The Story Biz Handbook: How to Manage Your Storytelling Career from the Desk to the Stage

e Th Story Biz Handbook How to Manage Your Storytelling Career from the Desk to the Stage Dianne de Las Casas With F...

Author: Dianne de Las Casas

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e Th

Story Biz Handbook

How to Manage Your Storytelling Career from the Desk to the Stage

Dianne de Las Casas With Foreword by Margaret Read MacDonald

Library of Congress Cataloging-in-Publication Data De las Casas, Dianne. The story biz handbook : how to manage your storytelling career from the desk to the stage / by Dianne de Las Casas ; with foreword by Margaret Read MacDonald. p. cm. Includes index. ISBN 978-1-59158-730-9 (alk. paper) 1. Storytelling. 2. Folklore—Performance. 3. Storytellers—Vocational guidance. I. Title. GR72.3.D4 2008 808.5'43—dc22 2008024494 British Library Cataloguing in Publication Data is available. Copyright © 2008 by Dianne de Las Casas All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2008024494 ISBN: 978-1-59158-730-9 First published in 2008 Libraries Unlimited, 88 Post Road West, Westport, CT 06881 A Member of the Greenwood Publishing Group, Inc. www.lu.com Printed in the United States of America

The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48-1984). 10 9 8 7 6 5 4 3 2 1

The Story Biz Handbook is dedicated to Antonio Roberto Casas, my husband. I succeed because of your unconditional love and support. Thank you for sharing my dreams and helping me reach them. I love you.

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Table of contents Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xxiii A Note from the Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxv Acknowledgments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxvii Icon Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xxix Chapter 1 – In the Beginning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 Making the Decision to Become a Professional Storyteller . . . . . . . . . . . . . . . . . . . . . . . . . A Storyteller’s Self-Assessment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Defining and Setting Your Goals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The One-Year Plan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Five-Year Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pie in the Sky—Committing To Your Dreams on Paper . . . . . . . . . . . . . . . . . . . . . . . . . . Brainstorming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Prioritizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Roadmapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Slicing the Pie into Bite Size Pieces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting Deadlines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Listmaking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Initiating . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Enjoying the Pie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2 2 3 3 3 4 4 4 4 5 6 6 7 7 8

Chapter 2 – Working with Stories . . . . . . . . . . . . . . . . . . . . . . . . 9 Working with Stories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 “Something Out of Nothing” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 The Definition of Storytelling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Why Storytelling is a Vital Art Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Where to Find Stories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Your Imagination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Family History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Personal History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Fairytales, Folklore, Myths, and Legends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Literary Stories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Historical Accounts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 The Internet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 How to Shape Stories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Learning Stories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Audience Participation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Various Types of Audience Participation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Vehicles to Encourage Audience Participation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 vii

The Story Biz Handbook X X X X X X X X X X X X X X X X X X X X X X

Elements in a Story that Provide Opportunity for Participation . . . . . . . . . . . . . . . . . When to Include Audience Participation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . How to Choose and Coach Participants for Directed Dramatization . . . . . . . . . . . . . The Making of a Story with Eth-Noh-Tec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Building a Repertoire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Working with a Story Buddy or a Story Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Time to Tell!. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

17 17 18 18 19 19 20 21

Chapter 3 - Storytelling Issues . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Storytelling Ethics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Storyteller’s Oath of Ethics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Retelling Tales with Children’s Author Robert D. San Souci . . . . . . . . . . . . . . . . . . . . . . . . . Copyright and the Public Domain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Copyright. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Public Domain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adapting Stories from the Public Domain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . “The Gift of the Magi” Adapted by William Wilder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sensitive Story Content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Censorship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

25 26 28 28 29 30 31 32 33 35 38

Chapter 4 – Preparing for Performance . . . . . . . . . . . . . . . . 39 “So People Hire You to Read?” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Acting v. Storytelling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Creating Thematic Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . What to Wear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Types of Fabric . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Technical Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Importance of Rehearsals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting Up the Performance Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Creating a Focal Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marking Your Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Placement of Props. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sound Check . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Temperature of the Room . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Location of the Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Visually Speaking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Teller Preparation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mental Preparation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Physical Preparation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Floor Surfaces. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

viii

39 40 40 41 42 43 44 45 45 45 45 45 45 46 46 46 46 46 47

X X X X X X X X X X X X X X X X X X X X X X X X X X X X

Table of Contents

Handling Stage Fright . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Before the Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . While You Are Performing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Introductions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Introduction Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Preparing for Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

47 48 49 50 50 51 52

Chapter 5 – Performing Stories . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Developing a Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Audience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Group Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Research . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Openings and Closings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Segues or Bridges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Educational Content for School Shows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Age Level Appropriateness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pacing/Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kid Appeal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Polish . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Audience Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Spot Potential Problems Before the Program Begins. . . . . . . . . . . . . . . . . . . . . . . . . . Use Sound Reinforcement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Warmly Welcome Your Audience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Set Audience Expectations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Select Age-Appropriate Stories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Articulate Clear Instructions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Maintain Eye Contact . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Regain Control if a Distraction Occurs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Be Assertive In Taking Appropriate Action . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Praise Your Audience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stay Focused . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Recovering from Mistakes and Embarrassments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Say Cheese! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Recovering from Mistakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Recovering from Embarrassment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Performing Artist Etiquette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Confirm Every Booking in Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Confirm All the Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Confirm and Call for Directions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Arrive Early . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Follow up with a Thank You Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

53 53 53 54 54 54 54 54 54 55 55 55 55 56 56 56 56 56 57 57 57 57 57 57 58 58 58 59 60 60 60 60 61 61 ix


If You Make a Mistake, Admit It . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Demonstrate a Level of Professionalism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Being Hired is a Privilege, Not a Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Be Flexible . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Performing Stories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

61 61 61 61 61 62

Chapter 6 – Mastering a Sound System . . . . . . . . . . . . . . . . . . 63 Why Use a Sound System? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Components of a Sound System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Amplifier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Speakers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Microphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Speaker Stands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Microphone Stands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using Your Sound System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Handling the Microphone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Troubleshooting Your Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Performing a Sound Check . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mastering a Sound System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

63 64 64 64 65 65 65 66 66 66 67 68 68 69 69

Chapter 7 – Establishing Your Storytelling Business . . .71 Building a Support Network . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Who are You? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Your Trade Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Trademarking Your Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Types of Businesses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sole Proprietorship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Partnership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Corporation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Small Business Assistance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting Up a Checking Account . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Business License . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Business Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Concept Statement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Executive Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Management Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Market Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marketing Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

x

72 72 72 73 73 73 74 74 75 75 76 76 76 76 77 77 77


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Financial Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Support Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . General Liability Insurance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Insuring Your Equipment and Merchandise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Keeping Track of Your Income . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tackling Taxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Business of Storytelling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

77 77 78 78 78 78 79 80

Chapter 8 - Setting Up Your Office. . . . . . . . . . . . . . . . . . . . . . . 83 Office Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Computers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Portable Data Storage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Office Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Printers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Copiers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Fax Machines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Scanners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Internet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wireless Internet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E-mail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Answering Machine/Voice Mail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cell Phones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Digital Cameras . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PDAs/PDA Smart Phones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bluetooth Headset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MP3 Player . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Business Card Scanner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Labeler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Label Makers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Power of the PDA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Postage Scale and Postage Meter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Office Supplies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Managing Paperwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Organizing Your Client Contacts and Business Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . Organizing Your Story Research and Repertoire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Storyteller’s Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Office on the Go . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Delivery Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting Up Your Office. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . In Search of the Big “O”—Organization! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sample Story Research Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

83 84 84 84 84 85 85 85 85 85 85 86 86 86 86 86 86 87 87 87 87 88 88 88 89 90 90 91 91 91 92 93 94 xi


Chapter 9- Managing Your Bookings . . . . . . . . . . . . . . . . . . . 95 The Express Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Setting Fees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Charging Your Worth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Quoting and Negotiating Fees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Quoting Fees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Be Prepared . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 What is Your Budget?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Collecting Fees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 The Booking Checklist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 Scheduling and Confirming Shows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Contracts and Agreements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Follow-up to Secure Bookings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Generating Income through Grants and Sponsorships . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Funding Sources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Corporate Sponsorships . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Writing a Grant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Booking Management Time-Savers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Managing Your Bookings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Sample Booking Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Sample Confirmation Letter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 Sample Contract . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Chapter 10 - Defining Your Market . . . . . . . . . . . . . . . . . . . . .113 Your Marketing Philosophy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Your Target Market . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Your USP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Your Slogan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Establishing Your Niche Market . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Where Do I Market Myself?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

113 114 115 116 116 117 119

Chapter 11 - Creating an Image . . . . . . . . . . . . . . . . . . . . . . . . . .121 Creating a Logo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Working with a Graphic Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stunning Stationery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Beyond Business Cards Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Basic Business Card Content Checklist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Spicing Up Your Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sample Stationery and Business Card Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xii

121 122 124 124 126 127 128 129


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Chapter 12 – Printed Promo with Pizzazz . . . . . . . . . . . . . .131 Photographs that Dazzle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Thom Bennett’s Guide to Fabulous Photos. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Working with a Photographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marketing at Face Value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Composite Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Brochures with a Bang! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Design Dos and Don’ts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Choosing a Printing Company. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Printing Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Flyers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Money-Saving Tips for Printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Flyer Slicks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Posters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Postcards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Promotional Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Press Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Promo Materials that Grow with You . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sample Letter of Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sample Brochures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sample Postcards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sample Step System Press Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

132 132 133 134 135 135 136 137 138 139 139 140 140 140 140 141 142 143 145 147 149 151

Chapter 13 – Extending Your Visibility . . . . . . . . . . . . . . . . . .153 Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bumper Stickers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Costumes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Promotional Giveaways . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Your Answering Machine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Creating Wearable Promo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Over 25 Promotional Ideas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

153 154 154 154 155 155 156 160

Chapter 14 – Developing an Internet Presence. . . . . . . . . .161 How Do I Begin? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elements of a Good Website . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Working with a Web Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adding Fun Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Entering the Blogosphere . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RSS Feeds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Blogroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

162 163 163 165 165 165 166 xiii


Podcasting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Social Networking on the Web. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Developing a Wiki . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tracking the Results of Your Website . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Driving Traffic to Your Website . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using Your Website to Win New Clients and Service Existing Clients . . . . . . . . . . . . . . . . . Chris King’s Guide to Winning Websites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

166 166 167 167 168 169 170 171

Chapter 15 – Networking to Success . . . . . . . . . . . . . . . . . . . . .175 Give Away Your Business Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Attend Meetings, Conferences, and Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Circulate Around the Room . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Work the Room! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Exchange Business Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Join Organizations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Join Listservs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Join Social Networking Sites on the Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Volunteer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Keep Track of Your Contacts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Say “Thank You” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . An Attitude of Gratitude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

176 176 176 176 176 177 177 177 178 178 178 179 180

Chapter 16 – Marketing with Results . . . . . . . . . . . . . . . . . . . 181 Telemarketing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sales Letters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Postcard Marketing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E-mail Newsletter Marketing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Find an E-mail Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Building Your List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Captivating Content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Subscribing and Unsubscribing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Purging Your List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cost-Effective Outreach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Print Newsletters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mailing Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ads and Where to Place Them . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The ABCs of Marketing Your Act . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marketing with Results . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sample E-mail Newsletter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

xiv

181 182 182 182 183 183 184 184 184 185 185 185 186 187 188 189 191


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Chapter 17 - Making the Headlines . . . . . . . . . . . . . . . . . . . . . 199 The Press Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Press Release Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Four Types of News Releases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Writing a Press Release that Packs a Punch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Develop a Targeted Slant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Helpful Tips When Sending the Press Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Creating a Publicity Campaign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Making Media Contacts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tips for Making Media Contacts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Where to Obtain Media Lists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Press Release Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Media Interviewing Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Impromptu Interview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Advance Interview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Common Questions Performers are Asked . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hiring a Publicist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Making the Headlines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sample Press Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

200 200 200 201 201 202 203 203 204 204 205 205 205 206 206 207 207 208 210

Chapter 18 - Seeing is Hiring. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .211 One-Stop Shopping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Juried Showcases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Demo/Promo Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hiring a Professional . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tips for Hiring a Professional Video Company . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nonjuried Showcases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Showcase Your Best . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Exhibiting or Buying Booth Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tips for Dynamite Displays on a Dime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Where Do You Find Showcase and Exhibit Venues?. . . . . . . . . . . . . . . . . . . . . . . . . . . . Create Your Own Show-and-Tell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Personal Invitation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Scene to Be Seen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

212 212 213 213 214 214 214 214 216 216 217 217 218 218

Chapter 19 – Getting on the “A-List” . . . . . . . . . . . . . . . . . . . . 219 State Artist Rosters and Touring Directories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 Local Arts Council Listings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220 Directory Listings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

xv


Internet Directory Listings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Guild Listings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . School District Listings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Library Listings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Other Listings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Getting on the “A-List” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

220 221 221 221 221 221 222

Chapter 20 - Who’s Selling You?. . . . . . . . . . . . . . . . . . . . . . . . . 225 Working with a Booking Agent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Working with an Established Agency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hiring Your Own Booking Agent/Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Booking Yourself . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hiring an Assistant. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Working with Family, Friends, and Fans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Virtues of a Virtual Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . College Interns and High School Students . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Staffing Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Small Business Development Center . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Role of Marketing and PR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Testimonials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Word-of-Mouth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Finding an Audience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Who’s Selling You? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sample Evaluation Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

225 225 226 227 227 227 227 227 228 228 229 229 229 230 230 231 232

Chapter 21 - On the Road Again. . . . . . . . . . . . . . . . . . . . . . . . . 233 Organizing a Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Block Booking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Attending Booking Conferences for Block Booking Opportunities . . . . . . . . . . . . . Making Contacts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Keeping Road Costs Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hotel/Airline Rewards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Meals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Maintaining Balance While on the Road . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Visitor’s Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Keeping in Touch with Home . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Photo Journals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Travel Journals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Phone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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233 234 234 235 235 235 236 236 236 237 237 237 237


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Pacing Yourself . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Health Concerns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . When in Rome… . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Confirming Travel Plans. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Traveling by Vehicle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Auto Care. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Traveling by Air . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Travel Checklist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Packing the Performer’s Bag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Protecting Your Equipment on the Road . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Flying with Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . On the Road Again . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jeannine Pasini Beekman’s Top 10 Tricks for Touring Sanely . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

238 239 239 239 240 241 242 244 245 245 245 246 247 248

Chapter 22 - Honing Your Craft . . . . . . . . . . . . . . . . . . . . . . . . 249 Sculpting Your Artistry. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Saving a Piece for Later . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Changing Direction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Accepting Failures and Mistakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Improving the Work. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Refinement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Satisfaction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Moving on to the Next Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Studying With Masters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Master Classes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Personal Coaching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Apprenticeship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Merging Storytelling with Other Arts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Creating Collaborations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Get to Know Your Fellow Collaborator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Decide Who is in Charge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Storytelling Improv Theater with the Brothers Grinn . . . . . . . . . . . . . . . . . . . . . . . . . . Set Expectations Up Front . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Work Out the Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Get It on Paper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Allow Flexibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Work Out Grievances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Praise Your Partners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Where to Go for Professional Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The National Storytelling Conference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

249 250 250 251 251 252 252 252 252 252 253 254 254 255 255 255 255 256 256 256 257 257 257 257 257 257

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The National Storytelling Festival . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The International Storytelling Center . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Storytelling Festivals, Conferences, Retreats, and College Courses . . . . . . . . . . . . . . Local and Regional Storytelling Guilds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Honing Your Craft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . “Spice Up Your Storytelling Stew with a Second Language” . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

258 258 258 258 258 259 260

Chapter 23 - Storytelling in Education . . . . . . . . . . . . . . . . 261 The Benefits of Storytelling in Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Reasons for Storytelling in Schools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Standards-Based Storytelling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gardner’s Theory of Multiple Intelligences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Brain-Based Learning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Creative School Shows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Creating a Study Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . About the Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . About the Program. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Curriculum Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Extension Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Standards/Benchmarks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Preparing Schools for Your Visit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Teaching Artist’s Creed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Artist Residencies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Meeting with Your Planning Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Teacher In-Service . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Each Teacher is Important . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Learn the Classroom Culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Customizing Your Lesson Plans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Making Magic in a Minute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Praise Success . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Follow-up Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Evaluation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Expressing Thanks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lesson Plan Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Assessment and Evaluation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Impacting Teachers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Storytelling in Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sample Assembly Preparation Sheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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262 264 264 266 267 267 268 268 268 268 268 268 269 269 269 270 270 270 270 271 271 271 271 271 271 272 272 272 275 276 276 281


Table of Contents

Sample Audience Etiquette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282 Sample “Jambalaya” Educator’s Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283 Sample Curriculum Guide for Dianne de Las Casas’ Storytelling Programs . . . . . . . . . . 285

Chapter 24 - Storytelling in Libraries . . . . . . . . . . . . . . . . . 287 The Storytelling-Reading Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hands-on Storytelling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Summer Reading in the Public Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Library Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Creating Library Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

287 288 288 289 289 290

Chapter 25 - Recording and Promoting an Audio. . . . . 293 Recording Live v. Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Choosing the Recording Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Recording the Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Working with the Artist and Graphic Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Front of CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CD Insert (a/k/a liner notes) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tray Card (back of CD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CD Face . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sending the CD to the Manufacturing Company . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Replication v. Duplication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Proofing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . When the Shipment Arrives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting Up Accounting and Managing Your Inventory. . . . . . . . . . . . . . . . . . . . . . . . . . Into the Hands of Your Fans! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sell Your CDs Online . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Digital Downloads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Put Your Recordings in Stores . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Place Your CDs in Catalogs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Have a CD Release Party . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Back of the Room Sales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Autographing and Meet-and-Greet Tips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Send Out Press Releases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Send Out Postcards Advertising Your CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Submit Your CD for Awards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Submit Your CD for Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Receive Radio Airplay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Offer Extras . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

294 295 296 297 297 297 298 298 299 299 300 300 301 301 301 302 302 303 303 304 305 305 305 306 306 307 307

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Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308 Audio Recordings Awards and Review Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 Sample CD Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312

Chapter 26 - Storytelling Special Events & Organizations 313 Emceeing Storytelling Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Before the Show . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . At the Site . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . During the Show . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Telling at Special Venues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Telling at an Outdoor Festival . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Telling at a Storytelling Olio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Attending Story Swaps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Touring the Storytelling Festival Circuit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Organizing Festivals and Other Storytelling Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tellabration! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Beginning a Storytelling Guild . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Planning is Essential . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Membership Benefits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resolving Organizational Conflicts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Financial Stability. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nurturing Storytelling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

313 314 314 314 315 315 316 316 317 317 318 319 320 320 320 320 320 321

Chapter 27 – Working the Workshop Scene . . . . . . . . . . . . 323 Crafting a Workshop Proposal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Behind the Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elements to Consider . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Putting it All Together . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Workshop Toolkit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Proper Planning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Outline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Description . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Visual Aids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Handout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Group Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Checklist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Organizing Your Workshop Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Preparing Yourself and the Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Housekeeping, Safety, and Comfort Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Presentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Working the Workshop Scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xx

323 323 324 324 325 325 325 325 326 326 327 327 328 328 329 329 331 331


Table of Contents

Chapter 28 - Taking Care of You . . . . . . . . . . . . . . . . . . . . . . . . 333 Caring for the Vocal Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hydration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Throat Clearing and Harsh Coughing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Drugs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . When Vocal Illness Strikes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Good Vocal Practices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Vocal Training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Preventing Burnout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Reach Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Connect with a Community of Storytellers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Change Your Routine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Don’t Overbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Learn to Let Go and Say No . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 Stress Busters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

333 333 334 334 335 335 336 337 337 338 338 338 338 339 342

Chapter 29- Preparing for the Future . . . . . . . . . . . . . . . . . 343 Creating a Financial Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Get Organized . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Set Goals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Evaluate Your Net Income . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Calculate Your Net Worth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Strategize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Planning for Retirement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Traditional IRAs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Keogh Plans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Simplified Employee Pension . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Roth IRAs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Performer’s Union Retirement Plans. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Making the Decision . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Health Insurance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Spouse Coverage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Group Insurance through Associations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Individual Health Insurance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . COBRA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HMOs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPOs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Medical Savings Account . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Healthcare Savings Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Money-Saving Ideas For Choosing a Health Insurance Plan . . . . . . . . . . . . . . . . . . . . . . . . Life Insurance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Term Insurance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

343 344 344 344 344 344 344 344 344 345 345 345 345 346 346 346 346 346 347 347 347 347 348 348 349 xxi


Whole Insurance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Universal Life Insurance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Variable Life Insurance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Choose Carefully . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Disability Insurance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Estate Planning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Starting Over . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Starting Over with Mary Hamilton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Make Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Line Up Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Contact the Arts Council . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Join a Storytelling Organization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Contact the NSN State Liaison . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Contact the Chamber of Commerce . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Find Out About Showcasing Opportunities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Establish a National Reputation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Use the Power of the Internet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Prepare Financially . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Market Yourself Silly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Preparing for the Future . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

349 349 349 349 350 350 350 351 352 352 352 352 352 352 352 353 353 353 353 354 354

Chapter 30 - Reaching Beyond . . . . . . . . . . . . . . . . . . . . . . . . . . 355 Youth Storytelling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . National Youth Storytelling Showcase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Growing Youth Storytelling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Storytelling as a Healing Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . “The Legend of Scheherazade” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Storytelling in Business and Organizations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Springboard Storytelling. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Storytelling in the Law Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Promoting Diversity through Storytelling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Storytelling in Higher Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

355 355 356 358 359 361 361 362 362 362 363

Storytelling Resources from Libraries Unlimited (2005 to 2008) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365 Notable Quotables and Cool Contributors Listing . . 369 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .371

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Foreword By Margaret Read MacDonald If you are—or want to become—a professional storyteller, you have just the right book in your hands! Experienced teller, Dianne de Las Casas, reveals many tricks of the trade and puts down here a wealth of basic advice for any teller—professional or not. As a teller with years of experience, I read this book from cover to cover avidly, reminding myself of things I need to keep doing, and jotting down new ideas from Dianne's plethora of suggestions. And I was inspired by the many quotes from other professional tellers, which Dianne shares. The detailed index and clear organization of each chapter will easily guide you to find just what you need to know at the moment. Dianne's hard work in researching all aspects of our teller needs is invaluable. Her up-to-date information on audio systems, state standards, websites, web connections, and copyright alone is worth the price of the book. Whether you are a beginning teller, a newly professional entrepreneur, or a long-time performer, you are certain to find many uses for this book. So dig in . . . and let Dianne de Las Casas gently guide you through the maze of details you need to master on your path as a professional teller.

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A Note from the Author I began dreaming of and planning this book in 1999. When I first started writing it in 2002, I thought, “I’ll be done in a year.” Boy, was I wrong! It took me three years. There was so much to cover. And the research! I sifted through years of back issues of Storytelling Magazine and Storytelling World. I interviewed storytellers. I surfed the Net. I read STORYTELL posts. I poured over volumes of storytelling resource books. I revisited workshop handouts. I re-read my personal journals from years past. I re-read articles I wrote over the past few years. The research for this book fills a carry-on suitcase! I began my storytelling career in 1996 with no guidelines and no forms to follow. In my former life, I worked for high-power “downtown” attorneys and performed every office duty imaginable including answering phones, clerical work, accounting, and office administration. I was able to combine the skills I learned in the legal field with my gut instinct to create a successful storytelling career. I knew that, in order to survive as an artist, I had to approach my art as a business. It occurred to me that successful artists merge the creative right sides of their brains with the logical left sides of their brains to create an integrated whole. The cover design of the book reflects that. Storytelling and business is like Yin and Yang. They work together. We begin our careers centered around the “story” and then we start building the “biz.” From the desk to the stage and back again, storytellers are creative entrepreneurs. The Story Biz Handbook is what I wish I had when I began my storytelling career. I wrote each chapter independently of the others so that you could head straight for the section that interests you most. Traditional folktale openings begin each chapter while traditional folktale closings end each chapter. I wanted to give storytellers at least 30 different ways to open and close stories. I hope that The Story Biz Handbook will be your guide as you map your journey to success as a storyteller entrepreneur. Sharon Creeden, a storyteller and a good friend of mine, once sent me a handmade card with a quote from Henry David Thoreau. It has become my life’s mantra.

