Finding "Golden" Stories in Book Heaven

I know I’m on the hunt for a good story when my eyes dart from bookshelf to bookshelf and the musty smell of used books fill the air. Sometimes a mysterious light shines through a window and rests upon a leather-bound book. Libraries and bookstores can be heaven to those who know the secrets of storytellers.

Warning: Going through libraries and bookstores can cause your arms to be tired from carrying so many amazing books. If you are like me, then bring a HUGE bag to carry the 30-60 books that you will bring home. Better yet, bring someone to carry the books for you.

If you followed me into a library/bookstore, my destination would be the 398.2 sections, also known as the places for folktales and fairy tales. I say “places” because you can find 398.2 in the children’s area as well as the adult’s area.

Finding the Perfect Story:

1. Decide on Genre and/or Subject Matter
2. Skim Titles
3. Focus on Books with Story Collections
4. Read Story Over a Dozen Times

Decide on Genre and/or Subject Matter
Simply heading toward the folktales and fairy tales does not narrow down your search. Within this area, you will still come upon story genres such as ghost stories, tall tales, trickster tales, healing stories, creation/natural stories, quest stories, fantasy, wisdom tales, fables, myths and legends. If you are unsure as to what interests you, then create a list of what does not interest you. Reading a story that fits within each of the genres could give you an idea of what you like and dislike, too.

I have more fun focusing on a subject matter. Maybe one of your favorite animals is the rabbit. A whole one-hour storytelling program could be easily dedicated to rabbit stories from around the world. Perhaps you would rather aim for tales that reflect mother/daughter relationships. You may discover that what you value today is as precious in any culture or time period.

Skim Titles
For a first time perusal, I go to the 398.2 in the children’s area. Due to the picture books, I am able to glance at titles and see what captures my interest. With a genre or subject in mind, then I train my eyes to search for word(s) connected to those topics. When a word or two catches my attention, then I stop, pull out the book, and flip through some of the pages.

Focus on Books with Story Collections
I prefer the books that have more than one story. Some of the best story collections are published by August House or gathered by Margaret Read MacDonald. I recommend being familiar with fairy tales/folktales collected by Andrew Lang like the Red Fairy Book, Orange Fairy Book, Green Fairy Book, and so on. I love finding stories that the average person would not know. The used bookstore is one of the best places to find unfamiliar tales.

Read Story Over a Dozen Times
I would not expect you to read a story twelve times while at the library/bookstore. The place is only open for some many hours of the day. Take the books home and find a reading-friendly room. The story is “golden” if you love the story after reading it at least 12 times.

Once you have the perfect story, then you are ready to tell the story in your own voice.

Until we tell again,

Rachel Hedman
Professional Storyteller
Co-Chair of Youth, Educators, and Storytellers Alliance
(801) 870-5799
rachel@storytellingadventures.com
http://www.rachelhedman.com/
http://www.yesalliance.com/

Body Language: Storytelling without Saying Words

Ten seconds could set the atmosphere for a storyteller and an audience through body language. When audience members see the storyteller’s face and stance, then the stories can have more depth and meaning. Kent and Nancy Potter from The Bennion Group presented a workshop “Reading Body Language” as part of the Brigham Young University Storytelling Club meeting on March 22, 2007. With their permission, I have adapted my experiences with their remarks.

Disclaimer: Though certain facial expressions or gestures tend to mean certain things, everyone has what is called a “baseline” or normal behavior. The better you know someone, then the easier to tell if there are shifting styles. Interpretations are usually more accurate when focusing on these shifting/changing behaviors.

The Potters prefer to conduct the “Vertical Scan” that consists of looking from top of the head to the feet. This quick examination can provide hints to moods and manners through body position, clothes and colors chosen, eyes, head/face, voice tone, arms/hands, and legs/feet.

The Potters mentioned that when you say “feels like” or “seems to be like”, then you are most likely describing your impressions from someone else’s body language.

One of the most revealing areas for body language is found in the eyes. Kent claimed that the eyes are the only living tissues seen from the outside. Skin, fingernails, and hair are considered “dead”. A workshop participant smiled and said that she knew another living organ sometimes seen while telling stories: the tongue. Kent laughed and replied that usually seeing the tongue is a form of rudeness—or silliness.

Some people feel uncomfortable when someone wears sunglasses. Perhaps hiding “living tissue” is part of this discomfort. Rarely, does a storyteller wear sunglasses unless it is an outdoors venue and the direct sunlight is blinding the storyteller’s eyes. An audience should feel welcomed by the teller.

Often, a storyteller introduces one or more characters when telling the story. To help the audience distinguish one character from another, the storyteller could use certain glances. The Potters shared the following eye movements:

• Frequent Glancing Away = discomfort/deception
• Darting Directly to the Side = something is going on
• Closing Eyes After Another Speaks = difficult response will follow for possible defensiveness, embarrassment, or dishonesty
• Sharp Blink Increase = guilt, remorse (as eyes dry out)

A storyteller could also get an idea of what audience members are thinking by watching eye movements. Body language is always a two-way road.

Dilated pupils can reveal excitement while contracted pupils can show anger. A storyteller could portray dilating or contracting pupils for characters in the story for the same results.

Whether the storyteller or the audience, our eyes tend to shift directions depending on what words we hear. The right side of the storyteller/speaker is the creating side. Kent revealed that creating stories and lying use the same function and side of the brain. The left side of the storyteller/speaker is the remembering side as can be revealed when someone says, “I can remember when…”. If someone makes up what is “remembered”, then notice how that changes where the eyes go.

You can test these eye movements by conducting a normal conversation with someone or while watching a storyteller.

