interesting entries from Blogs about Storytelling -

[Norah Dooley]

http://la.metblogs.com/2009/06/02/the-moths-story-slam-or-how-not-t...

The Moth’s Story Slam or: How Not to Judge
By Queequeg
June 2nd, 2009 @ 9:35 AM Commentary, East Side, Events, West Side

One of the worst things I did in college and post-college was go to poetry slams. They sound so great in theory, but the reality is, the ones I went to completely failed to build and strengthen community (which I thought they were supposed to actually do). Instead, these slams were self-affirming forums to bolster rather privileged slammers and their enormous, and enormously frail, egos. Enter The Moth, which offers an alternative: the short story slam. The deal is this: prior to every bi-monthly show held in either Silver Lake or Venice, The Moth releases a theme, sort of like Iron Chef’s featured ingredient. Aspiring slammers sign up to tell a 5-minute short story in accordance with this theme (only ten are randomly picked). Expectant listeners pony up the $6 fee and find seating in front, or on, the stage. Audience members who I thought aspired to Pauline Kael, if Kael could live by a 10-point rubric, sign up as judges. The highest-scoring winner is crowned at the end, and moves on, American Gladiators style, to compete at the next level, the LA GrandSlam.

I attended Memorial Day’s StorySlam at Air Conditioned (theme: falling) with high hopes that slamming short stories would be better than slamming poetry. I’m not sure why I thought that. Like a good short story, this event is only as good as its individual components. If the storyteller can barely tell a tale to a 2 year old, if the audience is too polite, or if the judges can only count backwards from 10 to 8, the momentum of the slam is slowed to the insignificance of a tap.

It started off well – someone had a hilarious story about his game show accomplishments (or not), but by the 4th story about falling, I was ready to leave. The stories quickly became, in order: 1) tenuously related, mildly offensive, and definitively lackluster mini-short stories (dude-in-fedora went from living in San Francisco’s Mission district and admiring his impoverished neighbors to y/mucking it up in Europe); 2) innocuous but disappointing (an earnest story about wrestling started off well, but ended poorly); 3) barely interesting (something about a guy wearing a corset for a court case, but I lost interest about 2 minutes in); and 4) another middling Europe story, this time about the running of the bulls.
cornfield_pennyan

Who knew a story about detasseling corn would redeem a night?

Thankfully, the entire night was redeemed by one certain former corn detassler. In a tale that was brilliantly hilarious, and brilliantly sad, she recounted her channeling of Vanessa Williams: losing one crown (homecoming) and gaining another (detassling). She was followed by a guy who recounted a good story of falling 1.5 miles down a steep switchback in pitch dark. At last, the $6 admission fee was worth it.

In the end, what was most frustrating was not the short storytellers – in any contest like this, of course, there are bound to be mediocre contestants – but the judging. To some audience members’ consternation, including mine, the judges were less Simon Cowell-Paula Abdul-Randy Jackson and more Paula-Paula-Paula. This was certainly to the storytellers’ detriment: if this is an exercise in literary and oratorical abilities, one would benefit from a healthy critique or, if so timely, a large horizontal cane. Alas, all of the stories, even the worst of the bunch, received a score of 8.0 or above.

I appreciate that executing a short story is difficult, but it’s like taking the SATs: sure, you get some points for showing up, but you shouldn’t walk away with a 2400 that easily. For those considering the prospect of short storytelling, I pulled away a few characteristics that differentiated a really great short story from a bad-borderline-offensive one:

1. The story should not be one long run-on sentence. We can tell where the paragraph breaks are, or should be.
2. The story should not be a stand-up routine, modified slightly to play like a short story – because it doesn’t. Instead, it sounds like one, long run-on sentence (see rule #1, above).
3. Spending time in Europe does not automatically make one interesting.
4. A pity story is the worst type of story.
5. Don’t expect laughter at jokes or punchlines. The ensuing silence is awkward for everyone.
6. The story is not a vehicle to arrive at a beautifully crafted last line or theme. The beginning, the middle, and the end are all equally important.
7. The short story is not a book report.
8. Nor is it a diary entry.