“Go confidently in the direction of your dreams Live the life you’ve imagined.” May you travel in the direction of your dreams to live the life of a star storyteller.

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Acknowledgments The first edition of The Story Biz Handbook was self-published. It was released in July of 2005, making its debut at the National Storytelling Conference. In August of 2005, Hurricane Katrina ravaged New Orleans and the Gulf Coast. My children and I were displaced to Houston, Texas, where we lived for a year after the storm while my husband returned home to rebuild. Happily, we are back in the New Orleans area. The Story Biz Handbook had been unavailable since then. Thank you to Libraries Unlimited for believing in this book and bringing it back to life. Thank you to all the Storytellers who, to this day, continue to request copies. I owe so much to the storytelling community for supporting me in this endeavor. Thank you to Harlynne Geisler, author of Storytelling Professionally. I knew that there was room for “one more” when Harlynne wished me success and generously gave me her blessing. Thank you to the authors of books that have made a difference to professional storytellers: The Storyteller's Start-Up Book by Margaret Read MacDonald, The Storyteller's Guide by Bill Mooney and David Holt, How to Make Money Performing in Schools by David Heflick, and the countless collections of tellable folktales. Who says readers don't pay attention to bibliographies? “The Storyteller's Bookshelf ” in The Storyteller's Guide became my list of “must-have” books. I checked off the books as I purchased them. David Heflick and Jeri Goldstein, thank you for inspiring me and encouraging me. Thank you to Elizabeth Ellis, whose encouraging embrace I will always treasure. Thank you to the National Storytelling Network for supporting and nurturing storytelling across America. My sincere gratitude to all my friends on the STORYTELL listserv, for their invaluable wisdom, generosity, and kindness. I have learned so much from my community of storytellers. Many thanks to the fun, spicy Louisiana storytelling community. Thank you to my special clients who believe in storytelling and who have become my friends. Thank you to Libraries Unlimited, Teacher Ideas Press, August House, Yellow Moon Press, and Fulcrum for publishing valuable storytelling resources. Special Thanks Sharon Coatney is a brilliant editor and a joy to work with. Thank you for always believing in my book projects. I treasure you. A heartfelt thank you to Ron Maas, Debby Laboon, Sue Stewart, Mary Jo Scala and the entire team at Libraries Unlimited/Teacher Ideas Press. You are now like family to me and I appreciate your support! Margaret Read MacDonald is my idol! Her classic Storyteller's Start-up Book and her many books of tellable tales gave me the courage to believe in my own story when my storytelling career was just budding. Thank you, Margie, for writing the foreword for this book. I am deeply honored. You are a gift to the storytelling world. Thank you to my first “team:” Karen Chace (editor), Linda Gorham (foreword), and my daughter, Soleil (copy editor). You were instrumental to the success of the first edition of The Story Biz Handbook and I appreciate your hard work. I love y'all! xxvii


Thank you to my family (Mom, Clay, Gary & Kids, Jennie, and Papi), who endured the countless hours I spent in my office. I often wrote into the wee hours when it was quiet, going to bed as my husband was leaving for work. (Thank you, Antonio, for sacrificing your wife for the greater good of the storytelling community . . . ¡Te quiero!) Eliana, my beautiful seven-year-old, provided me with much needed love during this process—she gave me lots of sweet hugs and kisses and I can never get enough! (I love you times infinity infinities!) Thank you to Philip Chow, graphic designer extraordinaire. Phil is talented and awe-inspiring. Phil, you executed my vision perfectly and you are such a joy to work with. Thank you for such incredible work over the years—you make me look so darn good! They say if you want to be successful, surround yourself with the best. That's why I have you! Heidi Hafner, I am so lucky to have you as a web designer. I have a dynamic website because of you and I appreciate your talent. With you, nothing is impossible. You have vision and insight, and you inspire me. I am glad you are on my team! You rock! Thank you to Carrie Sue Ayvar, Jackie Baldwin, Jeannine Pasini Beekman, Thom Bennett, Eth-Noh-Tec, Chris King, Stuart Nager, Robert D. San Souci, William Wilder, and Joe Wos, who generously contributed much valuable material to this book. Thank you to my storytelling friends, experts, and colleagues, who also contributed their wonderful words of wisdom throughout this book. You are truly “notable quotables!” An extra special thank you to my Mom, whom I love with every breath I take. She has always nourished my spirit with love. Mom, you are my hero now and forever. Thank you to Lisa Hohensee, my BFF for 20 years! You love me unconditionally and I love you too! Last, but certainly not least, I want to thank my kindred spirit, Johnette Downing, for always being there. I treasure your friendship and am in awe of your talent. I know my acknowledgements are long but I didn't arrive here alone. Many people traveled with me. Thank you to everyone who has touched my life—my family, friends, clients, fans, and fellow storytellers. I appreciate you.

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Story Opening

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Chapter 1

In the Beginning…

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“Before the beginning of time, before the beginning of everything, before there was a beginning...”

In this chapter…

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Making the Decision to Become a Professional Storyteller A Storyteller’s Self-Assessment Defining and Setting Your Goals Pie in the Sky—Committing To Your Dreams on Paper Brainstorming Prioritizing Roadmapping Slicing the Pie into Bite Size Pieces Setting Deadlines Listmaking Initiating Enjoying the Pie Resources

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“Go confidently in the direction of your dreams. Live the life you have imagined.” Henry David Thoreau

Having the heart of a storyteller is important in pursuing the dream of becoming a professional storyteller. You must have a passion for the art form, allowing the story to fall from your lips on winged dreams to the listener’s ear. Once you have the passion, the dream follows and you can live the life you have imagined—the life of a storyteller.

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Making the Decision to Become a Professional Storyteller A “professional storyteller” is a storyteller who is paid for his storytelling services. Perhaps you are exploring the possibility of a career as a storyteller. Perhaps you have decided to make a stronger commitment to the art of storytelling by performing part-time. Or perhaps you are a full-time professional storyteller interested in improving the dynamics of your storytelling business. In any case, leaving the safety and security of a “day job” is scary yet the dream of having your own business and doing what you love is exhilarating. The following assessment will help you determine your place as a storyteller.

A Storyteller’s Self-Assessment Check off all that apply to you: R R R R R R R R R R R R

I grew up listening to family stories I remember songs, poems, and stories from my childhood I find folklore and history fascinating Whenever I am in a social setting, I tell stories I love to read I was inspired by seeing another storyteller perform The art of storytelling speaks to me on a deep, personal level I like telling stories I enjoy performing in front of a group of people I have the need to tell stories I love to research I love to learn about new cultures

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If you have checked off three or more of the above, chances are, you have the heart of a storyteller. You are on your way to making your dream a reality.

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“Ideas must work through the brains and arms of men, or they are no better than dreams.” Ralph Waldo Emerson

X X X X X X X X X X X X X X X X X X X X X Chapter 1

- In the Beginning…

Defining and Setting Your Goals Hansel and Gretel were smart, or so they thought. As they traveled through the forest, farther and farther away from home, they created a path with bread crumbs. They thought that they were marking their way so that they would be able to return home, following that very same path. They were wrong. Hungry birds pecked and animals scavenged the path, leaving no crumb behind. When Hansel and Gretel tried to return home, they could not find their way. They were lost. Many artists are like Hansel and Gretel. They think that they have a tangible plan because they have big ideas and dreams. Unless you define and set your goals, they will be as fleeting as Hansel and Gretel’s bread crumbs. Don’t get lost. Write down your goals and create a map that will allow you to navigate your way to success. Written goals are like stones along the path, allowing you to find your way.

The One-Year Plan

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The way to reach a large goal is to create mini-steps toward that goal. Smaller goals give you a chance for greater success. Where would you like to be one year from now? Sticking to one goal at a time will help you focus. When that task is completed, move on to the next task.

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“Experience has taught me that there is one CHIEF reason why some businesses succeed and others fail. We get so busy ‘doing’ our business that we forget to ‘plan’ our business.” Timothy Hyde, Magician and Publisher of ‘Magic Coach’ e-newsletter

Rodger Ellingwood is a storyteller from South Carolina. He is the creator of the now famous “Storyteller” pin. Rodger is also one of the most determined people I know. While Rodger worked at his “day job,” he dreamed of becoming a storyteller. He continued to work full-time but during the summer, he would attend storytelling classes at Eastern Tennessee State University, working toward a Masters degree in storytelling. He spent many summers traveling to ETSU, going to class. He now has a Masters in storytelling. He focused on one step at a time until he reached his big goal.

The Five-Year Plan Where do you want storytelling to take you in five years? What do you want to accomplish? Take the time to take stock and write down your “big” dreams. Then analyze them and break them down into mini-steps. Soon, you will be on your way to storytelling success.

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My “big” dreams are: _____________________________________________________________________________ _____________________________________________________________________________ _____________________________________________________________________________ _____________________________________________________________________________ _____________________________________________________________________________

Pie in the Sky—Committing to Your Dreams on Paper Pipe dreams. Wishful thinking. Pie in the Sky. Why are there so many unflattering terms for reaching for a goal? Simple. People are accustomed to thinking and wishing without doing. How do you reach that pie in the sky? How do you achieve your wildest dreams? With a WRITTEN plan of action.

Brainstorming For many years now, I have followed an annual tradition. Every year on January 1, I sit down with a brand new journal. In the first few pages of the journal, I write down all of my goals for that year. Seeing them on paper helps me to focus and envision the larger picture. Every time I open up my journal, I see my goals staring me in the face. Throughout the year, I check them off as they are achieved. It gives me a sense of accomplishment and satisfaction to know that I have achieved my goals. Brainstorm your dreams. What do you want to achieve this year? Where do you want your arts business to take you? Write them down right now. Stop reading for a moment and get a sheet of paper and a pen. Now commit your dreams to paper. When you are finished, continue reading.

Prioritizing Now that your dreams are on paper, prioritize them. Mark “A” next to the plans you want or need to achieve right away. Mark “B” next to the dreams that will move into the “A” as soon as your most important priorities are accomplished. Mark “C” next to the dreams that you want to achieve but can wait until a date in the future to start.

Roadmapping Group the As, Bs, and Cs. Here is an example:

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Create a new business image Send out a mailer to area schools Set up a website



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Apply for the state artist roster Attend a major arts conference Create an e-mail newsletter

Priority C • Create an audio CD • Showcase at a major arts conference What you see is a roadmap. Committing the ideas to paper makes them tangible.

Slicing the Pie into Bite Size Pieces Can you eat a whole pie in one sitting? Okay, don’t answer that question . . . Nevertheless, pie is a lot easier to eat and digest if you slice it into small, manageable pieces. Divvy up your dream into stepby-step goals. Let’s look at Priority A goals and break them down into steps.

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Create a new business image ± Contact a graphic artist ± Create a logo ± Create business cards ± Create stationery ± Create a brochure ± Print promo materials Send out a mailer to area schools ± Locate a mailing list ± Create a postcard ± Have postcards printed ± Create mailing labels ± Have a “stick and stamp” party Set up a website ± Contact a web designer ± Create an outline for the website ± Write website content ± Gather photos for website ± E-mail above to web designer

Seeing the goals broken down step-by-step makes it easier to see exactly what needs to be done.

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Setting Deadlines Without deadlines, your goals will languish on paper. Set absolute deadlines to have the items completed. Again, let’s take the previous list and use it as an example.

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Create a new business image ± Contact a graphic artist DEADLINE: January 31, 2008 ± Create a logo DEADLINE: February 28, 2008 (graphic artist gives package deal for logo, stationery, and business cards) ± Create business cards DEADLINE: February 28, 2008 ± Create stationery DEADLINE: February 28, 2008 ± Create a brochure DEADLINE: March 15, 2008 ± Print promo materials DEADLINE: March 20, 2008 Send out a mailer to area schools (marketing for Fall programs) ± Locate a mailing list DEADLINE: March 25, 2008 ± Create a postcard DEADLINE: March 30, 2008 (By this time, your graphic artist is going to be sooo overwhelmed by you—like mine is with me!) ± Have postcards printed DEADLINE: April 5, 2008 ± Create mailing labels DEADLINE: April 5, 2008 ± Have a “stick and stamp” party DEADLINE: April 10, 2008 Set up a website ± Contact a web designer DEADLINE: April 15, 2008 ± Create an outline for the website DEADLINE: April 20, 2008 ± Write website content DEADLINE: May 15, 2008 (could be very involved) ± Gather photos for website DEADLINE: May 15, 2008 ± Email above to web designer DEADLINE: May 17, 2008 ± DEADLINE for website launch: July 1, 2008

Your deadlines are your lifelines to success.

Listmaking I live by lists. I create them daily. My daily to-do lists are on my computer and my PDA (personal digital assistant, a handheld computer). When I set deadlines, automatic reminders pop up. I love being able to check off an item and feel that sense of accomplishment. If you are not digitally inclined, write your list down on a pad and cross off the items as you make progress.

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Initiating

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“Actions are louder than words.” Action begins with “I,” “I can,” and “I will.” Initiate and implement your goals. It’s pretty simple. Do what you set out to do. If you don’t feel like you can achieve your goals alone, contact someone who can help you. Be resourceful and tap into the people you know and trust and those who believe in your dreams.

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“Once you’ve committed to being a professional storyteller, immerse yourself mind, body and soul in the art. Read everything you can get your hands on pertaining to Storytelling. Attend performances, workshops, and story swaps. Take every opportunity to tell in front of an audience. Always have a story at the ready. If someone asks you if you can do a program of Martian folktales, the answer is, ‘Sho’ Nuff!’ ” Michael McCarty; Professional Storyteller; Have Mouth, Will Run It!

Enjoying the Pie

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“Dream, reach, and believe in yourself!” Kimberly M. Cuny, Director, The University Speaking Center

The decision to pursue a career as a professional storyteller begins with a dream. It’s up to you to pursue it.

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Your dreams don’t have to be “Pie in the Sky.” Your dreams can be “Pie on Your Plate.” Eat your pie one slice at a time. You will feel fulfilled and your plate will always be full.

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“And that’s the end of that!” Folktale closing by Jackie Torrence

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Recommended Reading Cameron, Julia. The Artist’s Way: A Spiritual Path to Higher Creativity. Tarcher (1992). Covey, Steven R. The 7 Habits of Highly Effective People. Simon & Schuster (1990). Wise, Nina. A Big New Free Happy Unusual Life. Broadway Books (2002). Zufelt, Jack. The DNA of Success: Know What You Want to Get What You Want. HarperCollins (2002).

Recommended Resource The Storyteller Pin Rodger Ellingwood [email protected]

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Chapter 2

Working with Stories

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“It all happened long ago, and believe it or not, it is all absolutely true.” (Traditional Irish)

In this chapter… ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³

Working with Stories “Something Out of Nothing” The Definition of Storytelling Why Storytelling is a Vital Art Form Where to Find Stories How to Shape Stories Learning Stories Audience Participation The Making of a Story with Eth-Noh-Tec Building a Repertoire Working with a Story Buddy or a Story Coach Time to Tell! Resources

Working with Stories In order to become a professional storyteller, you must have a professional repertoire. Building a solid repertoire of stories that have been researched, rehearsed, and refined is a necessity. Having a tested repertoire gives you something solid to market when you are building your storytelling business.

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Something Out of Nothing Joseph was a tailor and he made beautiful clothes. One day, he wanted to make something beautiful for himself so he decided to make a coat. Joseph had a warm coat but it got tattered and torn so he made a jacket out of it and wore it to a party. Joseph had a snazzy jacket but it got tattered and torn so he made a vest out of it and wore it to a reunion. Joseph had a fine vest but it got tattered and torn so he made a scarf out of it and wore it to the ice rink. Joseph had a soft scarf but it got tattered and torn so he made a tie out of it and wore it to church. Joseph had a handsome tie but it got tattered and torn so he made a handkerchief out of it and used it to wipe his nose when he had the sniffles. Joseph had a useful handkerchief but it got tattered and torn and … nasty! So he washed it and made a button out of it. Joseph had a beautiful button but it got—lost! Now Joseph had nothing. So he decided to make a story out of it. It just goes to show you that you can always make something out of nothing!

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Sources: I first heard this tale from my friend, talented teller, John Lehon. I developed this version, adapting from Joseph Had a Little Overcoat by Simms Taback

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Just like Joseph, as storytellers, we create “something out of nothing.” With a mere hand gesture, a simple prop, or a change in vocal intonation, our listeners are transported to another world. I created a cut-and-tell of the above story and use it at teacher workshops and for smaller classroom tellings. I love watching the audience transform as I change a plain sheet of paper into a tellable tale. As storytellers, we have the gift to transform and magically create “something out of nothing.”

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“ ‘Thou shalt not’ is soon forgotten, but ‘Once upon a time’ lasts forever.” Philip Pullman (1996 Carnegie Medal acceptance speech)

The Definition of Storytelling According to the National Council for Teachers of English, as written in their Position Statement from the Committee on Storytelling, the definition of storytelling is as follows: “Storytelling is relating a tale to one or more listeners through voice and gesture. It is not the same as reading a story aloud or reciting a piece from memory or acting out a drama—though it shares common characteristics with these arts. The storyteller looks into the eyes of the audience and together they compose the tale. The storyteller begins to see and re-create, through voice and gesture, a series of mental images; the audience, from the first moment of listening, squints, stares, smiles, leans forward or falls asleep, letting the teller know whether to slow down, speed up, elaborate, or just finish. Each listener, as well as each teller, actually composes a unique set of story images derived from meanings associated with words, gestures, 10


- Working with Stories

and sounds. The experience can be profound, exercising the thinking and touching the emotions of both teller and listener.” The above description is the most thorough and eloquent definition. It needs no further elaboration.

Why Storytelling is a Vital Art Form Storytelling engages the listener in whole brain activity. Both the logical and creative sides of the mind are utilized when listening to a story. In addition, storytelling: • • • • • • • •

Encourages appreciation of language and literature Demonstrates values Promotes literacy Teaches communication and social skills Celebrates cultural diversity Preserves history Inspires creativity Engages the imagination

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In many Native American cultures, storytelling still plays a vital role in everyday life. Their stories speak of their traditions, their culture, their beliefs, and their history. Through the oral tradition, we preserve the past and help shape the future.

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“There is no agony like bearing an untold story inside of you” Maya Angelou

Where to Find Stories Stories are everywhere! Below is a sample list of where you can find stories. • • • • • • •

Your imagination (original stories) Your family history Your personal history Fairytales, Folklore, myths, and legends Literary stories Historical accounts The Internet

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The Story Biz Handbook X X X X X X X X X X X X X X X X X X X X X X X

Your Imagination Many storytellers like to tell original stories—tales that they have personally created. If you do tell original stories, it may be wise to copyright your stories to protect yourself from any infringement by others.

Family History Every family has interesting stories. My great grandfather possessed a wicked sense of humor. He named my grandfather James O. James, Sr. My grandfather carried on his sense of humor and named my father James O. James, Jr. As you can imagine, many stories have arisen out of the adventures my grandfather and father had with their “first-name-is-their-last-name-is-their-first-name” scenario. Think back and recall your childhood—do you remember any family stories? Interview family members for stories. You are bound to have a treasure chest of family story gems at your fingertips.

Personal History Many of us have led interesting lives. Donald Davis’s strength is in retelling personal and family stories. He has made an art and a living of it. His family stories are filled with universal truths that speak to each of his audiences. When looking at your own life as a source for stories, find the lesson you learned from that chapter in your life. Perhaps that lesson can serve as the foundation for a story that will touch your audiences.

Fairytales, Folklore, Myths, and Legends Because of my childhood life overseas, I am drawn to stories from around the world, particularly stories from this genre. I love researching stories from other cultures. A great place to start is your local library. Visit the 398.2 section where you will find folklore. For more in-depth research on folklore, use Margaret Read MacDonald’s 1982 edition of The Storyteller’s Sourcebook. Margaret Read MacDonald says, “The eleven years spent compiling this index were a part of my folklore Ph.D. work. The book indexes 556 folktale collections and 389 folktale picture books. The book is arranged according to the Stith Thompson motif-index classification used by folklorists. But most users simply look up their tale under the title or subject index. It’s a fun book to browse.” A 2002 supplement to The Storyteller’s Sourcebook has been released, covering folklore collections and picture books from 1983 through 1999.

Literary Stories Retelling literature from such notable authors as Edgar Allen Poe, Rudyard Kipling, and O. Henry would fall under this category. If you decide to retell literary stories, you must utilize stories that are in the public domain. (Read more about this in Chapter 3 “Storytelling Issues.”) Otherwise, you will need to obtain permission from the author or publishing house that maintains the copyright on the work you wish to use. William Wilder has developed a repertoire of stories based on classic literature. He has built programs retelling stories by authors of classics such as Edgar Allen Poe, Rudyard Kipling, and Mark Twain. His programs are curriculum based and he offers teacher guides for his programs. William Wilder has performed extensive research, painstakingly recrafting his tales to maintain the integrity of the original stories. His programs are well received by schools. 12



Historical Accounts If you are fascinated with history, retellings of historical accounts may be just the genre for you. When you retell stories based on historical facts, accuracy and research of the facts are imperative. Jay O’Callahan is often commissioned to create stories based on the historical events of common people’s lives. He shared the interview process of his story, “Pouring the Sun” with me. It is the story of the struggles and triumphs of an 18-year-old Polish immigrant, Ludvika, who lived in the steel-making city of Bethlehem, Pennsylvania. The story was three years in the making. Jay sat in the kitchen collecting pieces of the story from Ludvika’s children, who were in their 80s at the time. Jay says, “ ‘Pouring the Sun’ is a tribute—a celebration of their lives.”

The Internet

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The Internet is a story buffet! Stories from virtually every culture can be found on the Internet. I use www.google.com as my search engine and I find a plethora of stories at my fingertips. I am also a part of the STORYTELL, listserv that connects me by e-mail to hundreds of other storytellers around the world. As a member of STORYTELL, if you have trouble finding or researching a particular aspect of a story, you can e-mail the list and receive helpful responses from other storytellers. Karen Chace offers both a workshop and a CD titled, Researching Stories on the Internet. Her workshop coaches story surfers on the easiest techniques for finding stories on the net. Karen’s CD is a musthave resource filled with story websites, storytelling resources, and storyteller’s websites. Each URL (uniform resource locator) is hyperlinked so that you can just click and go to the site. You can order Researching Stories on the Internet from www.storybug.net.

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“As the late great Jackie Torrence once told me, “You may have 1000 stories in your repertoire, but do you have the story I need right now?” Kevin Cordi, Professional Storyteller

How to Shape Stories Shaping stories for telling and retelling follow three basic principles: 1. Build the story around a good plot. 2. Create characters that audiences will care about. 3. Good dialogue moves the story along. Crafting the tellable story is an art. Written stories often need to be re-crafted because the language is not suited to the oral tradition. What looks good on paper does not necessarily sound good to the listening audience. When telling a story orally, many dialogue introductions such as “He said” and “She said” may be dropped because the teller is conveying that through body language and vocal characterization. 13

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“Learn to free yourself from any text. Get the bones of the story in your head and then tell the listeners the story. Do it that way rather than telling the story to the listeners—it comes out more powerful when you ‘tell the listeners.’ ” Richard Martin; Professional Storyteller, Germany

Storytelling is often less formal than written language, even conversational in style. There are, of course, times when a more formal presentation of a story is appropriate, such as with literary stories or period pieces. Individual stories will differ. A “Brer Rabbit” tale will engage audiences with the loose, conversational style of the South while the tale of “Annabel Lee” by Edgar Allen Poe will need to retain its archaic language and structure. According to Augusta Baker and Ellin Greene in Storytelling Art and Technique, these are the characteristics of a good story: • • • • • • •

A single theme, clearly defined A well-developed plot Style: vivid word pictures, pleasing sounds, and rhythm Characterization Faithful to source Dramatic appeal Appropriateness to listeners

Learning Stories

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To learn a story, you must first live with the story. If you are learning a story from a printed version, read and re-read the story several times. If you are crafting an original tale or a story from an oral source, it helps to write down the outline of the story. The story should become a part of you so that when you open your mouth to tell the story, the words magically fall from your lips.