Perhaps this is a way to determine if a storyteller is making up parts of a story or whether a storyteller is remembering parts of a story. Please note that a storyteller may know these eye tricks, especially when telling a tall tale.

Many emotions can be communicated beyond use of the eyes. Enjoy some of these common gestures that the Potters shared at the workshop:

• Fake Smile = mouth stretches in smile but the cheeks and crinkles around the eyes stay stationary
• Tongue Stuck Out = unconscious disagreement, distaste
• Clenched or Pursed Lips = extensive disagreement, malevolence
• Raising One Side of Mouth/Lips = disdain, mockery
• Curled Bottom Lip = extreme anger
• Covering Mouth = attempt to hide what is on the mind, possible deception, embarrassment
• Finger/Pen/Glasses/Object in Front of Mouth = evaluative, pensive, not ready to talk yet
• Chin Jut = defiance
• Chin Tucked In = defensive
• Stroking Chin = evaluative or neutral
• Nose Rub = dislike, discomfort, or disagreement caused by what you’re hearing

Storytelling often is more alive without planned gestures and looks. However, it may be a good idea for a storyteller to videotape the performance and watch to see what gestures and expressions come naturally for characters.

When the audience uses eye or facial expressions, then the storyteller may be able to understand general moods of the audience. Dilated pupils of the audience members could mean that they are excited to hear the next part of the story. A thought-provoking story may encourage more stroking chins or fingers in front of the mouth.

If you are curious as to more possible meanings behind body positions, clothes and colors chosen, voice tone, arms/hands, and legs/feet, then contact Kent and Nancy Potter. You may email at kent@benniongroup.com or at nancy@benniongroup.com to schedule a workshop with them today.

Until we tell again,

Rachel Hedman
Professional Storyteller
Co-Chair of Youth, Educators, and Storytellers Alliance
(801) 870-5799
rachel@storytellingadventures.com
http://www.rachelhedman.com/
http://www.yesalliance.com/

Interviewing Others: Map to Marvelous Memories

Every one has a fascinating story to tell. Having someone share his or her everyday adventures can be as tricky as expecting to find buried treasure while holding the map upside-down. Knowing the right way to hold the map— and conducting an interview— determines what gems you find.

So far I have had the fortune to interview over 50 people—perhaps closer to 75—including 24 national storytellers/key people in the American Storytelling Movement. Yet, I would like to honor three people who wouldn’t normally call themselves storytellers: Raymond Rahn, Marcus Mortensen (pictured above with me), and Beryl Andrews-Endow. They have best directed me for conducting marvelous interviews.

Interview Map at-a-Glance:
1. Share goals/expectations with each other before the interview.
2. Involve the interviewee in the process from beginning to end.
3. Invite the interviewee to transform the experience into something personal.
4. Include spouse or other family members in the same room during the interview whenever possible.
5. Smile, smile, smile.
6. Become friends.
7. Listen.

What I learned from Raymond:
Share goals/expectations with each other before the interview. Raymond wanted to preserve memories for his family. It was too broad to cover his entire life so we narrowed it down to his childhood days. He gave me a copy of questions that he would like to cover. Could he have written down these answers? Of course, but by having someone record his answers, we could understand the meaning and the inflections he placed on each word. Pauses say many things during an interview, too.

Raymond knew that my goals were to bring out his hidden memories beyond the normal list of “this was my favorite game” or “this was my favorite toy”. With his permission, I wished to share his stories beyond the family setting and onto the stage.

Involve the interviewee in the process from beginning to end. Raymond was with me in such things as determining questions, interviewing, arranging follow-up interviews, and correcting transcripts. This was not “my” project. This was “our” project.

Invite the interviewee to transform the experience into something personal. I created stories that could be told both in the oral and the written format. Raymond took the stories and put his twist to them. Later, he gave copies to his family. The interview was really a stepping-stone to his ultimate goal. Since I have interviewed him, he has passed on as well as his wife, Joyce. I honor their memories when I tell their stories.

What I learned from Marcus:
Include the spouse or other family members in the same room during the interview whenever possible. His wife, Jeri, never heard him tell most of the World War II stories during our interview. She pulled me aside one day and thanked me for allowing her to be there. I was thrilled to have her in the room since sometimes Jeri would make comments, usually of the teasing nature. Marc would defend himself with a smile. This helped me piece dialogue when crafting the stories. Knowing how they interacted broadened my view of them.

Smile, smile, smile. Respond with your eyes, your face, and even your body. The more I smiled, the more animated Marc became. The more animated he became, the more stories he told. If you sit there as if a statue, then the interviewee will wonder if you are truly listening. During most interviews, I lean forward or at least mimic the stance of the interviewee. For example, if the interviewee crosses their legs, then I cross my legs. I can’t copy everything, as one of my hands must take a few notes while the recorder is on. I do the best I can.

What I learned from Beryl:
Become friends. I didn’t have a car so Beryl had to give me a ride to her home. This was my first time meeting her. We had about 10 minutes in the car to “just talk”. It was easy to become comfortable so by the time the interview officially started, we were friends.

Listen. Sometimes an interview is pure listening. I hardly had to ask a question for Beryl. Not everyone is so open. There are times that I would bring up a topic to hear more details. Otherwise, the interview may go off focus. And yet, if there is too much focus, then you could lose other wonderful stories.

If you’d like other tips on interviewing I have learned or if you have tips, then please let me know. You can post your questions and comments to this blog or you can email me at rachel@storytellingadventures.com.

Until we tell again,

Rachel Hedman
Professional Storyteller
Co-Chair of Youth, Educators, and Storytellers Alliance
(801) 870-5799
rachel@storytellingadventures.com
http://www.rachelhedman.com/
http://www.yesalliance.com/