If I see or hear such phrases, I ignore them. I state my fees and then ask, “What is your budget?”

I had one government preschool group that claimed to have little budget. When I gave my fee, the lady on the phone had a smile in her voice and said, “I thought it would be more. We can afford you!”

I have had other venues with “little budget” that talked to several storytellers asking for rates. Most, if not all the tellers had shared lower fees than me. Despite this difference, many times I received the gig. Perhaps asking questions and finding more about their event before committing helped. Whatever the reason, my fee did not faze them.

So as another person asks your rate, be true to yourself and send the "starving artist" on the opposite road you are taking.

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/

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/

Tax Time: 10 Tips for Tellers on Tour

Staring at the calendar and then glancing at the calculator are not enough to complete taxes for the professional storyteller. Pulling out hair is less likely to help.

Hopefully you kept receipts for anything connected with your art, though this could mean you have a boxful of papers to shift through and determine if there are any amounts that could be deductible.

While making those decisions (and consulting with an accountant), here are some reminders--
1. Collect all 1099 forms and service agreements
2. Note the times you traveled beyond going to the venues
3. List all membership dues and directory listings
4. Gather receipts for props relating to your performances
5. Determine resources that inspired the creation of your art
6. Consider use of Internet, cellphone and other devices
7. Figure out office supplies used
8. Consider the times you were coached
9. Recall education (registration/tuition)
10. Remember "special" orders

Collect all 1099 forms and service agreements
Throughout the year, you may have signed W-9 form after W-9 form until you knew where to sign blindfolded. The venue has record of you being there, but do you?

I submit an invoice and a service agreement to every place performed. My service agreement is like the one in "The Story Biz Handbook" by Dianne de Las Casas. When you own this book, then she gives permission to use the form as you see fit. This book has been self-published for many years, yet now Libraries Unlimited will release it in Fall 2008. I recommend pre-ordering a copy if you do not already own it.

As the invoices and service agreements forms are already on my computer, they are easy to print and file into a binder. As payment is received, I can mark "PAID" on the invoice and staple either a check stub or a copy of the check onto the paper.

When January comes around, some of the venues may send a 1099 form to add to your records. Universities and library systems tend to be the most organized in this regard. Most places will not send a 1099 form so it is up to you to be as accurate as possible with your income.

Remember to add any grants you received during the course of year, too.

Note the times you traveled beyond going to the venues
Keeping track of your mileage to and from your gigs is obvious, though there will be other times that you traveled in the name of storytelling.

For most places in the same county, I prefer to meet the sponsor in-person and check out the intended stage area a few weeks or even a few months before the actual show. Anytime my car drives to take care of a storytelling errand means I need to make note of the number on the odometer.

A weekly--sometimes semi-weekly--tradition is my trip to the library. I often max out my library card when checking out books to research variants of folktales or to learn business practices to further my reach as an artist. (Luckily my husband is quick to lend me his library card in case of an emergency.)

If you attend guild meetings or storytelling events as an attendee to listen and learn, then the pencil should be moving to make record of these things.

Sometimes travel means parking expenses. Even if you paid $1.00 (or less), always ask for a receipt before leaving the parking lot and label it for the storytelling reason you were there.

When the stomach growls during a storytelling event, keep track of any meals or snacks needed.

List all membership dues and directory listings
Think about the professional organziations that have allowed you to network.

Some of the organizations where I am a paying member: National Storytelling Network; Youth, Educators, and Storytellers Alliance; Storyteller.net; and Utah Storytelling Guild.

Being part of the Chamber of Commerce or the Arts Council may also have fees.

Gather receipts for props relating to your performances
My Dutch cap has transformed from a prop to a trademark. Almost every performance I have it on. Whenever I attend conferences or festivals, I wear it.

This cap has had such a presence that it may be tricky to know if it is considered "prop", "storytelling wardrobe" or "marketing". The best thing is to explain the role of the item and see what your accountant says.

One of my most intense performances is "Hephaestus: Fire Within", which explores child abuse and abandonment with the Greek gods Zeus, Hera and Hephaestus. When sharing this roughly 50-minute tale, the mood could be disrupted if I had my water bottle with me. Instead, I bought a nice earthy-toned goblet so I could drink water without throwing in an object outside the time period.

Determine resources that inspired the creation of your art
The bookstore is a dangerous place for me. . .until I remember that the books I buy could be tax deductible if they played key roles for inspiration, research or story development.

Especially when looking at folktale variants, I keep a bibliography. If my book purchase was ever questioned, I could quickly point out the reason for listing it for my taxes.

Consider use of Internet, cellphone and other devices
Most of my gig requests come by email, usually through my website or blog. This means that a certain percentage of my online time is dedicated to the business. My monthly Internet fees will reflect the percentage of time used for storytelling when reporting taxes.

My cellphone is the second most common way I am contacted for gigs. If I cannot meet with a sponsor in-person to find out more for expectations, then phone interviews are required. Again, a percentage of my time answering and calling for storytelling will be needed when reviewing the monthly cellphone bills.

Whenever I go over my allotted cellphone minutes, it is always for storytelling and at least I can have comfort that some tax relief will result despite the huge bill at the moment.

If other technological devices are used such as faxes or pagers, then make a note of these expenses.

Figure out office supplies used
Whether or not you have a wonderful deal with the local print shop, most likely you go through paper and ink like running water.

From printing invoices to service agreements to thank yous to surveys to whatever else, there is plenty of paper work to be had for the professional storyteller.

Every few months I replenish pens as I always have a basketful of them for audience members to take in order to fill out feedback forms.

Some performances or workshops need a flipchart with easel. Occassionally I have a booth to promote myself or any number of storytelling organizations. I have an inventory of booth items such as tablecloths, table-top easels, plastic brochure holders, metal rack to sell CDs and DVDs, moneybox, etc.

Even the planner to keep track of gigs is important to note for office supplies.

Consider the times you were coached
No matter what industry, there is always a chance to improve your craft. The storytelling community has well-known coaches such as Doug Lipman, Susan Klein, Nancy Donoval and Kevin Cordi. Then there are the ones who are more quiet though willing to share in whatever way they can like Don Doyle.

Some storytellers have coaches outside the community to guide business practices or to merge storytelling with other art forms such as music or dance.

Once a week for about a month I was coached on how to pronounce Hawaiian words so I could shares tales from those islands with more ease.

Anyone can be a coach and some give advise for free. Yet, when money is exchanged for the wisdom, then the government needs to know.

Recall education (registration/tuition)
Beyond one-on-one coaching, there are the conferences and workshops.

I have budgeted to go to the National Storytelling Conference ever since attending my first one in 2004. My registration fees are deductible, though I would attend regardless if I could count it on taxes.

I am in process of getting my Masters in Storytelling through East Tennessee State University. Normally tutition would be deductible, but not for me. My parents had the insight to create a 529 Education fund to cover tuition, housing, and textbook expenses. I paid my way through Brigham Young University for the Bachelors as I knew other expenses would face me in the "older" years like mortgage.

Remember "special" orders
It is not every year that I have a photo shoot or that I order 500+ pins. Nor is it every year that a CD is made or a DVD is filmed. What may be a category one year on taxes may not be there the next year.

These "special" orders tend to be ones we are quick to share with family and friends and perhaps forget to announce for the government to help with our deductions.

There are many more tips to know when filing taxes and that is why I always turn to my accountant.

The good news is that by doing our taxes, we know we made money with the art we love.

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/