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“There are two parts to the word storytelling: ‘story’ and ‘telling.’ Beginning tellers often focus just on the telling part and forget to spend enough time understanding and learning the story so well that they could tell it naturally as if it had really happened to them.” Kendall Haven, Professional Storyteller and Author



Barry McWilliams, storyteller and developer of www.eldrbarry.net, gives the following advice for learning a story: • • • •

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Read the story several times, first for pleasure, then with concentration. Analyze its appeal, the word pictures you want your listeners to see, and the mood you wish to create. Research its background and cultural meanings. Live with your story until the characters and setting become as real to you as people and places you know. Visualize it! Imagine sounds, tastes, scents, and colors. Only when you see the story vividly yourself can you make your audience see it!

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“Tellers need to realize that the stories they choose must be grounded in intimate knowledge of the subject area if it is to be responsibly representative of a particular time, culture or community. Our stories will live beyond us, and the stories we tell define the people we are.” Rex Ellis, Professional Storyteller

Many beginning tellers make the mistake of trying to memorize a story word-for-word. This creates a problem when you are in the middle of telling the story and you struggle to remember the exact words. When this happens you end up losing your place entirely and forgetting the story. There are several ways to learn a story without memorizing it. Storytellers of national reputation build repertoires of hundreds of stories by practicing one or more of the following techniques: 1. Memorize your opening line—Without memorizing the entire story, make the opening line significant and remember it. 2. Outline the story—Write down the bare bones of the story from beginning to end. 3. Create a story board—If you are a visual learner, draw your stories out, scene by scene. Joe Wos, a storytelling cartoonist, suggests using comic book style boxes and creating a cartoon. You may also want to use a story map, which helps outline the story’s character, main event, conflicts, and resolution. A great example of a story board can be found at the eduplace.com website at www.eduplace.com/rdg/gen_act/pigs/story_mp.html. 4. Visualize the story—Like a director directing a play, you are the director of the theater of your mind. Visualize how the story takes place in your imagination. Use words that describe what you are seeing. 5. Type the story—If you are a visual/tactile learner, you may enjoy learning stories by absorbing them and then re-typing them, telling them in your own words. This is the way I like to work. 6. Listen to the story—If you are an aural learner, record the story onto a voice recorder and listen to it. 15


7. Fill in the details—After you have learned the bones of your story, fill in the details using the visual pictures that you have created in your mind. 8. Memorize your last line—To give dramatic punch to your story, create a significant ending line that ties the pieces of your story together.

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If you are telling a traditional folktale, you may want to incorporate a traditional folktale beginning and ending. For more on finding traditional beginnings and endings, see the resource section at the end of this chapter.

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“The biggest mistake storytellers make is to try to memorize word for word. This is VERY difficult for most people. What you have to learn is how the story goes... what happens and what happens next. Then you just tell that.” Patti Christensen, Professional Storyteller

Audience Participation As you gain experience as a storyteller, you may want to add audience participation stories to your repertoire. Audience participation, which is when the audience can join in your telling, can be fun and exciting. It’s a great way to involve and interact with your audience. When you play with your stories, your audience will play with you.

Various Types of Audience Participation • • • • • • •

Call and response—When you call out a word or phrase and the audience responds with an answer. Rehearsed response—Some audience participation is best taught before the story begins, particularly if the participation is complicated. Directed dramatization through role playing—This involves pulling someone out of your audience and directing them as a character in your story. Audience Query—When you ask a question to elicit an answer from your audience. Dramatic Pause—When you pause during a point in your story and the audience “fills in the blank” automatically. Spontaneous joining in—When your audience spontaneously participates. Combinations of the above

Vehicles to Encourage Audience Participation • •

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Chants—Teach a chant that you use throughout your story and have your audience join in, saying it with you. Songs—Like the chant, a song can be used throughout the story with your audience singing with you each time the song appears in the story.


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Sounds—Stories with sounds such as rain (snapping of fingers) and thunder (stomping of feet) can be used as vehicles for audience participation. Movement—If your story has repetitive action, the use of movement can be an effective vehicle for audience participation. In “Going on a Bear Hunt,” I say “We can’t go over it” and we motion over with our two arms arched above our heads, like a bridge. When I say, “We can’t go under it,” we motion under by kneeling and putting our arms straight in front of us, close to the ground. Dramatization—Dramatizing a character so that the character maintains that particular characterization throughout the story often encourages audiences to become that same character with their bodies and faces. Dramatic Pause—Tell the story to a certain point and dramatically pause, waiting for the audience to chime in and fill in the blank.

Elements in a Story that Provide Opportunity for Participation

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Sounds in the story, repetitive action, repeating phrases, and characters’ interaction with each other are great opportunities to introduce audience participation. Examine your story thoroughly to determine if your story has the making for a good audience participation story.

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"Easy ways to add participation by having your listeners join you in making wind, rain, or other sound effect sounds (opening the creaky door and slamming the door shut with a “bang”), a repeated refrain (And I’ll huff, and I’ll puff...), or singing along on a familiar song (row, row, row your boat).” Patti Christensen, Professional Storyteller

When to Include Audience Participation Audience participation is best introduced after the audience is “warmed up.” Opening with a familiar sing-along song, or a poem with repeating lines, is a good way to warm up an audience for a participation story. Audience participation stories work best in the middle of the program. If you begin with a participation story, your audience may be too self-conscious to join in. If you end with a participation story, they may leave your program too “hyped up.” Participation stories work best with kids in grades K–5 or with mixed crowds of kids and adults. Storyteller Peninnah Schram advises, “The storyteller can invite the audience to participate with repetition, call and response, sound effects, physical movement, song, and questioning. When questioning the audience, the teller must ‘fly’ with the answers, even if they are not the answers expected, by transforming them into the ‘right’ answers. For example, if the storyteller asks, ‘What do you think the child found on the road?’ Someone might answer, ‘A rock.’ If the story can only

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continue with the response of a ‘frog,’ then the storyteller can say, ‘Well, right, it looked like a rock, but suddenly it jumped and the child discovered that it was a frog.’ Celebrate the responses you receive and integrate them into the story or ask a more leading question. Storytellers need to be flexible and improvisational as they riff with the audience!”

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“Participation is a powerful storytelling tool when used right. When carefully interwoven with telling, it serves multiple functions: underscoring a theme or idea, creating community and sense of shared experience, adding audience energy, and establishing rapport.” Robert Kikuchi-Yngojo, Eth-Noh-Tec

How to Choose and Coach Participants for Directed Dramatization Survey the audience to see who is actively listening and enjoying your program. Ask for volunteers and choose audience members who raise their hands quietly, not jumping up and down trying to get your attention, or saying, “Me! Me! Me!” When working with kids, I often say, “I will choose those who are sitting flat on their bottoms and raising their hands quietly.” Be succinct with your instructions (i.e., “The lion was taking a nap” [whispering into participant’s ear “close your eyes”]). Have fun with them!

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The Making of a Story with Eth-Noh-Tec Watching Eth-Noh-Tec perform is a visual and auditory sensation. Weaving storytelling, mime, dance, theater, and music, Eth-Noh-Tec has taken story theater to a new level in a unique East-meets-West marriage of cultural arts. The tandem-telling duo was founded in 1982 by husband and wife team, Robert Kikuchi-Yngojo and Nancy Wang. Perfectly choreographed moves accent masterfully crafted tales to create a seamless integration of Asian and Western arts. Robert says, “The hardest part of creating a new work is finding the right story. I am the researcher while Nancy is the developer. Often the story ‘finds us’ or pops right off the pages begging us to be told. When we get that ‘feeling,’ moved by the essence of the story we know this is ‘the One,’ then we set about ping-ponging drafts and re-drafts between [each] other. And yes, we do argue which cuts to make, which parts of the story to emphasize, and whose re-write to choose! Concurrently, during this lengthy tandem process, we are already thinking of the inherent musical and choreographic possibilities. We start to see and ‘feel’ the energy waves in the plot lines, where the tale will swell and peak. We also mentally ‘listen’ for where the story might call for rhythmic patterns, percussive elements in the words, and dramatic delivery in the architecture of the story. By the time we’re ready to physically ‘move’ the story to rehearsal, we already have a grab bag of ideas. Sometimes though, there are improvisational surprises that turn a diamond in the rough into a story gem.”

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Building a Repertoire

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Once you begin learning stories, keep a catalog (written, sound, or video-recorded) of your stories. You may want to categorize your stories according to the type of tale or its particular theme. Keep track of your story research, writing down your sources. For the sample Story Research Form, see Chapter 7.

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“When you can see each scene of a story in your mind as well as you can see (and smell and hear, etc.) your own bedroom; when you can see each character as clearly and completely as you can see (and hear and smell, etc.) each member of your own family; then you are ready to tell the story.” Kendall Haven, Professional Storyteller and Author

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Learn stories that not only speak to you on a personal level, but also stories that will widen your repertoire. Unless you are targeting a very small niche market, you will want to learn stories that can appeal to a wide audience. Since stories contain universal themes, and many stories have multiple “morals,” this should not be difficult to accomplish. This will make you a versatile storyteller. Before you begin marketing yourself as a storyteller, have a solid program of stories that roll easily off the tongue.

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“The most important thing a storyteller can do to shape stories is to tell them over and over again: to people, to a tape recorder, to the mirror. Just tell stories. I will read a story a few times and then let the story get out and “play” with an audience. Once I have told the story to two or three audiences, the story is pretty well shaped. Once I have told it to 30 audiences, it is usually ready to record or to visit a festival stage.” Kevin Strauss, Professional Storyteller

Working with a Story Buddy or a Story Coach Often, storytellers find it helpful to work with a story buddy. A story buddy can give you an objective view of your story, providing guidance and suggestions. You can usually find a story buddy through your local storytelling guild. Work with someone you know and trust. A story buddy should be sensitive, caring, and supportive. Your story buddy should help you improve your storytelling and make you feel good about it. 19


You may also want to consider working with a story coach. A supportive storytelling coach will facilitate your work in the story, helping you to polish and perfect it. In his book, The Storytelling Coach, Doug Lipman says, “Coaching is supportive and cooperative. We work together to create success for both of us. The coach’s job is not to be right but helpful.”

Time to Tell!

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Now that you have readied your stories, it’s time to find an audience. Start out with low-risk audiences such as family, friends, and storytelling guilds. They will be supportive. Once you feel comfortable, tell as often as you can. Volunteer at the library (That’s how I got my start!), school, or senior center. Tell regularly to build your confidence and your repertoire.

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“The most helpful thing is to find some place where you are telling stories regularly, probably as a volunteer. Try a children's center, a preschool, an elementary school classroom, anywhere that forces you [to] learn a new story or two at least once a month. If you only tell once every six months, it will take a very long time to grow.” Patti Christensen, Professional Storyteller

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One of the greatest joys of being a storyteller is creating and shaping a story. A story comes to life when you give it a little bit of your soul. Know your stories well and tell them from the heart.

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“Tell well, tell artfully, tell truthfully, tell often.” Loren Niemi and Elizabeth Ellis, Authors of Inviting the Wolf In: Thinking About Difficult Stories

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“Iron rusts, tin bent. That’s the way the story went.”

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Recommended Reading Baltuck, Naomi. Apples from Heaven: Multicultural Folk Tales About Stories and Storytellers. Linnet Books (1995). ———. Crazy Gibberish and Other Story Hour Stretches. Linnet Books (1993). ———. Storytime Stretchers: Tongue Twisters, Choruses, Games and Charades. August House (2007). Bauer, Caroline Feller. New Handbook for Storytellers. ALA Editions (1995). Birch, Carol. The Whole Story Handbook: Using Imagery to Complete the Story Experience. August House (2000). Birch, Carol, and Melissa Heckler. Who Says? Essays on Pivotal Issues in Contemporary Storytelling. August House (1996). Bronner, Simon. American Children’s Folklore: A Book of Rhymes, Games, Jokes, Stories, Secret Languages, Beliefs and Camp Legends. August House (1988). Bruchac, Joseph. Tell Me a Tale: A Book About Storytelling. Harcourt Brace (1997). de Las Casas, Dianne. Handmade Tales: Stories to Make and Take. Libraries Unlimited (2008). ———. Kamishibai Story Theater: The Art of Picture Telling. Teacher Ideas Press (2006). ———. Story Fest: Crafting Story Theater Scripts. Teacher Ideas Press (2005). DeSpain, Pleasant. Thirty-Three Multicultural Tales to Tell. August House (1997). Forest, Heather. Wonder Tales from Around the World. August House (1998). Fujita, Hiroko, and Fran Stallings. Stories to Play With: Kids’ Tales Told with Puppets, Paper, Toys, and Imagination. August House (1999).

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Greene, Ellin. Storytelling: Art and Technique, 3rd Edition. Libraries Unlimited (1996). Haven, Kendall, and Mary Gay Ducy. Crash Course in Storytelling. Libraries Unlimited (2006). Holt, David, and Bill Mooney. Ready-To-Tell Tales: Sure-Fire Stories from America’s Favorite Storytellers. August House (1994). ———. More Ready-To-Tell Tales from Around the World. August House (2000). Huff, Mary Jo. Storytelling with Puppets, Props & Playful Tales. Monday Morning Books (1998). Lipman, Doug. The Storytelling Coach: How to Listen, Praise, and Bring Out People’s Best. August House (1995). Livo, Norma, Teresa Miller, and Anne Pellowski. Joining In: An Anthology of Audience Participation Stories and How to Tell Them. Yellow Moon Press (1988). MacDonald, Margaret Read. The Parents’ Guide to Storytelling: How to Make Up New Stories and Retell Old Favorites. August House (2001). ———. Shake-It-Up Tales!: Stories to Sing, Dance, Drum, and Act Out. August House (2000). ———. The Storyteller’s Sourcebook: A Subject, Title, and Motif Index to Folklore Collections for Children. Gale Research, Inc. (1982). ———. The Storyteller’s Start-Up Book: Finding, Learning, Performing, and Using Folktales: Including Twelve Tellable Tales. August House (1993). ———. Tell the World: Storytelling Across Language Barriers (2008). ———. Twenty Tellable Tales: Audience Participation Folktales for the Beginning Storyteller. H.W. Wilson (1991). Maguire, Jack. Creative Storytelling: Choosing, Inventing, and Sharing Tales for Children. McGraw-Hill (1985). National Storytelling Network. A Beginner’s Guide to Storytelling. National Storytelling Press (2003). ———. Telling Stories to Children. National Storytelling Press (2005). Niemi, Loren, and Elizabeth Ellis. Inviting the Wolf In: Thinking About Difficult Stories. August House (2001). Pellowski, Anne. Drawing Tales from Around the World and a Sampling of European Handkerchief Tales. Libraries Unlimited (2005). ———. The Storytelling Handbook: A Young People’s Collection of Unusual Tales and Helpful Hints on How to Tell Them. Simon and Schuster (1995). Seeger, Pete, and Paul Jacobs. Pete Seeger’s Storytelling Book. Harcourt, Inc. (2000). Sherman, Josepha. Trickster Tales: Forty Folk Stories from Around the World. August House (1996).

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Stotter, Ruth. About Story: Writings on Stories and Storytelling 1980–1994. Stotter Press (1996). ———. More About Story: Writings on Stories and Storytelling 1995–2001. Speaking Out Press (2002).

Recommended Websites Call of Story Through the Eccles Foundation, this website was developed to bring awareness to storytelling. Watch videos that feature several nationally known tellers including Donald Davis, Rex Ellis, and Carmen Deedy. www.callofstory.org Doug Lipman, Storytelling Coach Doug Lipman is the leading storytelling coach in the country. His books and workshops on coaching and the art of storytelling have inspired thousands of storytellers. Doug provides useful articles on his website. www.storydynamics.com Sean Buvala’s Storyteller.net Sean has been on the web since 1996, providing storytellers with a great service through his website. He offers a storyteller directory, articles, interviews with storytellers, and free stories. In addition, he also offers storytelling resources on his site. Storyteller.net is a treasure trove for storytellers. www.storyteller.net Story-Lovers.com This is Jackie Baldwin’s site. Her company, Story-Lovers, produces gorgeous stationery using illustrations from old folktales and children’s stories. Jackie generously provides a free service to storytellers called SOS—Searching Out Stories. Here, you can find lists of stories and story resources pertaining to many different topics. There is a section on audience participation and fantastic sections on traditional folktale openings and closings. Jackie also produces Bare Bones booklets, with bare bones of stories from around the world. Story-Lovers.com is a goldmine of information. www.story-lovers.com Storytelling Power Storytellingpower.com is, in my opinion, one of the most useful storytelling resource websites on the internet. Chris King, creator of the site, writes extremely helpful articles on all aspects of storytelling. Don’t miss this one. www.storytellingpower.com Tim and Leanne Jennings’ Folktale Openings and Closings Tim and Leanne have graciously compiled an extensive collection of traditional folktale openings and closings. www.folktale.net

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Tom McCabe Tom McCabe is a storyteller from Massachusetts who has been telling professionally for over 25 years. Tom provides a number of useful articles regarding storytelling on his website. Look at the article “Creating Audience Participation Stories with Children.” www.tommccabe.com/articles.htm

Researching Stories Researching Stories on the Internet This fantastic CD by Karen Chace allows you to research stories and story sources effortlessly. Order from Karen’s website. www.storybug.net STORYTELL STORYTELL is sponsored by the School of Library and Information Studies at Texas Woman’s University in Denton, Texas. With more than 500 subscribers worldwide, STORYTELL is the worldwide source for discussions about storytelling. To subscribe yourself to STORYTELL, send the following email: To: [email protected] Subject: subscribe storytell email_address end <send message> After you have subscribed, you will receive a message containing listserv instructions. STORYTELL’s homepage: www.twu.edu/cope/slis/storytell.htm

Storytelling Publishers August House www.augusthouse.com Fulcrum Publishing www.fulcrum-books.com Libraries Unlimited and Teacher Ideas Press www.lu.com

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Chapter 3

Storytelling Issues

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“A story, a story, let it come, let it go.” (Traditional West African)

In this chapter… ³ ³ ³ ³ ³ ³ ³ ³

Storytelling Ethics The Storyteller’s Oath of Ethics Retelling Tales with Children’s Author Robert D. San Souci Copyright and the Public Domain “The Gift of the Magi” Adapted by William Wilder Sensitive Story Content Censorship Resources

With professional storytelling comes responsibility. When storytelling goes beyond the informal sharing of stories in the cozy confines of the family room and tellers are paid for their work, there are guidelines of ethics and responsibility to follow. As bearers of an age-old tradition, we must uphold certain professional standards and abide by ethical behavior.

Storytelling Ethics With the advent of the great storytelling revival in the United States and abroad, storytellers have been leaving their day jobs and turning storytelling into a full-time profession. New storytellers come to the storytelling profession and have learned the craft by neither apprenticeship, nor formal education, nor professional development courses. This presents a problem as those neophyte tellers are not aware of the basic guidelines of professional courtesy. In the Winter/Spring 1999 issue of Storytelling World dedicated to “Storytelling Ethics,” Susan Klein stated, “Artists typically begin by imitating those who inspire them. The popularity of Holt and Mooney’s Ready-to-Tell Tales, which includes 40 or so stories from well-known tellers specifically as a resource for new tellers, attests to the need for it in an art form where so many folks are jumping on the bandwagon, calling themselves professionals, and yet haven’t done any of the research necessary to sustain a career.” 25


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In a keynote speech at the 1998 National Storytelling Conference, Elizabeth Ellis shared an experience in which she discovered another storyteller had been sharing one of her personal stories as if it were the teller’s own story. Not only was Elizabeth hurt; she felt violated. Her carefully crafted story, based on her own personal experiences, had been stolen.

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“The bottom line is still courtesy and the exhibiting of a conscience when it comes to our work [storytelling].” Susan Klein, Professional Storyteller

Most professional storytellers agree that if you are being paid to tell then you must do your homework. The following “The Storyteller’s Oath of Ethics” was developed to encourage ethical behavior among storytellers:

The Storyteller’s Oath of Ethics

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I will abide by the Golden Rule—Do Unto Others as You Would Have Them Do Unto You. I will not retell a teller’s personal, family, and original stories. Those stories belong to that teller and are his/her property. I will craft my stories responsibly, researching many versions of the story and creating my own version, keeping true to the basic plot of the story. I will respect the stories of another culture researching its beliefs, languages, and traditions. I will correctly pronounce words of another language. I will request permission if I wish to tell another storyteller’s specific version of a traditional story, obtaining permission in writing. I will request written permission from the copyright holder, either the author or the publisher, to tell copyrighted stories in print. I will credit my sources. I will generate respect by respecting other storytellers’ work.

X X X X X X X X X X X X X X X X X X X X X X Chapter 3

- Storytelling Issues

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In the very beginning of my storytelling career, I was unaware of “storytelling ethics” and I made a big mistake. I was asked to participate in a compilation cassette, which included several storytellers. I recorded a Margaret Read MacDonald story without permission. Since then, I confessed and was forgiven. Margie MacDonald is so gracious. I learned a valuable lesson—respect my sources and obtain permission! If Margie were a different person, the worst case scenario could have been litigation.

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“It is unethical to steal your friend’s prized keepsake. Stories are just that –‘keepsakes.’ If the story is so personal that it is the teller’s keepsake, ask first before telling. Often they are only too happy to share their work with you.” Kevin Cordi, Professional Storyteller

In 1998, a heated discussion ensued on the STORYTELL listserv on storytelling ethics and copyright issues. Here are some of the comments on permissions: Margaret Read MacDonald is the author of dozens of books filled with tellable versions of traditional tales. Margie stated, “I certainly expect folks to be telling my stories wherever they want and don’t expect to be contacted for permissions. However, keep in mind that as long as a book is in print, that version is the property of the publisher … not the author of the book. Only after the book goes out of print do the rights revert back to the author.” Jane Yolen stated, “When a book of mine is simply reprinting folk tales, then you should contact the original author from whom I took it. When it is retelling old stories as in Once Upon a Bedtime, you do not need my permission to tell “3 Billy Goats Gruff.” But if you want to tell MY version, it would be polite to do so. If you want to print it or put it in on a cassette or video, then you need to pay a fee and get actual permission. However, with all the stories in the retelling books, you can do some more homework and find several versions and then make up your own.” Heather Forest added this bit of advice for developing tellers, “Plan to still be telling in ten, fifteen, or twenty years. Storytelling is a long path. Stories need time to ripen with age. Besides, before you know it, you might be sharing the stage equally with a teller whose work you are ‘interpreting.’ ”

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Retelling Tales with Children’s Author Robert D. San Souci Robert D. San Souci is a self-confessed “bibliomaniac.” Robert says, “I have more than 6,000 books in my personal library.” An accomplished children’s author and screen writer, his more than 80 books grace bookcases in homes, schools, and libraries around the world. In elementary school, Robert discovered the Andrew Lang fairy books, Hans Christian Anderson stories, and Brothers Grimm tales. He read them all. His aspirations to become an author percolated quickly. “I wanted to be the first child in third grade to publish,” he says, chuckling. Robert believes in doing everything possible to ensure the accurate portrayal of culture. “Historical and cultural inaccuracies are unacceptable and can kill a story,” says Robert. His three “Rs” for writing are: • • •

Respect for culture Research Rewriting

His search for stories begins with “looking for stories set in other countries, interesting settings, and with strong characters. I am always careful with cultural and historical details.” Robert always carries a notebook and records observations and local phrases such as “the tail end of bad luck,” which may end up in one of his stories. Robert’s stories are inspired by many different sources—personal research, a visit to another place, and people. He has an “Idea Starter Box” in which he throws story ideas into a box and periodically goes through them for inspiration. His hilariously hideous tale, Cinderella Skeleton, was inspired by a friend who said he needed to do a scary fairy tale. His stories exist for everyone to share and in this generosity of spirit; Robert gives permission to storytellers to retell his stories, with credit. Robert firmly believes, “There is value in keeping stories alive; they affirm cultures.”

Copyright and the Public Domain Because storytellers express their art form in both tangible (audio recordings and books) and intangible media (live performance), copyright issues have arisen. Many storytellers have concerns about ownership of stories.