Would-be Vanessa Williams’s tale didn’t fall into any of the above 8 pitfalls. And, to the judge’s credit, she did win in the end. What a great story! There will always be ho-hum stories rolling in the barrel; here’s to hoping that the next go-around features more accurate judging and less boastful travels-in-Europe tales. For now, for a real 10.0 of a story, [link to Bill Cosby video] – what storytellers at the The Moth have the potential to be:
http://www.youtube.com/watch?v=Tt33zqib2qk

If you can see this, then you might need a Flash Player upgrade or you need to install Flash Player if it's missing. Get Flash Player from Adobe.

The next slam is on June 16th at El Cid. The theme: “Home.” Whether this makes you think of Dorothy or one of the scariest episodes of The X-Files, check The Moth’s webpage for full details on how to sign up. Oh, and watch out for that cane …

_______________________
Philadelphia has a slam series and here is a sample from their video collection

Storyteller Ingrid Wiese at the 2008 First Person Festival Grand Slam. Find out more about our monthly slams at http://www.firstpersonarts.org
http://revver.com/video/1361258/2008-grand-slam-ingrid-wiese/

[Norah Dooley]

Another interesting blog: From Karen Chace - http://karenchace.blogspot.com/2009/10/there-are-three-things-to-ai...

Recently, I came upon an article written by my friend Bill Lampton, leader in the field of corporate communication. It is amazing how many of his points apply to the storytelling as well.

First, here are some of the storytelling tips I share with my student tellers.

TIPS TO SPARK YOUR STORYTELLING!

1. Visualize– Let the story live in your mind’s eye. See the details, hear the characters.

2. Create an Image -What do the characters and places look like, smell like, and sound like?

3. Voice- Use your voice to define characters and establish mood and attitude.

4. Add Energy to Your Story - Gestures and body language will help identify characters and bring it to life.

5. Make It Your Own - Let the story live, bring your own images and emotions to it. If you make a personal connection with the story the audience will connect as well.

6. Pay Attention to the Audience - Scan the faces in the audience. Find those who are right in the story with you. Notice their facial expressions and body language. They are giving their energy back to you! Use it and relax into the story.

7. Imagine Success - Hear the audience applause. Relax, breathe. This is about connection, not perfection!

Now, juxtapose the above with the tips Bill shares below.

7 WAYS TO BECOME A GRADE-A SPEAKER
By Bill Lampton, Ph.D.

When I provide individual speech coaching, and when I direct presentation skills seminars, I emphasize these 7 necessary steps for speaking with poise, power, and persuasion.

1. Adopt an upbeat ATTITUDE
Form a mental picture of success. Anticipate your audience's unbroken attention, laughter, and applause. Assume you have something worth saying, and that you will say it well.

2.Focus on the AUDIENCE
This way, you won't become excessively concerned about yourself. Remember, audiences want you to succeed. They aren't critics, they are your cheerleaders. Embrace them--then they'll embrace you.

3. Be ANIMATED
Listeners don't want to wonder if you have a pulse. So don't read or recite your message. . . tell it as energetically as you would describe a fun weekend. Move away from the podium, gesture freely, vary your voice, just as you do in casual chit chat. Createwhat actors call "The Illusion of the First Time."

4. Be ATTENTIVE
Remain on the lookout for audience feedback. When you detect confusion, restate your point. When you see listeners nod in agreement, let their support energize you.

5. Use ANECDOTES
Even adults love "once upon a time." People remember and learn from your stories, not statistics. Paint word pictures, giving a "you are there" feeling. Use suspense with the skill of a novelist. Paul Harvey carved a grand speaking career as a master story teller.

6. Sharpen your APPEARANCE
Although casual and sometimes sloppy dress have gained some acceptance, your audience wants you to dress a notch or two above their norm. Tasteful, professional clothing reflects that you respect them and the occasion. Not surprisingly, you will gain confidence and energy as well.

7. Be ATYPICAL
Do something different from other speakers. Examples: unusual props, impersonations, games, regular audience interaction, or magic if that's your talent. Note: Every season, new TV shows succeed because they become distinctive.

Next time you speak, try these "7 A's." They work. Your audience will give you an "A" grade for sure.


Whether it be in schools or the corporate arena, communication skills are necessary for personal and public success.