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“Storytellers who wish to respect the spirit and the letter of the law need to know about copyright law, both to avoid infringing on someone else’s copyright and to protect their own original work.” William Wilder, Professional Storyteller

Copyright According to the U.S. Copyright Office, the definition of copyright is as follows: “Copyright is a form of protection provided by the laws of the United States (title 17, U.S. Code) to the authors of “original works of authorship,” including literary, dramatic, musical, artistic, and certain other intellectual works. This protection is available to both published and unpublished works.” William Wilder, who has performed extensive research on copyright and the public domain and published a feature article on the subject in Storytelling World, states, “Almost any original expression that is fixed in a tangible form is protected as soon as it is expressed. For example, a graphic created in Photoshop is protected as soon as the file is saved to disk. A web page is protected as soon as the html file is saved. A story telling is not tangible. The copyright must be registered to sue for infringement.” In other words, stories you perform live are not afforded protection under the Federal Copyright law. You can, however, copyright fixed versions of the story. The 1976 Copyright Act defines publication as follows:

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“ ‘Publication’ is the distribution of copies or phonorecords of a work to the public by sale or other transfer of ownership, or by rental, lease, or lending. The offering to distribute copies or phonorecords to a group of persons for purposes of further distribution, public performance, or public display constitutes publication. A public performance or display of a work does not of itself constitute publication.”

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“It is rich, fertile, and free. You own it. I own it. We all own it. It is the public domain.” William Wilder, Professional Storyteller

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Public Domain Storytellers who retell traditional folklore often visit the treasure trove of stories in the public domain. Works that are in the public domain are works no longer protected by copyright. They are free to the general public. The U.S. Copyright Office imposes the following: •

Works Originally Created on or After January 1, 1978—A work that is created (fixed in tangible form for the first time) on or after January 1, 1978, is automatically protected from the moment of its creation and is ordinarily given a term enduring for the author’s life plus an additional 70 years after the author’s death.

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Works Originally Created before January 1, 1978, but Not Published or Registered by That Date—These works have been automatically brought under the statute and are now given federal copyright protection. The duration of copyright in these works will generally be computed in the same way as for works created on or after January 1, 1978: the life-plus-70 or 95/120-year terms will apply to them as well. The law provides that in no case will the term of copyright for works in this category expire before December 31, 2002, and for works published on or before December 31, 2002, the term of copyright will not expire before December 31, 2047.

•

Works Originally Created and Published or Registered before January 1, 1978—The Copyright Act of 1976 extended the renewal term from 28 years to 47 years for copyrights that were subsisting on January 1, 1978, or for pre-1978 copyrights restored under the Uruguay Round Agreements Act (URAA), making these works eligible for a total term of protection of 75 years. Public Law 105-298, enacted on October 27, 1998, further extended the renewal term of copyrights still subsisting on that date by an additional 20 years, providing for a renewal term of 67 years and a total term of protection of 95 years.

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William Wilder states, “The public domain is the nurturing ground of folk culture from which most stories are drawn.” Stories such as fairytales, folktales, myths, legends, Biblical stories, ancient tales from authors who have passed on (whose works no longer fall under copyright protection), and stories from anonymous authors, all fall under the public domain. From these sources, we derive a rich repertoire of tales for the taking.

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“Remember that each year on January 1st, a whole new year’s worth of publications have entered the public domain—A new story material feast for the story researcher!” Kimberly M. Cuny; Director, The University Speaking Center



Adapting Stories from the Public Domain Many storytellers who visit this treasure trove of tales inadvertently abuse their privileges. As professional tellers, we have a responsibility to pass the tales along while preserving the integrity of the story’s sources. Careful cultivation of these tales must take place, with a reverence for the art and the context in which the story was created in the first place. Haphazardly slicing and splicing these tales and then passing them off as traditional stories is offensive and disrespectful to the story and the culture from which the story originates. Creating your own version of a traditional tale takes a bit of research and careful crafting. Rose Anne St. Romain, a Louisiana storyteller of French heritage, tells the beautiful tale of “Moon’s Cloud Blanket.” The story, now a book, is an indigenous Louisiana tale from the Houma tribe about the origin of Spanish moss. In creating her version of the tale, Rose Anne was careful to remain true to the story as the Houma natives told it, preserving their culture yet adding her own special flavor as a storyteller. Sometimes retelling a tale requires editing. I retell the story of “Beauty and the Beast” based on a version called “La Belle et la Bête” translated by Madame de Villeneuve of France. Madame de Villeneuve’s story appears in the Blue Fairy Book edited by Andrew Lang. Nearly 20 pages in length, the language of the story is archaic and involved. To create a version of the story that would fit into a 45 minute program for a school show, I had to rely on my editing skills and judgment as a storyteller. I chose to modernize some of the language while ultimately retaining the flavor of the language Madame de Villeneuve used, giving the listeners a sense of the time and place of the story. The end result is a familiar story that appeals to my young listeners. I follow the story with a question and answer (Q&A) period and it is interesting to hear the audience make comparisons of the similarities and differences to Disney’s Beauty and the Beast, a version with which almost all of my young listeners are familiar. Many of them, including teachers, are often surprised to learn that Disney’s version is an adaptation and not the real story. In retelling O. Henry’s The Gift of the Magi, William Wilder encountered the same challenge. O. Henry’s language, though beautiful and eloquent, does not suit today’s listening audience. In performing the story live, William knew that he needed to add action to the story through body language and the tightening of lengthy passages, moving the story along. Using contemporary language, he edited nearly a third of the story. What results is a listener-friendly version that is still clearly O. Henry’s story. William’s adaptation of the tale makes it accessible to audiences who otherwise may not have taken the opportunity to read the story.

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The Gift of the Magi

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By O. Henry, Adapted by William Wilder, ©June 1998

Eighty-five, eighty-six, eighty-seven. One dollar and eighty-seven cents. Sixty cents of it in pennies, pennies saved one and two at a time by badgering the grocer, the baker and the butcher. Three times Della counted it. It was still one dollar and eighty-seven cents. And the next day would be Christmas. There was nothing left for Della to do but flop down on the shabby little couch and cry. So she did. Let us leave the lady of the house to cry in privacy while we take a look around this $8 a week apartment. It does not exactly beg description. In the vestibule below is a letterbox into which no letter will go, and an electric button from which no mortal finger can coax a ring. On the mailbox is a card bearing the name “Mr. James Dillingham Young.” When Mr. James Dillingham Young came home and reached his apartment above he was called “Jim” and greatly hugged by Mrs. James Dillingham Young, already introduced to you as Della. As her tears subsided Della rose from the sofa and walked to the window. She watched a gray cat walking a gray fence in a gray backyard. Tomorrow would be Christmas Day, and she only had $1.87 to buy a present for Jim. Many a happy hour she had spent planning for something nice for him. Something fine and rare and sterling—a gift worthy of the honor of being owned by Jim. Suddenly she whirled from the window and stood before the mirror. She pulled down her hair and let it fall to its full length. Now, there were two possessions of the James Dillingham Young’s in which they both took a mighty pride. One was Jim’s gold watch, an antique watch that had been his father’s and his grandfather’s. The other was Della’s hair. Della’s beautiful hair fell about her, rippling and shining like a cascade of brown waters. It reached below her knee and engulfed her like a garment. Then she put it up again, nervously and quickly. She faltered once, for a moment, while a tear splashed on the worn red carpet. On went her old brown jacket; on went her old brown hat. With a whirl of skirts and a brilliant sparkle in her eyes, she cluttered out of the door, down the stairs, and into the street. She stopped at a sign that read: “Madame Sofronie. Hair Goods of All Kinds.” Della ran up the stairs, collected herself, and opened the door. Madame, large, too white, chilly, hardly looked the “Sofronie.” “Will you buy my hair?” “I buy hair. Take yer hat off and let’s have a look at it.” Down rippled the brown cascade. “Twenty dollars.” “Give it to me, give it to me quick!” The next two hours tripped by on rosy wings. Forget the hashed metaphor. She ransacked the stores. She found it at last. It surely had been made for Jim and no one else. There was none other like it, in any of the stores, and she had turned all of them inside out. It was a platinum fob chain simple and chaste in design, properly proclaiming its value by substance not ornamentation. As soon as she saw it she knew that it must be Jim’s. It was like him. Quietness and value—the description applied to both. With that chain on his watch Jim would be proud to check the time in any company. Grand as the watch was, he sometimes looked at it on the sly on account of the old leather strap. Twenty-one dollars they took from her for it. She ran home filled with the euphoria one gets when they have made a sacrifice for someone they love.

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Once home Della’s euphoria gave way to prudence. She got out her curling irons and went to work repairing the ravages of love’s generosity. Within forty minutes her head was covered with tiny, close lying curls. She looked at her reflection in the mirror long, carefully, and critically.

“I hope Jim doesn’t kill me before he takes a second look. But what could I do—oh! What could I do with a dollar and eighty-seven cents?” It is 7 o’clock. The coffee is made and the frying pan is on the stove, ready to cook the chops. Where could Jim be? He was never late. Della doubled the fob chain in her hand and sat on the corner of the table near the door. Then she heard his step on the stair. She turned white for just a moment and whispered: “Please, God, make him think I am still pretty.” The door opens and Jim steps in and closing it behind him. He is tall, thin, and worn out, like his overcoat. As the door closes he stops, immovable, as a setter at the scent of quail. His eyes are fixed on Della, and there is an expression in them that she cannot read, and it terrifies her. It isn’t anger, surprise, disapproval, horror, none of the sentiments that she had been prepared for. He simply stares at her fixedly with that peculiar expression on his face. Della wriggles off the table, going to him. “Jim, darling, don’t look at me that way. I had my hair cut off and sold it. I couldn’t have lived through Christmas without giving you a present. It'll grow out again—you won’t mind, will you? I just had to do it. My hair grows awfully fast. Say ‘Merry Christmas!’ Jim, and let’s be happy. You don’t know what a nice—what a beautiful, nice gift I've got for you.” “You’ve cut off your hair?” “Cut it off and sold it. Don’t you like me just as well, anyhow? I’m still the same Della.” “You say your hair is gone?” “It’s sold, I tell you—sold and gone, too. It’s Christmas Eve, boy. Be good to me, for it went for you. Maybe the hairs of my head were numbered—but nobody could ever count my love for you. Shall I put the chops on, Jim?” “Out of his trance Jim seemed quickly to wake. He enfolded his Della. “Don't make any mistake, Dell, about me. There isn’t anything in the way of a haircut that could make me love you less. But here, if you’ll unwrap this package you’ll see why you had me going…” Nimble, white fingers tore at the ribbon and paper. Then a gasp followed by an ecstatic scream of joy; and tears that splash on the combs. The combs—the set of combs, side and back, that Della had worshipped so long in that Broadway window. Beautiful combs, pure tortoise-shell, with jeweled rims—just the perfect shade to match the beautiful—but vanished hair. They were expensive combs, she knew, and her heart had simply craved and yearned for them without the least hope of possession. And now, they were hers. She hugged them to her bosom and, at last, looked up with dim eyes and a smile. “My hair grows so fast, Jim!” “Oh, oh! Jim, you haven’t seen your gift.” Holding it out to him the precious metal seemed to reflect her bright and ardent spirit. “Isn’t it a dandy, Jim? I hunted all over town to find it. You’ll have to look at the time a hundred times a day now. Give me your watch. I want to see how it looks on it.” Instead of obeying, Jim tumbled down on the couch, put his hands under the back of his head and smiled. “Dell, let’s put our Christmas presents away and keep ’em a while. They’re too nice to use just at present.” Della reached for the pocket with the watch in it. “Jim! Let’s see it. Let’s see the watch on the chain.” “Dell, I sold the watch—to buy the combs. Now come on, let’s put on those chops.”



Adapting stories from the public domain reservoir allows storytellers to enlighten listeners with important literature, introduce other cultures, promote cultural diversity, and keep alive the oral tradition. It is only by passing on the torch that we keep the flame of storytelling alive and burning.

Sensitive Story Content As you evolve in your career as a storyteller, at one point or another, you will be faced with defending your story selection. Someone in your audience will be offended by an event in the story or the story itself. In The Storyteller’s Start-up Book, Margaret Read MacDonald says, “At times you will face attacks on your story selection. No matter how careful you are, this is bound to happen. Not only are witches and devils taboo in some homes, but fairies and elves are equally abhorred.” As part of my work in one school residency the students were required to research a scary story and share it with their grade level peers. It was a fourth and fifth grade activity. The students worked on the assignment over the weekend and presented their tales on the following Monday. On the day of our story sharing assembly, one of my fifth graders shared an urban legend titled, “Humans Can Lick Too.” The story disturbed another student, who went home and reported it to his parents. The outraged parents contacted the principal. On the last day of my residency, I was called to the office and counseled by the principal on the inappropriateness of the story. When I explained the assignment (which was approved by the hiring coordinator), she told me that I should have pre-screened all the stories before allowing the students to present their tales. I thanked her for her concern and told her that I would consider her suggestion for the future.

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It’s a fine line to walk. Many audience members, particularly elementary and middle school age children, will beg for scary stories but when you tell them, you may hear protests from angry parents. In his web article “What’s Scary Enough?” Odds Bodkin suggests, “Kids only rejoice in scariness when deep down they feel safe and know it’s not real. Scariness tickles a safe child in a fun way, but it deepens real fears in an unsafe child. So know who’s in your audience. Offer the option for those who would rather not listen to leave.”

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“The key is to know your child. Some souls find scary stories disturbing, even at mature ages. The question arises whether dwelling in this sensitivity to things macabre too long—rather than coming to terms with life’s scariness early—is good or not. But that’s a decision only you can make.” Odds Bodkin, Professional Storyteller and Author

Richard and Judy Dockery Young, authors of The Scary Story Reader and Favorite Scary Stories of American Children, say, “Children love scary stories and, in fact, benefit from them by facing and mastering the little moments of ‘fear for fun’ these tales provide. Naturally, every storyteller needs to know the audience and judge the appropriateness of every frightening folktale.” 33

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“With every story comes responsibility. You are responsible for the stories you share. Don’t neglect your responsibility. Sometimes a story that has grotesque and senseless violence is not one to share with others. Don’t choose your stories like a shopping list; choose like it will affect someone, because it will. You determine the outcome by not only your telling, but your story choice.” Kevin Cordi, Professional Storyteller

In the introduction to Haunted Bayou and Other Cajun Ghost Stories, the late J. J. Reneaux stated, “The ghost stories in this collection have been passed down from generation to generation through storytelling. They have served not only as entertainment but as teaching tools, helping tellers and listeners remember the legends, myths, and history of their people. They have also acted as warnings, cautioning against the dangers of breaking rules and taboos of society. Now as then, tales of ghosts provide comfort by allowing people to face their worst fears without true danger.” Diane Ladley, who is known as “America’s Ghost Storyteller,” explains the dynamics of fear and says that how the brain uses fear as a means of signaling danger is a way to maximize the chances of survival in a dangerous situation. Diane says scary stories:

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Provide a safe way to exercise and develop our fear system. Teach appropriate actions and options to choose from. De-sensitize us to scary things to help us cope—habituation. Sensitizes us to real life fearful situations and builds caution.

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“Kids need make-believe violence to help them cope with real-life dangers.” Diane Ladley, America’s Ghost Storyteller

Roberta Simpson Brown, author of Queen of the Cold-Blooded Tales, offers this explanation as to why she believes stories have value. “When I became a professional storyteller, I realized that one thing all human beings have in common is the powerful emotion of fear. I saw that scary stories grabbed the attention of the most reluctant listener. When I look out at the huge audiences that come to hear ghost tales, I am convinced that people have a need to share fear and realize that they are not alone.”

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“Telling stories is something people have done for thousands of years, for most of us like being scared in that way. Since there isn’t any danger, we think it is fun.” Alvin Schwartz, Author of Scary Stories to Tell in the Dark

Other sensitive story content deals with subjects that society considers taboo. Milbre Burch’s CD, Sop Doll & Other Tales of Mystery and Mayhem explores some of the very issues society ardently avoids: incest, a mother’s abandonment and murder of her children, and mental illness. She approaches these subjects with artistry, sharing the stories with intelligence and eloquence. Milbre says, “This is the second time I’ve ventured into the shadows to make a recording. The stories have themes as old as nursery tales and as current as the headlines. Let us mark the consequences there, and find a way to move toward the light.”

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Elizabeth Ellis and Loren Niemi explored telling difficult stories in a workshop titled “Telling the Darkness,” which was first presented at the 1999 National Storytelling Conference. The workshop resulted in a book, Inviting the Wolf In: Thinking About Difficult Stories. Elizabeth and Loren advise, “We must tell difficult stories to be truly human, to acknowledge within our experience and imagination both sides of our nature… We also need to recognize that the basis of our hesitation in telling difficult stories is often a self-censorship based on our fear of criticism, of being misunderstood, of discomforting the audience, or of losing bookings and money the bookings would have brought. If we strip the stories of their meaning because we are afraid, we not only do a disservice to the stories, but ultimately to the audience.”

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“Too often tellers shy away from controversial topics. The feel-good mentality of storytelling is valuable but I can think of few genres that can embrace the challenges and difficulties we face as a nation and a global community, that has the potential for engagement in the way that storytelling can.” Rex Ellis, Professional Storyteller

Censorship A few years ago, I visited a school, and for my first assembly program, I told the story of a turtle who was caught by a fox. The fox threatened to roast him and boil him. The turtle eventually tricked the fox into throwing him into the river, where he lived in the first place, and the turtle escaped (much like Brer Rabbit and the briar patch). One of the teachers was highly offended by the story. She said, “Our children are exposed to enough violence in the news and on TV. Can you please not tell that 35


story again?” During my second assembly, I made changes to my story selection, opting not to “rock the boat” any further. The school has not rehired me since. I was performing with my group, Story Ballet Magic, at a school in a conservative parish of Louisiana. We performed classic fairytales through storytelling and ballet en pointe. We were scheduled to perform “Frog Prince” for a Pre-K through 2nd grade audience. Right before our show began, the coordinator informed me that one of the parents was upset when he heard we were performing at the school because our name contained the word “Magic” in it. The upset parent contacted the principal and the school board, raising a ruckus. Though we were not asked to leave, I was asked by the coordinator to remove any words in the story that had to do with magic—I had to delete the words “wish,” “transform,” “witch,” and “spell.” Two minutes before the show, I was busy trying to recreate the end of the show without altering the essence of the story. In addition, I was not allowed to mention the name of our group. We were put in a very awkward position and had to make a choice—either comply with the requests or walk out. We chose to stay because exposing 300 children in the audience to the arts was more important to us than allowing the unreasonable ranting of an irrational parent to scare us away. Following the performance, we learned that the angry parent did not allow his child to watch the show. However, he was in the audience observing us with a watchful eye. At various points in the story, I noticed him smiling and laughing. He told the coordinator he enjoyed the show. The school hired us year after year since that incident. Censorship has affected storytellers for centuries. Stephen Denning, author of The Springboard: How Storytelling Ignites Action in Knowledge-Era Organizations, states, “We live in an age when storytelling is suspect. Scientists deride it. Philosophers threaten to censor it. And storytelling’s bad press is not new. It has been disreputable for several millennia, ever since Plato identified poets and storytellers as dangerous fellows who put unreliable knowledge into the heads of children and hence would be subject to strict censorship in The Republic.” Ann Trousdale, an associate professor in the Department of Curriculum and Instruction at Louisiana State University in Baton Rouge, states, “When the Grimm Brothers published their collections of German folktales in the nineteenth century, it was thought that the fearful elements served a purpose helpful to parents: They frightened children into obedience. But in the early decades of the twentieth century, the pendulum began to swing in the other direction. Many adults feared the violence and gruesomeness in many of the tales would have a harmful effect on children.” Bruno Bettelheim defended the use of fairytales in his book, The Uses of Enchantment. He suggests that fairytales illustrate children’s inner conflicts and offer resolution in ways that children are able to grasp and understand. Censorship, or the “watering down” of traditional tales, robs children of the opportunity to reason and deduce, reducing the stories to mere fluff rather than a substantive form of moral development.

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“Storytelling is our oldest form of remembering the promises we have made to one another and to our various gods, and the promises given in return; it is a way of recording our human emotions and desires and taboos. Whoever dares to tell a story must bear in mind that the story is an essential part of our humanness.” Jane Yolen, Author of Touch Magic: Fantasy, Faerie & Folklore in the Literature of Childhood

Sometimes, storytelling is about risk taking. You may have to take a stand, defend your story selection, and continue to tell them in spite of objections. You may also choose to acquiesce to your client’s request. Either way, there is no set answer. It’s a subjective judgment call that is, ultimately, up to you to decide.

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“Snip, snap, snout, this tale’s told out.”

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Recommended Reading—Books Bettelheim, Bruno. The Uses of Enchantment: The Meaning and Importance of Fairy Tales. Vintage (1989). Brown, Roberta Simpson. Queen of the Cold-Blooded Tales. August House (1993). Creeden, Sharon. Fair is Fair: World Folktales of Justice. August House (1994). Dockrey, Richard and Judy. Favorite Scary Stories of American Children. August House (1990). ———. The Scary Story Reader. August House (1993). MacDonald, Margaret Read. The Storyteller’s Start-Up Book. August House (1993). ———. Tell the World: Storytelling Across Language Barriers. (2008). Niemi, Loren, and Elizabeth Ellis. Inviting the Wolf In: Thinking About Difficult Stories. August House (2001). Reneaux, J. J. Haunted Bayou and Other Cajun Ghost Stories. August House (1994). Schwartz, Alvin. Scary Stories to Tell in the Dark. Harper Trophy (1986). Yolen, Jane. Touch Magic: Fantasy, Faerie & Folklore in the Literature of Childhood. August House (2000).

Recommended Reading—Magazines “Storytelling Ethics.” Storytelling World. Winter/Spring, 1999 (Issue 15). “Storytelling & The Public Domain.” Storytelling World/Storytelling Magazine. November/December 2000 (Vol. 12, Issue 6).

Recommended Websites Kind Crone Productions Kind Crone is the website of Milbre Burch. Order Sop Doll & Other Tales of Mystery and Mayhem from her website. www.kindcrone.com Odds Bodkin Odds Bodkin is an multi-award winning storyteller and author. His website is packed with great articles in his parents section including “What’s Scary Enough?” www.oddsbodkin.com

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Preparing for Performance

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“Many years ago, in a time when memory was young...” (India)

In this chapter… ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³

“So People Hire You to Read?” Acting v. Storytelling Creating Thematic Programs What to Wear Technical Requirements The Importance of Rehearsals Setting Up the Performance Space Teller Preparation Handling Stage Fright Introductions Introduction Card Preparing for Performance Resources

“So People Hire You to Read?” Many times when I tell people that I am a professional storyteller, they ask “So people pay you to read to kids?” There is a general misunderstanding of what storytelling is. To combat this misconception, I have created a stock answer: “I perform stories, learned by heart. It is a theatrical presentation complete with a professional sound system, wireless microphone, and a 7 foot backdrop.” My answer is usually met with an “Oh!,” “Wow!” or “Oh, Wow!” It always opens the door for more conversation about storytelling.

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When you are faced with the same question or misconception, be prepared to give a quick answer describing your storytelling presentation. It is a great opportunity to educate people about the art of storytelling and perhaps even win you some new business.

Acting v. Storytelling People often confuse storytelling with acting. Though storytelling shares commonalities with acting, storytelling is an art form in and of itself. Many storytelling performances are theatrical in nature and even utilize theater techniques but there are some vast differences between storytelling and acting.

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Stories are learned by heart, not memorized, allowing for play with words, flexibility, and adlibbing with each audience.

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In traditional theater, there is a “fourth wall,” an invisible wall that separates the actors from the audience. Actors interact with only each other.

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Storytellers make direct eye contact with their audience, encouraging active listening.

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Actors generally limit eye contact, looking only at one another.

Creating Thematic Programs When selecting stories to build your repertoire, consider placing them into thematic programs. People relate well to themes. Stories that fit into a theme lend a consistency to programs. Themed shows flow well because the program contents are cohesive and interrelated. Stories fall naturally into themes. Suggested themes for programs are: • • • • • • •

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Trickster Tales Stories from Around the World American Stories Tales of Strong Women Animal Tales Ghost Stories Tales from a Particular State or Country

X X X X X X X X X X X X X X X X X X Chapter 4

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- Preparing for Performance

Regional Tales Wisdom Tales Fairy Tales Riddle Tales Pourquoi? Tales (Why? Stories) Creation Tales Myths and Legends Family Stories Personal Stories

When creating thematic programs, fun titles catch attention. Stories from around the world could be titled “Around the World in a Day;” stories from the United States—“From Sea to Shining Sea;” stories from Ireland—“Tales of the Emerald Isles.” You get the picture. Themes and theme titles are only as limited as your imagination! If you are creating themed programs for schools, check to see if you can create themed programs that will fit in with the current curricula the school is teaching. For special events, you can ask if the presenter is promoting a particular theme. Being able to customize a themed program will make you more marketable.

What to Wear There is no set dress code for storytellers; however, wearing a particular kind of clothing or costume will set you apart from the crowd. I wear a “butterfly” dress. It is a roomy dress with “wings” that expand when I hold my arms out. I under-dress (a theater term meaning to wear clothes beneath a costume), wearing a camisole and shorts in the summer, and long sleeves and leggings in the winter. I have a seamstress who sews my costumes for me. I wear different butterfly dresses for each of my thematic programs. It makes dressing for performances easy and my audiences always respond enthusiastically to my costumes. Doc Moore, a storyteller from Texas, is always distinguishable. His storytelling wear includes a cowboy hat, boots, and a tailored vest. Doc always looks like a gentleman and when he steps on stage, you know something special will take place. His “digs” let you know from the get-go that he takes pride in his Texan heritage. When selecting clothing for performance look for comfort and practicality. An all-linen dress may look great on the hanger, but after a long drive and moving around, it turns into a rumpled mess. Breathable, microporous fabrics are best; fabrics that allow perspiration to escape through its pores. If you are concerned with wrinkles, choose synthetic or synthetic blend fabrics. The following guide will aid you in choosing fabrics for your storytelling wear.

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“Value your audiences by showing them they are worth dressing up for! No matter what venue I perform in, my motto is ‘Dress for Success.’ I wear silky, flowing jackets or capes in bright colors and sparkly jewelry, whether I’m performing on a main stage or in a classroom. A storytelling event is cause for celebration, and the clothes/ costumes should reflect that excitement.” Leeny del Seamonds, Master Story PerformerTM

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Types of Fabric

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Acrylic—Acrylic is a generic name for synthetic fibers derived from 85% polyacrylonitrile. It is used for base layers or insulating fabrics. Properties include a soft, wooly hand, wash-andwear performance, colorfastness and wrinkle resistance. Acrylic is used in socks and in blends with cotton for fleece apparel. Though Acrylic is wrinkle-resistant, it does not breathe very well. It is great traveling wear.

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Cotton—A highly absorbent natural fabric that has no insulating properties when wet. Cotton is good for hot conditions because it draws heat away from the body when it is wet. Cotton wrinkles easily and takes a long time to dry.

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Denim—A cotton twill fabric made of coarse, hard-twisted yarn. Denim is extremely durable but heavy. It absorbs water easily and takes a long time to dry. Jeans are typically made with denim.

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Knits—Knits are constructed by interlocking a series of loops by hand or machine. Knitted fabrics tend to mold and fit easily to body shapes. They quickly recover from wrinkling.

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Nylon—Generic term for fiber made from synthetic polyamides extracted from coal and oil. Nylon is wrinkle resistant and lightweight.

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Polyester—Quick drying time, high strength, abrasion-resistance, and crease resistance are the hallmarks of this fabric. It is frequently blended with cotton, rayon, or other synthetics. Polyester is great wrinkle-free, “wear-n-go” fabric. The downside to polyester is that it does not breathe well and is insufferably hot in warm weather.

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Rayon—Generic term for fibers derived from trees, cotton, and woody plants. Rayon has a shiny appearance, dyes and drapes well, and has a silky hand, but it is too absorbent for good moisture management. It shrinks terribly when washed so be careful when cleaning rayon.



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It is important for the professional storyteller to look good as well as feel comfortable. Be mindful of your appearance when getting dressed for a performance. You never know who might be in your audience.

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“Never be wrinkled!” Linda Gorham, Professional Storyteller

Technical Requirements When sending out your confirmation and contract (which will be discussed in detail later), be sure to include your technical requirements. Having what you need at the onset of your show is critical to a good, safe performance. Your technical requirements are all the elements you need to produce a quality show. Some examples of standard requests for nonmusician storytellers are: • • • • • • •

Bottled water to drink (specify cold or room temperature) Onstage equipment: sound system, microphone (wireless, lavaliere, or hardwire), microphone stands Access to an electrical outlet Lighting Performance area cleared of objects and activity one hour prior to the show Sound check School bells turned off during performance

If you are also a musician, you may need to provide a stage plot, a diagram of how you prefer your equipment be set up on stage. In any event, even for nonmusician storytellers, a stage plot is good to have. In addition, storyteller/musicians may also require additional sound equipment such as monitors and mixers for their gear. 43


The Importance of Rehearsals

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Rehearsals help stretch, bend, and shape your story until it fits you. It allows you to really get to know your story. This is when you can spot weaknesses in the plot, characters, and pacing. Listen to how the story sounds. Are you rushing the words? Are your character voices consistent? Is your plot clear? Is there a dead spot in the story? Does the language flow? Rehearsal allows you to refine the story and get it just right. Rehearsal time doesn’t have to be in a fixed space. You can rehearse a story in the shower or in the car, driving to a performance. You can rehearse in front of a mirror or in front of family and friends.

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It is unfair to your client and your audience to come into a performance half prepared. Whether it is your first time or your 400th time telling the story, a good rehearsal will help to center you and get you into the “story space.” When people invest money to hire you or pay for tickets to see your show, they expect to see a finished, polished product. Rehearsals help you achieve that.

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“Each rehearsal is another day in the life of the characters. Fully alive characters generate fully alive stories.” Yvonne Healy, Professional Storyteller



Setting Up the Performance Space It is good to arrive at least one hour before your scheduled performance time to check out the space. Allow time to make any adjustments if necessary. In addition to setting up any equipment you carry, you may have to: • • • •

Find your performance liaison. Sign in and receive a visitor’s pass. Have the performance area cleared. Sign paperwork for your payment.

If you are performing on stage, be sure to place yourself midway between the back and the front of the stage. That way, audience members in the front will less likely have to crane their necks to see you. If you are a single storyteller performing in a large space, you will need to either cover the stage with your movements or direct the audience’s attention in your favor. Be aware of the audience’s sight lines.

Creating a Focal Point Creating a focal point helps to center the audience’s visual point of reference. I accomplish this with a 7´ 8´ backdrop constructed of PVC and fabric. I have different backdrops, one for each of my themed programs. In addition to focusing the audience’s attention, the backdrop also hides the unsightly flaws of the space (storage boxes, stacks of books, the cafeteria service window, etc.). It gives the audience something to see when they are first seated. It’s a “teaser” for the upcoming program.

Marking Your Space If you are performing on the floor in front of your audience, it is helpful to mark off your space using masking tape. I generally tape a line down and ask the audience to sit behind the line. This technique works wonders with school and library audiences.

Placement of Props Props should be strategically placed. They need to be close enough to you that you can easily access them without disturbing the flow of the program, yet they also need to be far enough way that the props won’t steal the attention away from you or your storytelling. Placement of props on a small table at waist level works well. That way, you do not have to bend down to reach for them, disrupting eye contact with your audience.

Sound Check Before you begin your show, it is critical to perform a sound check. Test the sound to make sure that it is working properly. Test the microphone and listen to the quality of the sound. Does it need to be adjusted to accommodate the acoustics of the room? Make sure that your audience can hear you and you can hear yourself. Read more about sound issues in Chapter 6 “Mastering a Sound System.”

Temperature of the Room If it is possible to control the temperature of the room, ask to adjust the temperature if it feels too hot or too cold. If you audience is not comfortable because of the temperature, they will have a difficult time paying attention to your performance. 45


Location of the Performance When setting up for your performance, if you have control over where you set up, choose a space with the least visual and sound distractions. It is best to avoid: • • • •

Performing near windows—Activities behind the glass will distract your audience. Placement near a large, whirring fan, vent, or air conditioner—You will be competing for volume. Placement near the kitchen or service area if you are telling at a dining event—You will be competing with the clatter of dishes and silverware. Placement near a spacewalk, characters such as Santa or the Easter Bunny, and live music— You will be competing for attention.

Visually Speaking If you are performing on a stage, be sure to place yourself midway between the back and the front of the stage. That way, audience members in front will less likely need to crane their necks to see you. The higher the stage, the more you will have to be aware of how the front rows perceive you. If you are a single storyteller performing in a large space, you will need to either cover the stage with your movements or direct the audience’s attention in your favor with stage presence. Again, be aware of the audience’s sight lines. If you are performing on the floor, it is best if your audience (in the case of children) can be seated on the floor. If your audience is sitting in rows of chairs or at cafeteria tables, they will only be able to see you from the waist up. Movement below the waist is lost to audience members from the third row back. For audiences seated in chairs, it is best if you are elevated so that they can see your entire body during the performance. That way, the subtleties of your performance will not be lost because of poor sight lines.

Teller Preparation It is important to prepare yourself for your show physically, mentally, and vocally. Being in the right frame of mind is just as vital to your performance as preparing a well-crafted repertoire.

Mental Preparation My rule of thumb is that the moment I step into my vehicle to drive to a performance, I am “on.” This mindset helps me focus on what is important—my show. “Mind noise,” those random thoughts about all the work you have piled on your desk, which bills are due next, what’s for dinner, etc. should be blocked out momentarily to allow you to focus on your show.

Physical Preparation Performance requires strength and endurance. Your body must be able to sustain throughout your performance. It is important to not only keep healthy but to warm up the body before stepping on stage. If you have time, progressive muscle relaxation or yoga is a good way to loosen tense muscles and allow your body to naturally relax. You may even consider studying the Alexander Technique, a method that helps a person discover a new balance in the body by releasing unnecessary tension. 46



Tension in the body can, at times, work its way into your performance. If you have little time to warm up, do some stretches using your whole body, some shoulder rolls to loosen up the shoulders, and some head rolls to relieve tension in the neck In the midst of a 72 performance residency, I noticed that when I finished performing and went home, my whole body would ache, as if I had been engaged in heavy exercise. After several repeats of this, I realized the problem. I did not warm up my body before performance. When I began warming up, even doing simple stretches and rolls, I noticed a huge difference.

Floor Surfaces I also noticed that the type of floor I performed on greatly impacted my physical well-being. Performing on a tile floor (tile over cement) is more demanding than performing on carpet, a wood stage, or a wood gym floor. The wood absorbs force while other hard surfaces simply resist impact, which can cause stress on the legs and back. Wearing good, comfortable shoes is a must!

Handling Stage Fright

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Every performer has had it at least once. I’ve always called it the “Willies.” At the beginning of my career, my first public performance in which I was billed as a storyteller was at a library. It was an evening family program. I had been the resident storyteller every Saturday afternoon for two years. Most of the kids in my audience were “regulars.” But just before I left home, I had to take two Imodium to combat the problem my nervousness caused! Once I began performing, things were fine until a photographer shot a flash picture. The flash caught me off guard and I froze in the middle of my story like a deer staring at headlights. I survived the gig and the library still continues to hire me.

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“Stage fright is natural. Communication apprehension is not a dragon, but simple muscle tension. Let it come, but don’t let it stop you. It is okay to be nervous; it is not okay to let that nervousness rule you.” Kevin Cordi, Professional Storyteller

Stage fright usually manifests itself before you step on stage. But it can also rear its ugly head while you are performing. Symptoms of stage fright are: • • • • •

“Butterflies” in the stomach Dry mouth Shaky voice Tight throat Sweaty hands 47


• • • • • •

Trembling hands, knees, and hips Cold hands Pulse racing Digestive problems Nausea Hyperventilating

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Most people would rather die than speak in public. The reason for this mass phobia of public speaking is because as children, many of us were taught to succeed through fear, intimidation, or humiliation. Instead of building an atmosphere of praise and success, we had teachers, parents, and peers who pressured us to succeed at all costs. Mistakes were not met with praise but with admonishment. As a result of this system, self-esteem tumbles. People are afraid of being rejected and humiliated in front of their professional peers and colleagues.

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“Stage fright is a natural part of any performer’s world. And it’s not a bad thing. Having a bit a stage fright gives you an adrenaline boost for energy, and reminds you that your performance is important. Just knowing that EVERYBODY experiences stage fright, even seasoned tellers, helps some newer tellers handle it better.” Debra Olson Tolar, Professional Storyteller

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Everyone reacts differently to stage stress and there is no “one size fits all” fix. Managing stage fright requires personal customization. Every situation is different as well. Before you perform, you can employ a combination of the following techniques to help combat your fear.

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“Your art has to become bigger than your fear.” Peggy Melancon, Professional Storyteller

Before the Performance: • •

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Be well prepared and know your story and program. Arrive at the site early and check out the space. Make it “your space” by setting up the room the way you feel comfortable.


• • • • • • • • • •

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Practice diaphragmatic breathing with long, deep breaths. Warm up your body and voice. Drink room temperature water to keep your throat and mouth moist. Cold water tends to constrict the vocal chords. Imagine the audience listening and lauding you. Remember why you are a storyteller—visualize your mission. Visualize happy moments in your life. Avoid caffeinated drinks before performance, which act as diuretics and dehydrate the body. Yawn to relax your throat. Before the performance, if you are able, walk around and shake hands with the audience, saying “hi” to people. Warm them up in advance. If you are someone who needs “centering time,” find a quiet space to meditate/pray and relax before your performance. Do a last minute check of your appearance. Bring a set list of your stories.

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“No one audience behaves the same way. Come in early before a show. Check out the audience and adjust your show to meet their needs. They are the story listeners and participants. Gear the show to help them enjoy your work.” Kevin Cordi, Professional Storyteller

While You Are Performing • • • • •

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Focus your attention on the warmest people in the audience. Tell your story to those people. Use the “Three Second Rule” and look at individual people in your audience for three seconds and then move on to the next person, being sure to scan the entire audience. Smile at people in your audience. Lose yourself in the story. If your mouth becomes dry while you are performing, the late Chuck Larkin advised, “Curl your tongue upward in your mouth and press your curled tongue against the tissue just above your teeth. This triggers saliva release.” Keep room temperature bottled water nearby and take a sip if you need to.

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“Take time the day before a performance to review your contract and directions (it helps to look at a map). List the stories you plan to tell—I jot them down on a small post-it note and place it near my water bottle during performance so I can glance at it when I take a sip of water. After the show, I check off which stories I told and cross off the ones I didn’t use; then I place the updated post-it back on the contract before filing it away. This comes in handy when that sponsor books a return visit, so I can see which stories I already told at that location.” Leeny del Seamonds, Master Story PerformerTM

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When you are nervous, your senses are heightened and no one notices your stress as much as you do. You will probably feel more nervous than you look. Remember, when you step on stage, your audience wants you to succeed. They want to feel good and enjoy themselves. They are there to benefit from your gifts.

Introductions Many people underestimate the power of introductions. Introductions set the stage for what is to follow. A good introduction will excite an audience about the upcoming performance. Many introductions fall flat because presenters do not know what to say about you. Excerpts from a press release or a bio often result in long, boring introductions. Most presenters are not skilled emcees and they have little or no time to prepare an introduction.

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To eliminate this problem, I provide a ready-made introduction card. It is short, sweet, and to the point. Because the majority of my shows are in the school and library market, I tailor my intro card for those audiences. I give the introduction card to the person making the introduction just before the show, instructing them how to pronounce my name. The card can be read directly to the audience. Presenters are always happy to receive the introduction cards because it takes the pressure off them. You look good, they look good, and everyone is happy.

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INTRODUCTION CARD Our special guest today is Dianne de Las Casas. Dianne is an award-winning storyteller who has traveled around the world. She has lived in many exotic places such as Hawaii, Spain, and the Philippines, and has traveled across Europe and the United States. Dianne will present an adventurous program of stories from near and far. So open up your eyes, your ears, and your hearts and experience the magic of stories with Storyteller Dianne de Las Casas. Please give her a warm welcome.

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“If you don’t give the introducer a written intro, you might end up with a kiss of death introduction like I received, ‘Please welcome Patti Christensen, who will tell you the funniest story that you’ve ever heard in your entire life.” Patti Christensen, Professional Storyteller

Preparing for Performance When you adequately prepare for performance, you benefit and your audience benefits. It’s time to let the stories do their magic. Lights, camera, stories!

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“And now the story is yours…”

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Recommended Reading Desberg, Peter. Mastering the Art of Public Speaking. Barnes & Noble Books (1996). Esposito, Janet. In the Spotlight: Overcome Your Fear of Public Speaking and Performance. Strong Books (2000). Kushner, Malcolm. Successful Presentations for Dummies. IDG Books Worldwide, Inc. (1997). Lipman, Doug. The Storytelling Coach: How to Listen, Praise, and Bring Out People’s Best. August House (1995). Stevenson, Doug. Never Be Boring Again. Cornelia Press (2003).

Recommended Websites Patricia Fripp Patricia Fripp is a renowned public speaker who shares her insightful wisdom with dozens of articles on public speaking. I highly recommend her website. www.fripp.com Public Speaking This website, sponsored by the Advanced Public Speaking Institute, is full of great articles on public speaking and presentations. www.public-speaking.org Storyteller.net Sean Buvala’s site is one of the biggest and best sites on storytelling. Packed with great articles on performing stories, contributing writers pass along insight and wisdom based on experience. “How To: Three Basic Rules for Telling Success” by C. Keith Young (www.storyteller.net/articles/43) is a great article on preparing for performance. www.storyteller.net Storytellingpower.com Chris King’s site has evolved into one of the best sites on resources for storytelling. This site is chockfull of free articles and recommended books on storytelling. “Pick A Theme for Your Next Storytelling Program” is a great article by Chris on the importance of selecting a theme. www.storytellingpower.com

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Performing Stories

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“Once on the far side of yesterday...”

In this chapter… ³ ³ ³ ³ ³ ³ ³

Developing a Program Audience Management Recovering from Mistakes and Embarrassments Say Cheese! Performing Artist Etiquette Performing Stories Resources

Developing a Program Entertaining and creative shows are in demand. There are several elements to consider when developing a show.

Audience Consider your audience. Unlike library audiences, school audiences are often very specific. You can usually count on performing for grouped grades—grades Pre-K–1, 2–3, 4–6, 4–8, or 5–8. Material specifically suitable for Pre-K–1 will not be suitable for grades 4–6. It is in your best interest to prepare material that is suitable for all the various groupings of grade levels. For adult audiences, consider the occasion for the event and the demographics of the room. This will help you determine what material will be appropriate for the group. Obviously, a room full of middle-aged women gathered for a women’s empowerment conference will not be interested in hearing stories about the history of the Green Bay Packers football team.

Group Dynamics With the various sizes of your audiences, consider the dynamics the size of the group can create. Large groups can be more challenging to focus and manage while small groups may be self-conscious about audience participation. Test your audience’s threshold and introduce various elements of your

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show little by little. Some audiences require little or no encouragement from you—they are easily stimulated while other groups take time to warm up. Where you are performing can also contribute to group dynamics. Whether you are in the suburbs, the inner city, or a rural area, each group of children will respond differently. What one group finds extremely funny may fall flat with another audience. Test your material to see that it works in all environments. Tell the stories to different audiences and note what works and what can be improved.

Themes People identify with themes. Themed shows sell. Various themes to consider are: holidays, Drug-Free Week, National Children’s Book Week, Curriculum-based themes, themes related to state events or the state itself (i.e., California Gold Rush stories), cultural or ethnic themes. This is by no means a comprehensive list. Find a common thread for your program elements and create a new theme. When creating a themed show, remember that the story always comes first. Don’t sacrifice the quality of a story for the sake of creating a theme. Always choose stories that speak to your heart.

Research Once you have decided on a theme for your program, begin your homework. Do the research necessary. Find all the possible variants of the songs or stories you are using in your program. Research the time period for the costumes you are creating. If you are creating a school show, research the various curriculum themes of the school districts you are marketing.

Openings and Closings How are you going to begin and end your program? A good opening sets the stage for a solid program. Tying your program together requires an equally polished finale. Rehearse your openings and closings so that they come naturally to you.

Segues or Bridges What devices are you using to bridge the elements of your program? If you are singing, do you have narrative segues between songs? If you are telling, will you use a song, chant, or poem to segue into the next piece? Consider your segues/bridges carefully. They are as vital to the flow of your program as the main course itself. It’s like a gourmet meal with a sorbet between entrees to “cleanse the palate of the last course” and “prepare the palate for the new course.”

Educational Content for School Shows Is your program educationally enriching without being syrupy? Many times, well-intentioned performers will lace their programs with sugary messages, forcing students to partake of the “educational value.” School shows can be fun, entertaining, and educational without being preachy. Research the curriculum connections of your show and demonstrate your show’s educational value with a well-prepared study guide. See Chapter 23 “Storytelling in Education” for more detail on building a school show and creating study guides.

Age Level Appropriateness Selecting and adapting material appropriate for all age levels is quite a challenge. It’s good to have a variety of selections at your disposal that will be age-level appropriate for various ages. Obviously, 54


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“Shakespeare Shakes ’Em Up” will not have as much appeal to first graders as it would to high schoolers who already have a background in Shakespeare. Consider the life experience of the students as well when developing your show.

Pacing/Flow

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If your show is advertised at 45 minutes, then it should be 45 minutes. Be sure to time the flow of your show so that you know it will fit within the scheduled time slot. Also, the pacing of your show is important. Your show should build toward a climax and end with a finale—one that will leave the kids exhilarated but not hyper. Your show should climb upward until you reach the top, and then gradually come down.

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“...it is important to plan a program that flows easily, yet also holds together.” Chris King, Editor of www.storytellingpower.com

Kid Appeal If you are performing for kids, be aware of what appeals to them. Performing for kids is a specialty. Spend some time with a group of children (not your own and outside of performance) and observe them. What do they laugh at? What do they find silly and humorous? Read some good children’s books (ask a children’s librarian for recommendations) and get a feel for kid appeal. Go to a children’s movie and listen carefully to the lines the kids laugh at. Practice making faces that make kids laugh. Observe kids with other children’s performers. If the kids dig you, chances are, the grown-ups will too.

Polish Finally, practice your show as often as possible. Test it for various audiences. Fine-tune, adjust, and polish your show. Let your creativity shine and you will be at the top of your class!

Audience Management Imagine walking into an auditorium (gym or “cafetorium”) filled with 400 wiggly, overly energetic, boisterous students who are being yelled at by their teachers to “settle down” or “shut up.” Imagine that it is in the afternoon right after lunch and the air condition isn’t working properly. It is 90 degrees outside so they have the door propped open. Now all the outside cacophony pollutes your performance space and a large fan is turned to high, making a loud whirring sound that could drown out a 747 engine. How do you manage an audience in these types of conditions or worse? The above scenario is not imagined. It actually happened to me and it could happen to you. At some point or another, as storytellers, we will face the inevitability of audience management in 55


less than desirable conditions. In a performance, it is a storyteller’s responsibility to: (1) manage the audience; (2) connect with the audience; and (3) connect with the story. Audience management is a skill that is honed over time with performance experience. Here are a few tips.

Spot Potential Problems Before the Program Begins Before the program, I survey my audience. When I am dealing with a large group of children, I look for the ones that are overly energetic or misbehaving. I approach them before the show and let them know that I appreciate their energy and ask them if they would like to be a “special helper.” In doing so, I ask them to be “role models” for the other children and they usually respond positively. At the end of the program, I acknowledge them, and they are recognized by their teachers and their peers. This helps to eliminate potential behavioral problems during the performance.

Use Sound Reinforcement If you are telling to a group larger than 50 or 75, I recommend using a sound system. Taking care of your audience means responding to their needs. In order for your audience to connect to you and your story, they need to be able to hear the storytelling clearly. Sound reinforcement is not only essential for large groups, it also helps you by decreasing voice strain.

Warmly Welcome Your Audience Welcome your audience and let them know how much you appreciate their participation in the program. A warm welcome will set the tone for the rest of the program. A story is co-created with your audience and if your audience is comfortable from the get-go, they will be more likely to connect with you and the story.

Set Audience Expectations Let your audience know what you expect of them. If you want them to sing along or participate in a story, coach them and help them practice their lines or chorus. If they are too loud or boisterous in their participation, use positive reinforcement and let them know that you appreciate their enthusiasm but explain the difference between using an “indoor” voice and an “outdoor” voice or a “big” voice and a “small” voice.

Select Age-Appropriate Stories The fastest way to lose an audience is to select stories that are not age-appropriate. For example, telling a 25-minute story with no audience participation to a group of preschoolers will not work.

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They will quickly lose interest after the first five minutes. Choose stories that work with your audience and pace your program accordingly. A more appropriate selection for preschoolers would be short stories with repetitive audience participation and fast-paced story bridges such as fingerplays and songs between stories.

Articulate Clear Instructions If you are requesting audience participation or volunteers, provide concise and complete instructions. If your audience does not understand what you are requesting, they will be confused and lose interest.

Maintain Eye Contact Contact is vital to storytelling. It is the connection between you, your audience, and the story. When telling to large crowds, be sure that your eye contact spans the group and that you make eye contact with the group as a whole, especially those audience members located in the back. They are usually the first to lose interest because they are further away. Do not let your eyes rest on someone for more than three seconds. This could cause uneasiness in the audience member. Eye contact allows you to respond to your audience’s reaction to the story and vice versa.

Regain Control if a Distraction Occurs There will be times when the inevitable occurs: a siren screams in the middle of a story, a bell rings as you are telling, or a bug crawls in front of the kids and they find it more interesting to play with than listening to a story. If a distraction occurs, pause long enough to either let the distraction finish or eliminate the distraction (and I don’t mean squash the bug). Re-focus and continue your story (i.e., “As I was saying, when the queen found out that her pig was stolen…”).

Be Assertive In Taking Appropriate Action When dealing with hecklers, I usually ignore the first incident. Sometimes, it is just a burst of energy that works itself out. If an incident occurs a second time, I continue with my story but give a stern look to the audience member who is causing the disturbance, letting him/her know that I can see them and know what he/she is doing. This usually stops the disturbance. In extreme cases, I have stopped and firmly confronted the heckler myself or asked a teacher to administer appropriate action if the heckler is a student. Be assertive and firm. Their disturbance not only interrupts the story, it deprives the other audience members of their right to enjoy the performance.

Praise Your Audience Praise your audience and thank them for a job well done. If they did exceptionally well in some areas, be sure to make a note of it. Audiences, like performers, want to know when they are doing a good job.

Stay Focused As storytellers, we want to spread the joy of storytelling in as many places as possible but there are many challenging venues in which to tell stories. Sometimes this means that conditions are less than favorable, and our audience management skills are greatly challenged and put to the test. Stay focused and centered. Remember the significance of the story you are telling.

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Audience management is an acquired skill that develops with time. Keep telling whenever and wherever you can and your audience management skills will increase. When you have done everything you can to manage your audience and your own expectations fall short, remember that tomorrow is another day and it too shall become a story.

Recovering from Mistakes and Embarrassments Performing live is always a challenge. Performing live and making a mistake or having something really embarrassing occur can make you want to crawl into a hole and hibernate—for the rest of your life!

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I was performing in a rural parish of Louisiana, traveling through the library system for their annual summer reading program. In Kentwood, I had an afternoon program at a small branch library that was packed knee to knee with kids. I had performed earlier in a neighboring town, Pontchatoula, and the photojournalist missed my show and came to the Kentwood branch library. He sat in the back of the audience, ready to shoot. The photojournalist from the Kentwood newspaper was also present, just to my right, taking pictures as I told stories. Everything was going well and the kids were cracking up. A little 5-year-old boy in the front row, who was fidgety to begin with, became instantly enamored with the mouse puppet I was using to tell the story of “The Lion and the Mouse.” Suddenly, he lunged up to grab my mouse. Instinctively, I pulled the mouse up, out of the boy’s reach. The boy’s hands descended and grabbed my elastic-waisted black pants. Dowwwwwn came my pants—all the way to my ankles! Without missing a beat, I pulled up my pants (fortunately, I had a long tunic shirt that covered just enough…) and asked the photographer to my right, whose face matched his red hair, “Did you get that picture? That’ll sell a lot of papers!” The room, which had fallen dead silent, exploded in laughter. Disaster diverted.

Recovering from Mistakes Everyone makes mistakes. In performance, the way to handle mistakes is to quickly correct them or incorporate them as part of the story. A quick wit and a good sense of humor will help you get through most disastrous mistakes. I was telling stories at a prestigious private school and wanted to make a good impression. As I went further along into my story, I realized that I inadvertently left out a major event in the story. When I came to the point in the story where the deleted scene mattered, I simply said, “And what Anansi didn’t know was that…” I filled in the scene I had mistakenly omitted and though the story didn’t flow as usual, it certainly worked. Several children approached me after the show and said the Anansi story was their favorite. It goes to show that mistakes that seem to glare at us in bright red are only shades of pink to the audience.

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“The important thing to keep in mind is that as long as you do not appear distressed, your listeners will not care if you forget part of the story. They will want to hear a good story, and you are the link between the story and your listener’s imagination.” Ruth Stotter, Author of More About Story

Kids love silly. If you are telling to an audience of children and you become tongue-tied, use humor to deflect the mistake. Audiences are forgiving, especially when you incorporate your mistake into the show and act like you meant it to happen. It also shows that we all have very human qualities and the ability to bounce back makes you a star performer.

Recovering from Embarrassment

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A storytelling colleague was performing for a group of middle schoolers. She was wearing a lovely African kanga, carefully draped around her body. As she was telling, the students suddenly burst out into peal of hysterical laughter. She thought, “Hmm. They don’t usually laugh at this part of the story.” She continued telling the story and the audience continued laughing. She looked down and noticed that her breast slipped out of the kanga and was exposed. Nonchalantly, she quickly fixed her kanga and continued telling the story, never once disrupting the story. She ignored the laughter and it soon died out as the children were once again transported into the story world. Now that’s a true professional! She said that she wanted to crawl away and hide but instead, she handled herself with grace.

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“I once saw Baryshnikov fall down on stage, get up, and shrug—and so can we whether it is a metaphoric or literal splat. It’s the taking ourselves so seriously that usually leads to more trouble and greater embarrassment.” Carol Birch, Professional Storyteller and Author

Life and live performance are full of surprises. As I was touring, one of my clients sent me a fax changing the time of my storytelling performance to an earlier time. Of course, I did not receive the fax. At 8:45 a.m., she called my hotel room and asked, “Dianne, why aren’t you here? Didn’t you get my fax?” I had 10:00 a.m. written down and she changed my performance time to 9:00 a.m. Needless to say, I was a bit shocked. I revved into high gear and arrived at the performance site at 9:00 a.m., still having to set up. When I walked into the room, everyone waited for an explanation. I said with great flourish, “You’ll never believe what happened to me here! An elephant walked into the middle of the highway and blocked traffic!” My client smiled and the kids began laughing as I told them all the story of the elephant in the middle of the road. After the show, my client complimented my on-the-spot story. It set the stage for the show, which was fun and upbeat because of the way my tardiness was handled. 59


Use humor to divert disaster. Incorporate the blunder into your story, if possible. Stay away from long, profuse apologies. Keep it light. Quickly move on with your story after a mistake occurs. Backtrack if you need to by saying, “What the king didn’t know was…” or “Did I tell you that the princess left her ball behind?”

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Performing Artist Etiquette Have you ever bolted up in bed in the middle of the night with a racing heart and a lump in your throat because you dreamed that you were late or actually missed a performance? Pretty scary! Being late to a performance or forgetting and missing a performance is a performer’s worst nightmare. But all too often, I hear stories of performing artists who demonstrate less than ideal etiquette and professionalism on a regular basis. Let’s face it. We’re bound to make mistakes but let’s do our best to avoid them. When mistakes are made, do your best to correct them. The following is “Performing Artist’s Etiquette.”

Confirm Every Booking in Writing Even if you are personal friends with your client, confirm your bookings in writing. It could save you a big misunderstanding later due to a miscommunication.

Confirm All the Details Iron out all your details in a contract or letter confirming your booking. Let your client know exactly what you need for your performance, how much you charge, including expenses, and if you have any special requests. No one likes last minute surprises. Ask if they have any special requests of you. Finding out beforehand can help eliminate the stress of last minute surprises for you.

Confirm and Call for Directions Be sure to call your client at least two days before the performance to ensure that you have the “green light.” Obtain directions and finalize last minute details. Do not rely on Internet directions; they have 60



been known to steer drivers the wrong way. When asking for directions, ask for specific street names and notable landmarks.

Arrive Early Your clients expect you to perform on schedule. They pay for it. Often, they have an audience waiting for you. Arriving late not only makes you look bad but it makes everyone uncomfortable and restless. If you cannot help being late (caught in unavoidable traffic, etc.), call ahead and let your client know. Having a cell phone in these types of situations helps tremendously.

Follow up with a Thank You Note Demonstrate your appreciation for your client’s business. Follow up every performance with a handwritten Thank You note. Thank your client promptly, no later than a month following your performance.

If You Make a Mistake, Admit It If a mistake is made and you know you are the cause of the error, be sure to apologize profusely and then be prepared to make amends. Sometimes it could mean you offering a substantial discount or even a free show. Do whatever it takes to demonstrate your professionalism even in the event of an error.

Demonstrate a Level of Professionalism Go out of your way to be pleasant, understanding, and professional. Kindness goes a long way. This does not mean that you must bend to every unreasonable demand your client makes. Acknowledge their concerns and offer alternatives.

Being Hired is a Privilege, Not a Right It is a privilege to be hired as a performer for a program. Although the performance conditions are not always ideal, remember that your client selected you above others and you should be appreciative of that fact. No one owes you bookings. Every performance, like respect, must be earned. Your client could just as easily choose someone else. As wonderful as you may be, remember that there is always room for improvement.

Be Flexible Know that things can go wrong and they do. Be prepared to be flexible and offer alternative and creative solutions to problems that may arise. Help your client problem-solve when you can. They will remember your willingness to help and your positive attitude in the face of adversity. Leave your clients with the feeling that they anticipate your next visit. Repeat business and word of mouth is essential to a performing artist. My definition of professionalism is “Offering a product or service that exceeds the standard.” By practicing the above and doing this consistently, your clients will consider you the consummate professional and will be happy to do business with you time and again.

Performing Stories Being a storyteller means being able to handle any kind of situation from the stage. No matter how prepared you are, something unexpected is bound to happen. While I was performing at a school, the fire alarm rang in the middle of one of my performances. It was not a drill. The entire school 61


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evacuated as the fire trucks arrived. It turned out to be a false alarm. My equipment was inside the school and I had to wait, along with everyone else, for an hour outside across the street. I ended up telling stories to a couple classes on the grass. You never know what can happen. Being able to recover from mistakes and embarrassments will make you a stronger teller—a true professional.

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Recommended Reading Bruchac, Joseph. Tell Me A Tale: A Book About Storytelling. Harcourt Brace & Company (1997). Geisler, Harlynne. Storytelling Professionally: The Nuts and Bolts of a Working Performer. Libraries Unlimited (1997). Greene, Ellin. Storytelling: Art and Technique, 3rd Edition. Libraries Unlimited (1996). Haven, Kendall, and Mary Gay Ducy. Crash Course in Storytelling. Libraries Unlimited (2006). Lipman, Doug. The Storytelling Coach: How to Listen, Praise, and Bring Out People’s Best. August House (1995). MacDonald, Margaret Read. The Storyteller’s Sourcebook: A Subject, Title, and Motif Index to Folklore Collections for Children. Gale Research, Inc. (1982). ———. The Storyteller’s Start-Up Book: Finding, Learning, Performing, and Using Folktales: Including Twelve Tellable Tales. August House (1993). ———. Twenty Tellable Tales: Audience Participation Folktales for the Beginning Storyteller. H. W. Wilson (1991). Mooney, Bill, and David Holt. The Storyteller’s Guide: Storytellers Share Advice for the Classroom, Boardroom, Showroom, Podium, Pulpit and Center Stage. August House (1996). Ross, Ramon. Storyteller: The Classic that Heralded America’s Storytelling Revival, Third Revised Edition. August House (1996). Stotter, Ruth. About Story: Writing on Stories and Storytelling. Stotter Press (1996). ———. More About Story: Writing on Stories and Storytelling 1995–2001. Stotter Press (2002). 62

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Chapter 6

Mastering a Sound System

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“In the high and far-off times...”


Why Use a Sound System? The Components of a Sound System Using Your Sound System Handling the Microphone Troubleshooting Your Sound Performing a Sound Check Mastering a Sound System Resources

Mastering a sound system can truly enhance the story listeners’ experience. Every professional speaker uses sound reinforcement. A professional storyteller should be no exception.

Why Use a Sound System? For the professional storyteller, investing in a sound system is a must. The aural quality of your show is just as important as the visual aspect. Consider your audience’s needs. If you have a cafetorium filled with 300 students and are performing without sound reinforcement, even projecting your voice is probably not powerful enough for everyone in the audience to hear. In addition to losing the attention of the audience from midway to the back of the room, your voice is working overtime, possibly creating strain on your precious vocal instrument. A professional sound system will enable you to increase the longevity of your vocal life by decreasing the strain to your vocal chords. It also allows you to manipulate your voice to create even more sound

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effects if you so choose. Sound reinforcement also gives you the opportunity to compensate for a room’s acoustic inadequacies, allowing you to adjust the tonal quality of your voice to fit the space.

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“When you perform or teach locally, you must travel with your own sound system. No matter how many ways they swear to you they have the best sound system in the world, don’t trust it. Now, there are portable, high quality sound systems available for under $300.” Susan O’Halloran, Stories for Possibilities

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The Components of a Sound System The main components of a professional sound system are the amplifier, the speakers, and the microphone. They can be purchased separately or in a combination, as with portable public address (PA) systems.

The Amplifier Simply speaking, the amplifier’s job is to boost an audio signal strong enough to drive a speaker. Sound is a natural phenomenon. When something vibrates in the air, air particles move around the source of the vibration carrying the pulse of the vibration through the air. Human ears sense the air fluctuations and translate them into electrical signals that the brain processes. Similarly, sound equipment works in the same fashion. Through voice, sound waves move the microphone’s diaphragm back and forth. The microphone translates this into an electrical signal. The electrical current is carried to the amplifier, which modifies the current, makes it stronger, and sends it to the speakers. The final signal driving the speakers is boosted and mimics the original input signal. This results in sound amplification. With today’s technology, manufacturers now have the ability to combine the mixer and the equalizer with the amplifier. For today’s solo storyteller, a combination unit works beautifully. Most storytellers do not travel with a sound engineer. You are your sound engineer. A combination unit simplifies your set-up and adds portability, a great feature if you travel a lot.

The Equalizer The goal of equalization is to improve sound quality as well as increasing the gain, stopping short of feedback. This is accomplished by enhancing the highs (treble) and the lows (bass) to create the most pleasing effect. The goal is to reproduce, not overproduce, sound. Improper use of EQ (equalizer) and gain control can result in distortion, feedback, muddy sound quality, and thin sound. If the gain 64


- Mastering a Sound System

on the EQ is raised to compensate for a weak voice, the probability for feedback increases. Proper microphone technique and vocal training aids in the use of a professional sound system. When performing a sound check, be aware that pre-show sound checks will always sound louder when the room is empty. When the performance space fills with an audience, they will absorb some of the sound. Adjust your sound levels for what your audience will hear, not what you hear onstage.

The Mixer The mixer’s job is to mix the audio from several sources before channeling it through the main amplifier. A mixer does not have the ability to drive the speakers. For instance, if you are using prerecorded music from a tape deck and singing to the music, the mixer will mix the sound from the two different sources (the tape deck and the microphone). For voice productions, the need for mixing is minimal. Mixing is generally used when music is involved.

The Speakers The ultimate quality of the sound depends on the speakers. From the amplifier, the speaker translates the electrical signals into vibrations to create sound waves. Traditional speakers accomplish this with a driver, which produces sound waves by rapidly vibrating a diaphragm, or a flexible cone. For optimum performance, speaker placement is vital. To reduce feedback, speakers should always be placed in front of the microphone, keeping the distance between microphone and speaker as large as is practical. Though I have heard recommendations that only one speaker is needed for the solo storyteller, I prefer two speakers. I find that with one speaker, the sound seems imbalanced and does not quite fill a room. For me, two speakers lend a rich, full sound to a performance space. In smaller venues with 50 people or less while one speaker may suffice, I tend to play it safe and always travel with two speakers. I also recommend speaker stands, raising the speakers off the floor. Raising the level of the speakers allows the sound to be channeled directly to the audience rather than at their feet. If you do not have speaker stands, place the speakers on a chair or a desk to raise their height.

Microphones There are so many choices for the professional storyteller. The choices can be overwhelming, even for a veteran storyteller. To begin, I will address the two types of microphones: hardwire and wireless. While technology has afforded storytellers the luxury of performing wireless, hardwire microphones still have their place and value. Though the wire limits your movement, hardwire microphones are directly connected to the amplifier, making it very reliable, with virtually no sound dropouts. I carry two hardwire handheld microphones with me, which serve as great back-ups to my wireless headset. When you purchase a microphone, buy the best that you can afford. My preference is for wireless microphones because they allow freedom of movement. There are three types: (1) handheld; (2) lavaliere (clip on); and (3) headset. I recommend a unidirectional, dual diversity, low impedance system. The unidirectional microphone minimizes picking up ambient sound and also reduces feedback. With the dual diversity system, the receiver has two antennae, which reduces sound dropout. Low impedance microphones allow you longer cable runs (reducing the hum that emits from the speakers) and are subject to less feedback.

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Wireless microphones range widely in price from the low end of $150 to “sky’s the limit” microphones such as Sennheiser. For a decent wireless microphone, be prepared to spend between $300 and $500. Be prepared also to invest money in batteries for your wireless battery pack, especially if you perform frequently. I buy batteries in bulk from a wholesale store to save money.

Speaker Stands Speaker stands are quite affordable. My speaker stands are made of lightweight aluminum and can be picked up with one finger. The handy carrying case also stores the speaker cables. When you purchase speaker stands, be sure to ask your salesperson the maximum weight the stand will carry. If your speakers are very heavy, it is advisable to purchase one that exceeds your needs. Err on the side of caution.

Microphone Stands If you perform with a hardwired or wireless handheld microphone, you will need a portable microphone stand. Today’s microphone stands telescope and are easy to pack, transport and store.

Using Your Sound System When I first purchased my professional sound system, I was overwhelmed! There were so many buttons, knobs, inputs, outputs, and cables. It was very confusing. But I sat down and read the manual, following the step-by-step directions on putting the system together. I did several rehearsals at home, practicing set-up, usage, and breakdown until I had it to a science. Then the big day came. I was ready to use my new sound system for the first time in a venue of 500 students. I set everything up and it was all plugged in. I was ready to go. When I did my sound check, nothing came out. My heart began beating a thousand miles a minute. What did I do wrong? I pulled out the manual and began checking all the cables and inputs. I checked to see if the microphone was on. Still, nothing. The assembly coordinator became worried as the students filed into the cafeteria. “Would you like us to have the custodian set up our microphone just in case?” she asked with a worried look. I nodded my head as I continued to troubleshoot. The custodian was paged as I worked myself into a frenzy. How could this happen? Then I saw it. Though the power strip was plugged in, it was not turned on. When I switched it on, a screeching howl poured out of the speakers. It was not my day. But after turning off the microphone, adjusting the equalizer, and performing a brief sound check, everything was in order. And none too soon! The last class filed in and the coordinator motioned it was time to start. Lights! Camera! Action! Sure, the prospect of using a professional sound system seems daunting. But that experience taught me to pay closer attention to details and encouraged me to find out more about using a sound system. My investment in my system has more than paid off. My clients are impressed that I am “totally selfcontained.” It eliminates preparation on their part, labels me a professional, and reduces my stress as well because I am in better control of my performance environment. In the beginning of my career, I confirmed with my client that they would provide a sound system. When I arrived to perform in the school gym, they handed me a cheerleader’s megaphone! Lesson learned.

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Handling the Microphone The most common problem with microphone usage is acoustic plosives and sibilance. Plosives are the popping “Ps” and “Bs” that are caused when the air from your mouth hits the diaphragm of the microphone. Sibilance is the term for hissing “Ss.” Adjusting the microphone distance and angle will correct this problem. If you hear a pop while performing your sound check, hold the microphone further from your mouth, just below your air stream. When performing your sound check, recite a nursery rhyme with Ps and Bs such as “Peter Piper” or “Betty Botter” to check for plosives. “She sells seashells by the seashore” can help you determine if there is excessive sibilance. One common mistake many performers make is testing to see if the microphone is on by blowing into it. In addition to producing an unpleasant sound, it exposes the microphone to unnecessary, harmful moisture. When you perform a sound check, simply ask someone at the back of the room if the volume is adequate. You may also want to test your vocal lows and highs to ensure that the microphone is set adequately for both your soft and your loud voice. When you use a wireless microphone, dress accordingly. You will need some type of belt or a strong waistband to which you will clip your battery pack. Be sure to keep an extra battery nearby for a quick change if necessary. You may also want to keep a hardwire microphone handy in the event of a malfunction or if your wireless receiver begins picking up cell phone or other signals. I once told at a church where my wireless began transmitting the sermon of the pastor from the church across the street. Talk about shocked!

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I once shared the stage in a storytelling olio (see explanation of olio on page 316) with a teller who refused to use the microphone. A sound system was available but he chose to rely on the strength of his voice. He had a background in theater and believed he could project his voice loudly enough. He was the only storyteller who decided not to use a microphone and the result was disastrous. The acoustics in the auditorium were less than desirable and his voice was lost in the air. People from the fourth row and back could not hear him. Suddenly, someone from the back row yelled, “We can’t hear you! Use the microphone!” He was stunned but he picked up the microphone and continued his story. Reinforcing your voice with sound serves the audience. Learn to get comfortable with a microphone.

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“A sound system is another instrument that enhances your performance. It doesn’t make you better; it just allows you to be heard. In some instances, not using a sound system is a disservice to the audience—if they can’t hear the words or the inflection in your voice, they lose the story.” Dan Keding, Professional Storyteller 67


Chris King, Editor of Storytellingpower.com says, “Know how to turn the microphone on and off. If you suddenly start coughing or sneezing, either turn off the microphone or step away from it.” To this end, if you are using a wireless, be sure that the battery pack is within your easy reach so that you are able to make emergency adjustments.

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Troubleshooting Your Sound DY H I N T

Feedback is that tortured howl that occurs when sound travels from the speakers back into the microphone from too short a distance. There are several ways to correct this problem. 1. 2. 3. 4.

Position the speakers as far forward as possible, closer to your listeners. Reduce the distance between your voice and the microphone. Project into the microphone. Reduce the number of open microphones (be sure that your back-up microphone is turned off ). 5. Use your equalizer to cut the frequency bands in which the feedback occurs. If your microphone is not producing any sound, use this checklist to troubleshoot: 1. 2. 3. 4. 5.

Is the amplifier turned on? Is the microphone on? Is the microphone plugged into the correct input? Is the speaker volume adjusted correctly? Is the amplifier’s channel for the microphone adjusted to the proper level?

If you made these checks and produced no results, switch to another microphone. Many times, as in my story, solution to the problem lies in a common sense remedy. It’s always good to have a Plan B just in case.

Performing a Sound Check

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“Mike check 1, 2. Mike check 1, 2.” Musicians do it. Professional speakers do it. And you should too. Perform a sound check. The sound check allows you to warm up and test the system to ensure it is working properly. Do the levels have to be adjusted? Is there too much bass? Can you walk around without feedback? Arrive at your venue early and perform your sound check well before your audience enters the room.

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“It is always a good idea to get there early enough to do a sound check before the audience shows up. It is a chance to warm up your voice, to get comfortable with the room and make sure the technology is working with you so you can relax and know the audience is able to hear each and every precious word!” Brian Fox Ellis, Fox Tales International



Mastering a Sound System

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“In that town there was a well and in that well there was a bell. And that is all I have to tell.” (Russia)

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Chris King advises, “Remember, the microphone is your friend! It can only enhance your storytelling when you use it properly.” Sound reinforcement is one of the most important elements of a storyteller’s performance. Invest in a good sound system and you will notice a difference in the quality of your programs. Mastering a sound system benefits you and your audience.

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Recommended Websites Storydynamics.com Doug Lipman has informative articles entitled “Sound Systems” and “Information about Microphones.” Doug gives advice on choosing a sound system and use of microphones. www.storydynamics.com Storytellingpower.com “How to Use a Microphone Effectively” is a good article on the ins and outs of using a microphone. www.storytellingpower.com

Audio Equipment Distributors Guitar Center Don’t be fooled. They don’t just sell guitars. Guitar Center is a national retailer of audio equipment. I frequently purchase equipment from Guitar Center and their sales staff seems to be very knowledgeable about their products. For store locations, visit their website. www.guitarcenter.com

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Musician’s Friend I have ordered merchandise from Musician’s Friend and have been satisfied with their pricing and service. They are open 24/7 and you can order a free catalog by calling their toll-free number or by logging onto their website. Toll Free Number 800-391-8762 www.musiciansfriend.com Radio Shack Radio Shack has locations nationwide. They are a great source for cables and other auxiliary audio equipment. Radio Shack has saved me on more than one occasion.

Portable Sound Systems Big Mouth Voice Enhancer Linda Spitzer endorses this system. She says, “It’s lightweight, wireless and rechargeable. It also covers a large space. Best of all, it works outdoors when your voice would otherwise drift into the breeze. The head piece is just perfect for puppetry as well as for the voices and sound effects I use. I couldn't do without it and I own two other sound systems.” Order from Top Hat at 401-467-8749 [email protected] or www.tophatprod.com/magic Fender Passport This is the system that I have been using since it was first introduced. I love it. For speaking, the sound quality is top notch. It’s a fully contained sound system complete with an amplifier/equalizer, 2 speakers, and 2 hardwire microphones. There are now two versions: the Passport 250 (250 watts) and the Passport 150 (150 watts). The Passport 250 weighs in at 53 lbs. but the speakers detach from the amplifier and can be carried in pieces. I use a dolly to transport mine. The Passport 150 is smaller and lighter and easier to manage. It has less input jacks and comes with only one hardwire microphone. I purchased mine through Musiciansfriend.com. Information on the Passport system can be found at www.fender.com Florida Magic/Sekaku PAS767 Compact and lightweight, this unit is small (8" 9" 6.5") and weighs only five pounds. It will fit under an airplane seat or will easily stow in the corner of your prop case. Bob Shimer of StoryVent and Joe Wos of Once Upon a Toon highly recommend this power-packed mini-system. You receive two microphones in the box, a headset microphone, which you can wear on your head or around your neck, and a clip-on lapel microphone. The auxiliary jack on the unit allows you to hook up a tape deck, CD player or another microphone to your PA. The auxiliary jack has its own volume control so that the music can be set differently from your voice. http://floridamagic.bizhosting.com/floridamagic_sekaku_pas767.html

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Chapter 7

Establishing Your Storytelling Business

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“Now here’s a story I heard tell...”

In this chapter… ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³

Building a Support Network Who are You? Your Trade Name Trademarking Your Name Types of Businesses Small Business Assistance Setting Up a Checking Account Business License Business Plan General Liability Insurance Insuring Your Equipment and Merchandise Keeping Track of Your Income Tackling Taxes The Business of Storytelling Resources

Establishing a storytelling business is like establishing any other business. You will need to create a business name, produce a business plan, set up a bank account, secure the proper licensing, and manage financial matters. Most importantly, you will need to build a nurturing support network.

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Building A Support Network Embarking on the journey of a self-employed artist is challenging. In addition to being “your own boss,” you are also the company’s Director of Marketing, Booking Manager, Public Relations Agent, and Office Administrator. Wearing all of these hats can be overwhelming at times. Build a support network of people who will encourage you to succeed. Your support network will be a group of people—family, friends, and professional colleagues you can turn to when you need a little extra encouragement, feedback, and advice. Even professional sports teams rely on their support network. Basketball and football teams enlist the cheerleaders to cheer the team on and lift their sagging spirits when the team is down. Don’t underestimate the value of a good support network. They are your personal cheerleaders.

Who Are You? Your professional identity will define you for many years to come, so think carefully about creating a “label” for yourself. Your name, or moniker, is your calling card. It’s how presenters find you and how audiences follow your work. In short, it’s who you are. Many storytellers create catchy monikers for which they become widely known. Jackson Gillman bills himself as “The Stand-Up Chameleon.” It’s memorable and unique. The tandem duo of Barry Marshall and Jeri Burns bill themselves as “The Storycrafters.” Then there are other storytellers who simply choose to use their own names. We all know Bill Harley, Heather Forest, David Holt, Jay O’Callahan, and Donald Davis. They are examples of tellers who marketed themselves by simply using their own names. We know them because they are good at what they do and they know how to get their names into our collective consciences. When I first began my career as a professional storyteller, I went by the moniker “Dianne and the Magic Suitcase.” I chose the suitcase theme because I have lived and traveled worldwide. I brought an old red suitcase, full of props, to all my performances. Initially, I received a lot of attention and the name got me noticed. But then the suitcase drew more attention than the storytelling. Kids always wanted to know “what was in the suitcase.” In addition, many people thought I was a magician and would ask when the magic would begin. After struggling with whether or not to make a name change and consulting my support network for advice, I made the decision to drop the suitcase and market myself simply as “Dianne de Las Casas.” I changed my stationery, business cards, and marketing materials, and I notified my clients of my name change. It was a costly transformation, but in the end I am happier and my storytelling business is booming. When you choose a moniker, test the waters and see how it works. Make the commitment only after you feel completely comfortable with the image and how it is perceived. Remember, it should last you for the long haul. You don’t want to have to go through costly re-imaging later on.

Your Trade Name If you have a unique name for your storytelling business and would like to protect your name, you may want to register your trade name. This is different from registering for a trademark. You can

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X X X X X X X X X X X X X Chapter 7

- Establishing Your Storytelling Business

register your trade name with your Secretary of State’s (SOS) corporate or business division. When you register your trade name, you will be a recognized, legal business entity within your state. A visit to your state’s SOS website will provide you with the necessary information you need to begin. In some cases, you may also perform a trade name search on your SOS’ website.

Trademarking Your Name So what exactly is a trademark? The U.S. Patent & Trade Office (USPTO) defines a trademark as: “a word, phrase, symbol or design, or a combination of words, phrases, symbols or designs, that identifies and distinguishes the source of the goods of one party from those of others.” The professional storyteller would most likely register a service mark. According to the USPTO: “A service mark is the same as a trademark, except that it identifies and distinguishes the source of a service rather than a product.” There are many advantages to registering your trademark including: • • •

Notice to the public of your claim of ownership of the mark. Your exclusive right to use the mark nationwide in connection with the goods and/or services listed in the registration. The ability to bring an action concerning the mark in federal court.

The “TM” (trademark) or “SM” (service mark) designation may be used to inform the public of your claim to the mark, whether or not you have filed an application with the USPTO. However, the federal registration symbol “®” may only be used after your mark has been registered by the USPTO. You may not use the “®” symbol while your registration is pending. In addition, the use of a registration symbol with the mark is limited to the goods and/or services listed in your USPTO registration.

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While registering for a trademark can be costly, the long-term benefits of your investment may be worth it. The USPTO has an online database in which you may perform a cursory trademark search. In addition, The USPTO’s website also allows online trademark registration. Visit www.uspto.gov for more information.

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Types of Businesses There are several types of businesses. The main types are sole proprietorship, partnership, and corporation. Think carefully about which type of business you will be known as and operate under.

Sole Proprietorship In a sole proprietorship, one person provides all the capital and assumes all the responsibility and liability. There are many advantages to a sole proprietorship including: 73


• Low start-up costs • Greatest freedom from regulation • Direct control by owner • Minimum working capital requirements • Tax advantage to small owner • All profits to owner Many professional storytellers choose to operate their businesses as a sole proprietor. Be aware though that there is unlimited personal liability.

Partnership Like the sole proprietorship, in a partnership, the liability of each general partner for all the debts of the firm is unlimited. Each of the general partners is personally responsible for all the debts of the company. Some distinct advantages to a partnership are: • Easy to form • Low start-up costs • Additional sources of venture capital (your partners) • Broader management • Limited outside regulation If you are considering a partnership (such as a tandem telling team), be sure to spell out your partnership agreement on paper. You may need to draft Articles of Partnership. See a legal professional for assistance in this regard.

Corporation The liability of the owners of a corporation is limited to the value of their shares of stock. In addition, a corporation is a legal entity and its longevity is unaffected by death or the transfer of shares of stock by any or all owners. “C” corporations are corporations that have the disadvantage of double taxation. Income tax is levied upon corporate profits and then dividends are paid to the stockholders. The stockholders then have to pay taxes on their dividends. Corporations require extensive record keeping and are closely regulated. Another disadvantage is that should the company become insolvent, liquidation of assets is difficult. Advantages to forming a corporation include: • Limited liability • Specialized management • Ownership is transferable • Continuous existence • Legal entity • Easier to raise capital • Authority in board of directors With a certain type of corporation known as an “S” corporation, profits are passed through to the individual stockholders and no federal income tax is levied upon the corporation as an entity. There are many differences between “C” corporations and “S” corporations. 74



A popular type of corporation for small businesses is the Limited Liability Company (LLC). The LLC has the advantages of a corporation and a sole proprietorship/partnership rolled into one neat package. The LLC is responsible for business’ debts and liabilities and taxes operate like a partnership. With the LLC, there is no personal liability and no separate business tax returns. You may want to consider incorporating your business if you require an umbrella company to handle your audio and book production, merchandise sales, bookings, and/or business property. Discuss your options with a financial advisor or tax professional.

Small Business Assistance Small businesses have many resources available to them. SCORE (Service Corps of Retired Executives) “is a resource partner with the U.S. Small Business Administration (SBA). SCORE is dedicated to aiding in the formation, growth, and success of small business nationwide.” Online consultations through email are available with retired executives who have experience in every aspect of business. You can select your counselor by reviewing their qualifications and even schedule a personal consultation. There are SCORE chapters located all over the United States. Best of all, the SCORE service is free. Check with your local university. Many universities have small business development centers that offer workshops, seminars, and consultations for small business owners.

Setting Up a Checking Account It is now time to set up a company checking account. If you are operating as a sole proprietor, look into small business checking accounts. Banks compete heavily with each other for your business, so shop around. Many banks offer free checking to small businesses.

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If you are operating under a company name but are a sole proprietor, you may need to open a checking account as a d/b/a (doing business as). For instance, I could open an account as “Dianne de Las Casas d/b/a The Story Connection.” Some banks require you to furnish a business license or a fictitious name certificate. Check with your local Chamber of Commerce or City Hall for information.

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“Opening a storytelling business only checking account was one of the most important ways that I said to myself and others, ‘I’m really serious about this. It’s not just a hobby; it’s a business.’ ” Patti Christensen, Professional Storyteller

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Some banks require a tax ID number to open an account. You can obtain one from the IRS. There is no fee for the number. You simply fill out the form, send it in, and a number is assigned. Visit the IRS’s website, www.irs.org, for a downloadable form.

Business License Many states, counties, and cities require businesses to obtain a business license. It is a fairly simple and affordable process to obtain a business license. A business license allows you to conduct business activities legally. Where to obtain your business license varies from state to state. Check with your local Small Business Administration or your Secretary of State. See Resources at the end of this chapter for listings.

Business Plan Do you have a business plan? You may ask, “What do you mean? What is a business plan?”

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A business plan is a blueprint of your business, a written plan of where you want your business to go. If you were to approach a commercial lending institution to borrow funds to start a business or to establish a business line of credit, the loan officer would ask you for your business plan. But you don’t have to be in a position to borrow money to establish a business plan. A business plan will help you to define your goals and provide you with a roadmap to success.

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“All businesses need a sound plan that typically includes a mission statement, budget, set of goals, price or fee structure, marketing plan, and time management analysis. Performing artists need to be firmly connected to the core values that drive their art as well as being focused and organized.” John McLaughlin, Business Entrepreneur and Professional Storyteller

Roy Mack, Jr., President of Consulting Services and the Southeast Regional Representative for the State of Louisiana Economic Development Department, states emphatically, “Everyone should have a business plan!” The following is an outline for a business plan model suggested by Mr. Mack.

Concept Statement Define your business ideals and concepts. Cover the reasons you are in business, as well as your desire to serve your customers, to cover a market need, and to make money with an ability or talent. Include your artist mission in this section, your philosophy as an artist.

Executive Summary Provide a brief but complete description and history of the business, including the basis for the type of business form chosen. This section also includes a description of information contained in other sections of the business plan. In the executive summary, you may include: 76


• • • • • • • • •


Origin of your business’ name Location Products/services Target customers Competition Goals/objectives Background and experience Potential revenue Sales and promotional goals

Management Team Describe your internal and external management team, show your organizational chart, and describe departmental and key personnel functions. Briefly describe the reasons and business support for the choices made.

Market Analysis This section contains a brief but detailed description of your marketplace, target customers, and effective research methods used. Describe everything from your ability to match your management decisions, your direction for the company, etc., to industry and market trends. Describe what methods of input and feedback you have in place to secure needed information to ongoing management and operation of your business. Describe your revenue and cost forecasting methods based on your market analysis. Cover market penetration tactics (how you will reach potential customers), customer profiles, and techniques to handle current and future products and services. Describe what your industry trends appear to be.

Marketing Plan This section will provide an explanation for your financial information and a rationale for other sections of the business plan. The information contained in this section substantiates the revenues received and expenses incurred by your operations. It shows the growth potential of your business and your industry. Describe your typical or desired customer here, and how and why they buy. Describe your plan to attract customers. List and describe your competition. Stress the benefits your company brings to marketplace or to your customers.

Financial Information In this section, place your last three years’ business financial statements, tax returns (business/personal as needed), and cash flow statement. Provide key business ratios related to your business and a five year projection.

Support Documentation In this section, provide important support documentation such as key résumés, business license documentation, incorporation documents, customer testimonials and letters, press clippings, business and personal awards, citations, and any other information that sheds a positive light on you, your staff and your business. 77


Putting together a complete business plan may sound overwhelming and intimidating to the individual artist, but don’t be afraid. There is help—free help. SCORE provides free consultations and assistance to small business owners both over the Internet and in person. Visit www.score.org. Also, check with your local college’s or university’s small business development association. Often, universities have centers available for business help. If you follow a good business plan, you will define your future path to name recognition and financial success.

General Liability Insurance With any business, liability is an issue. General liability insurance will protect many incidents including injury during a show. It is a good idea to carry this protection and many performance venues now require that you provide a Certificate of Insurance (proof that you have liability insurance). For less than a couple hundred dollars a year, you can purchase general liability insurance with up to $2 million in coverage. It’s a small price to pay for security. Resources are listed at the end of this chapter.

Insuring Your Equipment and Merchandise If you have a home-based business, you probably store your sound equipment, props, costumes, instruments, and merchandise inside your home. Should property damage or loss of property occur due to a fire or natural disaster, your home insurance will not cover equipment and merchandise related to your business. You can purchase a rider to your home insurance, which will give you the protection you need for business equipment and inventory.

Keeping Track of Your Income How do you keep track of your account’s receivables? I previously used a manual ledger system in addition to a simple accounting program that allowed me to track my receivables. I now use Microsoft Money for Small Businesses, which allows me to generate invoices, calculate my gross income, track expenses, and total my net earnings. The program also allows me to print out any necessary reports, which is an asset at tax time. Microsoft Money has a feature that also permits artists/writers to track their inventory (books and tapes) and keep track of that income as well. Quick Books and Quicken are other popular software that have simplified accounting abilities.

Tackling Taxes Many expenses can be deducted for your business—postage, photocopying, computer equipment and software purchases, office supplies, stationery, brochures, lodging and meals for overnight trips, books, sound equipment, costumes and props, advertising, mileage, tolls, craft supplies, etc. You may also deduct a portion of your home’s mortgage and utilities if you have a dedicated home office. Keep all receipts and keep accurate records. Talk to a professional accountant to help you determine exactly what deductions you are allowed.

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To track my expenses, I keep monthly receipt envelopes. I place all my business receipts in the envelope. I use a Palm handheld, known as a PDA (Personal Digital Assistant) to track my expenses daily. See Chapter 8 “Setting Up Your Office” for more information on PDAs. This has been every helpful. The information is transferred to my laptop computer when I synchronize the Palm with the computer. Before I bought it, I logged my receipts onto the top of the receipt envelope and my husband entered the information into our accounting software for easy access during tax time. Receipt envelopes can be purchased at places like Office Depot, Office Max, Wal-Mart and other office supply stores. If you are taking mileage deductions, you must keep track of your business mileage. You can do this with an Auto Mileage Log. Keep it in your vehicle at all times. On January 1, log the beginning mileage and on December 31, log the ending mileage. When traveling to performances, write down the beginning and ending mileage for the trip, and keep track of it month by month. If storytelling is your main source of income, you will have to file estimated quarterly income returns. You calculate your gross wages, subtract your expenses, and pay taxes based on your estimated net earnings. The form can be ordered from the IRS by calling 1-800-IRS-1040 or visiting www.irs.gov. IRS Publications you may be interested in reading are: • Publication 17—Tax Guide for Individuals • Publication 463—Travel, Entertainment, Gift and Car Expenses • Publication 334—Tax Guide for Small Businesses The IRS publications may be downloaded as a PDF file directly from their website at www.irs. gov. If you are unfamiliar with the ins and outs of accounting, hire a professional accountant. Your accountant can also give you advice on how to save more and reduce your taxable income.

The Business of Storytelling

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Operating your own business is one of the most exciting ventures you will undertake. Being able to profit from your passion is exhilarating. When you take yourself seriously as an artist entrepreneur, others will too.

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“We can be artists without having a career in the arts, and we can have a career in the arts without being artists. But if we are making a career of our art, we'd better attend to our business.” Milbre Burch, Kind Crone Productions

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“Even to this day.”

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Recommended Reading Canfield, Jack. The Success Principles: How to Get from Where You Are to Where You Want to Be. Collins (2005). Geisler, Harlynne. Storytelling Professionally: The Nuts and Bolts of a Working Performer. Libraries Unlimited, Inc. (1997). Goldstein, Jeri. How to Be Your Own Booking Agent, 2nd Revised Edition. New Music Times, Inc. (2004). Heflick, David. How to Make Money Performing in Schools. Silcox Productions (1996). Loos, Barbara. Getting a Grant. Barnes & Noble Books (2002). Mooney, Bill, and David Holt. The Storyteller’s Guide. August House (1996). Shih, Patricia. Gigging: A Practical Guide for Musicians. Allworth Press (2003). Silber, Lee. Career Management for the Creative Person. Three Rivers Press (1999). ———. Money Management for the Creative Person. Three Rivers Press (2002). ———. Organizing from the Right Side of the Brain. Thomas Dunne Books (2004). Zobel, Jan. Minding Her Own Business—The Self-Employed Woman’s Guide to Taxes and Recordkeeping. Easthill Press (1998).

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Accounting Software Quicken www.quicken.com Quickbooks Pro www.quickbooks.com Microsoft Money www.microsoft.com/money

Liability Insurance Specialty Insurance Agency Performers of the United States and Vendors of the United States P.O. Box 24 New Richmond, WI 54017 Ph: (715) 246-8908 Fax: (715) 246-4257 [email protected] www.specialityinsuranceagency.com This reputable insurance company, formerly run by Al Fellerman, offers liability insurance for performing artists of all types. The $2 million policy is reasonably priced at less than $200 per year.

Organizing Items Item

Manufacturer

Website

Auto Mileage Log

Dome No. 770

www.domeprodutctsonline.com

Receipt Envelopes

Day Runner Order No. 480-217

www.dayrunner.com

Small Business Assistance Internal Revenue Service www.irs.gov SCORE (Service Corps of Retired Executives) 1-800-634-0245 www.score.org Small Business Administration Answer Desk 1-800-UASK-SBA (1-800-827-5722) Send e-mails to: [email protected] Answer Desk TTY: (704) 344-6640 www.sba.gov U.S. Trademark and Patent Office www.uspto.gov

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Chapter 8

Setting Up Your Office

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“Once upon a time, so long ago, nobody but the storytellers remember...”

In this chapter… ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³

Office Equipment The Power of the PDA Office Supplies Managing Paperwork Organizing Your Client Contacts and Business Cards Organizing Your Story Research and Repertoire The Storyteller’s Library Office on the Go Delivery Services Setting Up Your Office In Search of the Big “O”—Organization! Resources Sample Story Research Form

The twenty-first century storyteller has access to the magic of technology. Communicating with people across the world no longer takes weeks; it takes seconds. To run an efficient and profitable business, the professional storyteller must be organized and use the proper equipment.

Office Equipment Shopping for office equipment can be mind-boggling. There are so many choices and the choices continue to grow as technology advances. Some choices for office equipment are listed here.

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Computers I do not believe that a computer is a luxury. For the professional storyteller, a computer is a necessity. A good desktop computer will afford you speed and power while a laptop allows you portability. Choosing a computer depends greatly on your needs. If you will be using a combination of various types of software to run your business, you will need a computer with more power. If, on the other hand, you are only interested in the basics, a less expensive model will probably do. There are several places that specialize in computer sales and it is best to consult an expert so that he can show you the best computer for your needs. A good word processing program is an invaluable tool in handling your business correspondence. A program such as Microsoft Word will save you a great deal of time because you can edit quickly, save form letters, and retrieve documents you have already typed. You can also create mail merge letters for large mail outs. Your computer will become the lifeblood of your business. Invest in a good backup system. One year, just before I embarked on my summer reading tour, my computer crashed. I lost everything! Although I backed up some of my files, I did not backup everything I needed. I cried for days. Fortunately, I kept a good paper trail and was able to recreate most of my forms. It was a tough lesson to learn. Backup your computer regularly! You may want to invest in an external hard drive to backup your computer.

Portable Data Storage Being able to take your data with you has become very important. Data can be copied or “burned” onto a CD or copied to a jump or flash drive. Jump drives are small, two-inch devices that come in various storage sizes. Jump drives are so small that they can fit into a pants pocket or attach to a key chain. They can be plugged into the USB port of your computer. Acting as another hard drive, data can then be instantly copied onto the jump drive.

Office Software Though many computers come with pre-loaded software, you will want to make sure that you have an adequate version, preferably an office suite. If you are a PC user, Microsoft Office is the standard. You will need accounting, word processing, and database software. In addition, if you are connected to the Internet, you will want to invest in a reliable anti-virus program, spam blocker, pop-up killer, and firewall. These are all programs that protect your computer from being hacked or infected with viruses and worms, which can cause your computer to crash.

Printers A wide array of printers is available. The most popular for home business use are color inkjet printers. A color printer will allow you to create beautiful, custom promotional pieces, print out photos, and add pizzazz to any presentation. There are also printer/copier/fax/scanner combinations. The advantage of owning a printer combo is the space you save in your office. Because I do so much traveling, I invested in a portable printer. It fits into my briefcase. When I travel by air, I carry my office (laptop and printer) with me. Buy the best you can afford.

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X X X X X X X X X X X X X X X X X X X X Chapter 8

- Setting Up Your Office

Copiers Though not an absolute necessity, copiers are invaluable pieces of equipment. Desktop copiers are available for a few hundred dollars. Making a copy of your correspondence and other items is a snap and it eliminates trips to a copy center for simple jobs. If you are unable to purchase a copier, a good fax machine makes adequate single copies.

Fax Machines Although e-mail is becoming the preferred choice for sending documents, the fax machine is still a reliable member of your office equipment family. Many of my clients still ask, “Can you fax that information?” Fax software is available for most computers and you can send and receive faxes with your computer.

Scanners Scanners are very useful. You can scan photos and post them to your website or e-mail them. Many scanners also serve as copiers.

The Internet While once considered a luxury, today’s small business necessitates the use of the Internet. The Internet has literally opened up the world for us. With Internet capabilities, your clients can access you immediately and information can be exchanged instantaneously. The Internet offers many opportunities for research. You can connect with other professionals, access organizations worldwide, browse through hundreds of storytelling related websites, and shop online. With the advent of DSL and cable modems, you can access the Internet at lightning speeds. The Internet also allows you to watch streaming video, download photos and music, and even play interactive games.

Wireless Internet Look Ma, no wires! The advent of wireless Internet has revolutionized web communication. Using a low band radio frequency, a wireless connection allows you to jump on to the Internet wherever wireless “hot spots” are available. You must have wireless Internet capabilities built into your computer or purchase a wireless card for your computer. Many book stores, coffee shops, libraries, and hotels offer wireless Internet. You can even purchase the equipment to install wireless Internet at home. Be aware that although wireless Internet surfing is convenient, it comes with a price. Many wireless connections are unsecured connections and any data or information that you view, receive, and send can be accessed by computer hackers. You do not want to check your stock portfolio, send sensitive e-mails, view your online checking account, or make online purchases over a wireless connection unless it is a secure connection.

E-mail With the Internet comes e-mail. E-mail provides the ability to communicate and respond with incredible speed. Incoming messages can be checked as often as you wish, and outgoing messages can be sent immediately with the push of a button. E-mail will allow you greater access to other storytellers around the world where previous communication was either by phone (costly) or by mail (slower). E-mail will also connect you to your clients with effortless ease. 85


Answering Machine/Voice Mail If you are running your business out of your home, you need an answering machine or voice mail capabilities on your telephone. This is a must! If you are not home or available to take calls, your client can leave a message for you. The message you leave on your machine can also direct people to visit your website and/or contact you by e-mail. If you have remote access capabilities, which I recommend, you can also access your messages while you are on the road so you may return calls in a timely manner.

Cell Phones Having a cell phone allows you to reach your clients immediately. If you are driving in unfamiliar territory and become lost, you can call your client and they can guide you in. If you are running behind for any reason, you can contact your client and let them know. There are many beneficial reasons for owning a cell phone, especially when you operate your own business. My cell phone came in handy in one particular instance. It was raining cats and dogs and I was scheduled to be at a performance site early in the morning. Although I left with ample time to travel, accounting for traffic and rain, the roads became flooded, leaving traffic at a standstill. I was able to contact my client and let her know my situation. Armed with this information, she readjusted the schedule so that I could still perform my programs before lunch. My cell phone saved me.

Digital Cameras Today’s digital cameras produce sharp pictures and the images can be e-mailed or posted to your website. You also don’t have to wait for the pictures to develop. You can view them instantly. As a working performer, I believe it is important to document your work. A digital camera allows this with relative ease.

PDAs/PDA Smart Phones A PDA stands for Personal Digital Assistant. They are handheld computers that allow you to organize your contacts, manage your schedule, read your e-mail on the go, track expenses, and the list goes on. I love my PDA! It replaced my clunky zippered organizers. It is so compact that it can fit in an evening bag. With the touch screen, I access contact information for my clients, family or personal friends. I also manage my schedule, booking dates in the near and distant future. With the addition of a portable keyboard, my PDA Smart Phone is transformed into a word processor. I draft and edit documents, and write stories. I also surf the internet and read my e-mail. A touch of a button allows me to “synch” the information with my laptop. The PDA Smart Phone has improved my efficiency 500%.

Bluetooth Headset If you have a PDA Smart Phone, you may want to invest in a Bluetooth headset. Bluetooth technology provides a way to connect and exchange information between devices such as mobile phones, laptops, PCs, printers, and digital cameras, over a secure, globally unlicensed short-range radio frequency. A Bluetooth headset fits snugly over one ear and allows you to talk hands-free, connecting to your mobile phone. Technology is constantly evolving. As of this writing, the best rated Bluetooth headset uses military grade technology for noise reduction.

MP3 Player Though many people might consider an MP3 (sound) or MP4 (sound and video) player such as an iPod more of an entertainment device, it could also be used for work purposes. You can download podcasts 86



audio books, and even video podcasts. Perhaps you would like to study the work of a storytelling master. You can download storytelling audios right from the Internet to your MP3 player.

Business Card Scanner Business card scanners have come a long way. The best scanners can differentiate between text and images, making it easy to input contact information. No more entering data by hand! This is a boon, especially if you attend conferences and collect tons of business cards.

Labeler Labeling file folders has never been easier. Simply input the name of the file and print. Presto! Labels come in different colors and sizes. You can also adjust the size of the font on the labels. My favorite labeler is the brand Dymo.

Label Makers

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The Power of the PDA Question: “What does PDA mean?” Answer: “Pretty Darn Awesome!” Okay, that’s not exactly the definition of PDA but it’s close. PDA stands for “Personal Digital Assistant.” A PDA is a handheld computer that can revolutionize the way you do business. It’s tomorrow’s technology in the palm of your hand. Power Up Your Productivity There are many PDAs on the market. The most popular brands are Palm, Blackberry. It can replace your bulky Day Runner and can function as a music player, digital camera, video recorder, word processor, calculator, voice recorder, and cell phone. Browse the Internet and check your e-mail. The palm-sized device (or smaller), which fits in a jacket or evening bag, packs a powerful punch! Goodbye Day Timer, Hello Streamliner Streamline your day-to-day scheduling with a calendar that can be viewed by day, week, or month. Track tasks with a To Do List and set reminders. Enter contacts and access them with a mere tap of the touch-sensitive screen. A PDA is your secretary, keeping you more organized. . Synchronize Your Life Question: “But what if I lose my PDA or it crashes?” Answer: “Not to worry.” When you synchronize your PDA with your desktop or laptop, new information is updated in both places. If you are still attached to paper, you can print out important data. The purpose of a PDA is to keep you “in synch” with your business. Beam Me Up, Scotty! One of the coolest features of a PDA is its “beaming” capability. When you meet someone else with one, you don’t even have to exchange business cards. You can beam each other contact information without typing a single keystroke. In addition, you can beam whole categories, documents, pictures, and even PDF files. Function and Feng Shui Peace and harmony in the office; that’s what my PDA gave me. With the handheld version of my accounting software, I track merchandise inventory, income, and expenses on my PDA. With a couple of taps, I can access reports and pie charts. Of course, my confidential information is password-protected. I’ve Got the Power! Mary Jo Huff, a storyteller and educator from Indiana, uses her PDA daily. Mary Jo says, “I am a ‘Granny on the Go,’ and everywhere I go, With it, I store thousands of contacts and take pictures. I even have a fold-up keyboard. My clients can book me no matter where I am because I always have access to my schedule. It’s awesome to hold that much power in your hands.” You too can add muscle to your business with the power of a PDA.

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Postage Scale and Postage Meter If you are sending out large envelopes or packages (as in the case of mailing CDs), you may want to invest in a good postage scale. Companies like Pitney Bowes offer a small business postage meter machine with postage-by-phone capabilities.

Office Supplies Running an efficient office also means having adequate supplies. Having the necessary supplies readily available saves you time. Below is a list of basic office supplies. • • • • • • • • • • • • • • • • • •

Calculator Scissors Pens/Pencils Stapler, staple remover, and staples Paper clips Sticky notes Hole puncher Tape Note pads Message pads White-Out Highlighters Tacks Glue or glue sticks Envelope sealer (helps with high volume mail) Letter opener Stamps Large envelopes (for mailing confirmations and press kits)

Managing Paperwork The key to efficiency is to control the paper mountain. I accomplish this with an organized filing system. Did I just say the “F” word? Yes, I did. Filing! If you are organized and your filing is under control, it helps around tax time, grant time, or when you are searching for that certain piece of paper you needed yesterday. It helps to create file folder various topics. In a file cabinet dedicated to business files, categorize files into general categories and then sub-categorize. Here are some example categories and sub-files: • • 88

Clients: Each major client has a folder. School and library bookings are categorized by year, i.e., “School Bookings 2005” Promotion: Marketing letters, promotional materials


• • • • •


Press Clippings: Copies of various articles are placed in individual folders Accounting: Receipts/Expenses, Contracts, Invoices, Check Stubs Associations/Memberships: Each association has a folder Ideas/Research: Stories, Ideas, Research Workshops: Each workshop (with handouts, outlines, etc.) has a folder

These are just a few of the categories to give you an idea. Remember, we all have slightly different ways of organizing our businesses, so don’t be afraid to create new categories and customize your filing system to suit your individual needs. Create new categories and files as the need arises. Forms that you use all the time (study guides, flyers, etc.) can be placed in stackable organizing bins with slots.

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“If my office is cluttered, so is my mind. That alone will show in everything I do. Colored paper and colored files! That’s the key. The more I color code my projects, the easier it is to find them when I need them.” Linda Gorham, Professional Storyteller

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Use a filing bin to place items that need to be filed away. I usually file “as I go,” only using the bin when I am quite busy and on the go, with no time to handle my filing. Filing often is placed low on the priority list and if you are not careful, it will build up quickly and it will morph into a huge monster on your desk. Don’t let filing get more than a few days old, a week at the most, unless you are out of town. If you have an older child, offer them the chance to earn some extra money. Pre-teens and teens love earning extra money. Since the age of 12, my oldest daughter has been my “office assistant” and helps me keep things in order.

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“I have made a mantra of the Shaker saying ‘If it can be put down, it can be put up.’ Having developed an effective system, I work to always file things as soon as they enter my office. This has been my single most important step in eliminating crazymaking clutter.” Jeannine Pasini Beekman, Professional Storyteller

Organizing Your Client Contacts and Business Cards Not only do I keep a database of all my clients, I also keep track of how many performances they have hired me for, what stories I have told, songs I have sung, and any special comments regarding my clients. This helps me keep my programs fresh for the next time they hire me. Repeat business 89


is a necessity and I want my clients to know that when they hire me for another program, it will be completely different from the previous program unless they request otherwise. I have created a booking form for this purpose and organize it in a binder in alphabetical order by client. See the sample booking form at the end of this chapter. Business cards are kept in plastic sleeves organized into alphabetical sections in a 3" three-ring binder. This makes the business cards easy to access. If you want to control the clutter, there are business card scanners available that allow you to transfer the business card’s information into your computer. A business card scanner is a savior, especially after collecting the zillions of cards you receive when attending a conference.

Organizing Your Story Research and Repertoire Do you know how many stories you have in your repertoire? Do you keep track of the stories with an organized system? If not, it’s time to start organizing. To document my story sources, I developed a form for story research. See the sample Story Research Form at the end of this chapter. Story research forms will help you track your stories and keep your repertoire fresh. Sometimes, “retiring” a story is necessary. When you decide to start telling that story again, you can refresh your memory by looking at your story research form. The forms are also a great way to keep track of your repertoire so you know exactly how many stories you tell. If, like me, you prefer computerization, you can create a story management database in Microsoft Excel, Microsoft Access, or other software, which serves the same purpose. The point is to organize your repertoire for easy access. I like taking a master story list with me to performances. (My computerized list is downloaded to my PDA Smart Phone but I also carry a paper list.) It’s like a musician’s “set list.” There may be times when you blank out and need access to your stories. Seeing the titles on your list can serve as a reminder. When you arrive at a site and determine that the story you planned to tell will not work, a quick glance at your story list can help you decide on another suitable selection. Because I am a tactile learner, I also like to type out all my stories when they are “fleshed out.” I print out my stories and have them organized into a binder alphabetically by title. Some stories will fit more than one program. That’s the beauty of storytelling.

The Storyteller’s Library Undoubtedly, you will accumulate books. The storyteller’s library is ever-growing. Short of the Dewey Decimal System, how do you organize your storytelling resources? What works for me is organizing my books by categories. Here are some examples: • • • • • • 90

American—American folklore World—world folktale collections Resources—art of storytelling Business—business-related resources Scary—scary stories Holiday—Christmas, Hannukah, Kwanzaa, etc.



Place storytelling periodicals such as Storytelling Magazine in labeled magazine holders. Newsletters can be placed in labeled binders, whole-punched, with the most recent on top.

Office on the Go Traveling storytellers need a way to carry necessary paperwork with them. I accomplish this with what I call “Office on the Go.” I use an accordion file, with each pocket labeled, so I do not have a huge pile of unidentifiable papers in my briefcase. This mini-filing system keeps documents neat, easy to access, and easy to file away when I return home.

Delivery Services The U.S. Post Office has stepped up their services. On USPS.com, you can look up zip codes, calculate postage, order and print postage, print shipping labels, and request pick-up for priority and express mail packages. In addition, many post offices across the country have installed self-service Automated Postal Centers. If you are mailing large packages on a regular basis, you may want to consider using a delivery service such as FedEx, UPS, or DHL. These companies pick up and deliver to your door. The advantage to using these services is ease of use and the ability to track your packages.

Setting Up Your Office Your office space is a very important space. You will be spending a great deal of time in your office managing your storytelling business. Make it a welcoming, well-organized space that will allow you to grow as your business grows.

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In Search of the Big “O”—Organization!

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Our information society can be a virtual data overload. How do we manage and organize all this data?

E-mail When you do laundry, you must fold, sort, and put it away immediately or it piles up. E-mail is the same. Timely answer e-mails and store important e-mails in easily accessible folders. Regularly “purge and merge”—respond, delete, and store. Buy a spam blocker to eliminate spam. With listservs, consider subscribing to the digest version. Set no mail or temporarily unsubscribe to the listservs when you are away to prevent an overloaded mailbox. Create folders to store e-mails you need.

Word Processing Documents Create main folder and subcategories as necessary. For example, booking forms and fax cover sheets could be stored in folder called “Forms.”

The Paper Monster File paper in labeled manila folders. Binders and accordion files are also very useful. File folders into categories. When you need your “Invoices” folder, you won’t have to tear apart your office. You will know that it is stored in the “financial” section of your file drawer. Use a multi-slot mail sorter to organize forms. My goal is complete electronic booking, eliminating much of the paper clutter.

Books and Periodicals Organize books by broad topics—Folktales, business, storytelling resources, etc. For periodicals, use labeled magazine holders. Throw away old catalogs when you receive a new one.

Contacts Enter names and addresses in your databases immediately. Microsoft Outlook manages my personal contacts. Microsoft Access manages my large databases. My PDA Smart Phone has really streamlined office function. I purchased software called “Agendus Pro” and it synchronizes with Outlook. Agendus Pro manages my calendar and contacts in one program. ACT software is excellent for organizing contacts as well as tracking communication and follow-up.

Managing Bookings I receive many bookings through my website. They are printed and placed in a booking binder. I immediately enter new clients’ contact information into Outlook and add their address to my e-mail newsletter. When I want to generate labels, I can access contacts by category. Bookings are logged on my calendar right away. In a notes section of my electronic calendar, I notate fees, directions, flight itineraries and special instructions. When I access my calendar entry on my PDA, everything is at my fingertips. I print a paper calendar for my family, which also serves as a backup. My calendar is also available on my website.

Performance Repertoire My performance repertoire is organized in an Excel spreadsheet. It is also downloaded to my PDA.

Avoid Information Overload

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“But do you want to know something interesting? The entire story took place in one afternoon!”

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Delivery Services Federal Express Any small business can open a free account with Federal Express. FedEx picks up and delivers packages to your place of business. When you set up an account with FedEx, you can set it up for credit card billing. www.fedex.com UPS UPS is another service that picks up and delivers to your place of business. In addition, UPS also has stores across the country that drop-ships packages. www.ups.com U.S. Post Office One of the cool things about the post office’s website is the ability to look up zip codes and calculate postage rates. Before the Internet, you had to purchase a zip code book for each state. www.usps.gov

Office Supply Companies Office Depot For a free catalog call 1-800-GODEPOT Shop online at www.officedepot.com Office Max Order a free catalog or shop online at www.officemax.com Customer Service 1-800-283-7674 Staples Shop online at www.staples.com Customer Service 1-800-3STAPLE

PDAs and PDA Smart Phones Blackberry www.blackberry.com iPhone www.apple.com/iphone Palm www.palm.com Pocket PC Available at office supply stores, computer stores, and online computer stores. 93

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SAMPLE STORY RESEARCH FORM Date _____________________ Title of Story:__________________________________________________________________ Country of Origin:______________________________________________________________ Source 1: Title:_________________________________________________________________ Author(s):_____________________________________________________________________ Publisher:______________________________________________ Copyright Year: __________ Source 2: Title:_________________________________________________________________ Author(s):_____________________________________________________________________ Publisher:______________________________________________ Copyright Year: __________ Source 3: Title:_________________________________________________________________ Author(s):_____________________________________________________________________ Publisher:______________________________________________ Copyright Year: __________ Story Outline: _____________________________________________________________________________ _____________________________________________________________________________ _____________________________________________________________________________ _____________________________________________________________________________ Beginning of Story: _____________________________________________________________________________ _____________________________________________________________________________ End of Story: _____________________________________________________________________________ _____________________________________________________________________________ Key Phrases/Chants/Songs: _____________________________________________________________________________ _____________________________________________________________________________ Notes: 94

From The Story Biz Handbook: How to Manage Your Storytelling Career from the Desk to the Stage by Dianne de Las Casas. Westport, CT: Libraries Unlimited. Copyright © 2008.

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Chapter 9

Managing Your Bookings

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“Once on a time and twice on a time, and all times together as ever I heard tell of...”

In this chapter… ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³

The Express Introduction Setting Fees Charging Your Worth Quoting and Negotiating Fees Collecting Fees The Booking Checklist Scheduling and Confirming Shows Contracts and Agreements Follow-up to Secure Bookings Generating Income through Grants and Sponsorships Booking Management Time-Savers Managing Your Bookings Resources Sample Booking Form Sample Confirmation Letter Sample Contract

The ability to manage your bookings will be one of your most important daily tasks. Mismanagement of your bookings can result in being late to a performance or worse, missing a performance and loss of jobs. A friendly attitude, accurate and meticulous recordkeeping, and good calendar management are a must.

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“Like many artists, the phrase, ‘business person’ can make me squirm. Fundraising, scheduling, feeding the PR machine, answering e-mails, bookkeeping and distributing tapes are all responsibilities I’d gladly hand over to someone else, but the nuts and bolts of business hold the artistic structure together. The art of commerce is a story that makes storytelling happen.” Susan O’Halloran, Stories for Possibilities

The Express Introduction When a client calls for more information regarding your program, be prepared to discuss your services and provide a brief description of what you do and the type of programming you offer. You will need a “canned” introduction prepared. This means that you will need a pre-prepared statement that describes what you do in less than ten seconds. When a potential client asks, “What type of stories do you tell?” You must be ready with a quick answer. Steve Otto, a full-time professional storyteller in Kansas offers this express introduction. “I tell stories from nursery school to nursing home.” His clever statement immediately tells the potential client that his stories are appropriate for all ages. When creating your express introduction, be creative yet brief. Practice what you will say so that it sounds natural and flows effortlessly from your tongue. Your introduction will set the tone for the conversation to come—the hiring conversation.

Setting Fees How do you determine what to charge your clients? How much experience do you have? If you are a beginner, you will need to carefully calculate your costs and determine a fee amount that is fair to you, yet will entice people to hire you. You will want to charge less than your experienced colleagues but not undercut them. Find out what experienced professional storytellers charge. Attend their performances and ask for brochures. Peruse the Young Audiences Catalog and your state’s arts or cultural directory. Ask your local children’s librarian to share performers’ marketing materials with you. To start out, volunteer your services to prove your worth and develop your skills. With more experience, you can offer a “buy one show, get one free” to potential clients. When I first began, I gave my clients gift certificates for one free show (good for one year from the date of issue and not during peak periods such as holidays and special events like National Children’s Book Week). There are many ways to garner new clients. Once you have sufficient experience, you can begin charging a higher fee. Don’t sell yourself short, but on the other hand, don’t overprice yourself either. Determining your fee also depends on what you offer. Do you provide a sound system? Do you give away “goodies” after the show? Do you use expensive costumes or props? Those costs add up and should be figured into your fee. See “Charging Your Worth” for a detailed breakdown of setting fees. 96

X X X X X X X X X X X X X X X X X X X Chapter 9

Charging Your Worth

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A frequent question I receive is “How do I decide what to charge?” For many artists, setting and negotiating fees is akin to getting a root canal. The mere thought of it can make you wince. Charging Your Weight in Gold Business schools teach a standard formula for determining an hourly rate. Add together your labor and overhead plus the profit you want to earn (usually 10–20%), then divide the total by the number of hours worked. Artists have many “soft” labor costs they don’t usually count—research, rehearsal, travel time, etc. Besides performing, writing, or producing art, think of all the things you do in a typical day that relate to your business. Do you package and ship orders? Do you mail confirmations and invoices? Do you send out marketing materials? Do you make trips to the post office? Do you shop for office supplies? All of these activities must be considered when setting fees. What would you pay someone else to handle these jobs? Assuming you work out of your home office, overhead includes all of the costs you incur to do business, including: • • • • • • • • • • • • • •

Telephone expenses Internet charges Cell phone expenses Office equipment and supplies (computer, fax machine, copier, etc.) Stationery Office supplies Postage and delivery costs Business insurance Travel expenses (not covered by your clients) Professional association memberships Advertising and marketing costs Business-related meals and entertainment Legal and accounting fees Clerical

Also included in your overhead are: • • • • • •

Medical benefits Disability insurance Life insurance Retirement benefits Income taxes Self-employment taxes

Wouldn’t it be easier if you could just step on the scale and charge your weight in gold? If that were the case, I might be rich! Dollars and Sense Let’s illustrate with a scenario. Say you are making $50,000 a year and your overhead is $20,000. Your income is $30,000 per year. Divide that figure by 2,000 work hours (50 weeks 40 hours). That would mean you are making $15/hour. Let’s say you perform 200 shows per year. That would break down to $150 per show. Let’s look at how a performing artist might structure her fees. Mary wants to make $50,000 as a storyteller. Her estimated overhead is $20,000. Salary and overhead are added together to equal $70,000. Mary is aggressive and wants to earn a 15% profit. That figure equals $10,500. The profit margin of $10,500 is added to $70,000 totaling $80,500. Mary decides that she wants to perform 175 shows per year. Mary should charge $460 base price per show (not including travel expenses). Be sure to research the current marketplace. You may need to increase or decrease your fees depending on what the market will bear. Keep in mind that the above figures do not take into account residual income such as product and merchandise sales. An artist can significantly boost his/her salary with supplemental income through merchandise sales. Say No to the Starving Artist Mentality You don’t have to starve to create good art. It is okay to make a good living as an artist. Your accountant, attorney, doctor, and dentist all expect to be paid fairly for their services. So should you. Charge your worth—you deserve it.

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“Your potential sponsor is tuned to one station—WIFM—what’s in it for me? Why should they connect to your project or event? Speak to their needs. Do they want publicity, a name in the community, a long lasting product at the end such as a book or video? Write a clear business proposal that speaks to that. Yes, organizations care, but they need more than that to have your project rise above all the others that come across their desks.” Susan O’Halloran, Stories for Possibilities

Quoting and Negotiating Fees When your potential client is interested in your programs, you will arrive at a point in the conversation when she will ask, “So how much do you charge?” Sometimes, it is a clear cut fee you can quote right off the tip of your tongue. Other times, you will need to negotiate your fee. Find out as much about the venue as you can before you give your potential client a quote. I suggest using a booking checklist so that you can learn all the particulars of the event before you commit to a price.

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Quoting Fees I was once given the advice that when quoting fees, quote in increments of $25–50, $75, $100, etc. When you get to the point where you are charging more than $500, quote in increments of $250– 750, $1,000, $1,250, etc. Quoting fees is like wearing designer clothing. It is “perceived value.” You are worth what you say you are worth. If you negotiate your fees with confidence and assertiveness, chances are you will get what you ask for. If you are charging a handsome sum for a performance, workshop, or other related booking, you better be able to justify your fee by providing show-stopping substance! When a client calls you up to ask for your fee, be confident when you answer. For example, a “No No” conversation might go like this:

Storyteller:

Mary Smith, Stories that Make You Smile. May I help you?

Client:

Hi, Mary. My name is Ima Presenter. I am looking for a storyteller for an event my nonprofit organization is producing in October.

Storyteller:

What kind of event is it?

Client:

We are sponsoring a Family Fun Fest with music, storytelling, and art activities. The event will be outdoors. We would need you for three hours. Can you do that? And what is your fee?

Storyteller:

Uh, three hours? (Gulping) Yes, I can do that. What about $300?

Client:

$300? That’s a little high. We don’t have a big budget and we were hoping to include storytelling.

Stop! That conversation is all wrong. The presenter is trying to manipulate Mary into a lower fee because Mary quoted a fee with no confidence. Now, let’s turn that conversation around.

Storyteller:

Mary Smith, Stories that Make You Smile. May I help you?

Client:

Hi, Mary. My name is Ima Presenter. I am looking for a storyteller for an event my organization is producing in October.

Storyteller:

What kind of event is it?

Client:

We are sponsoring a Family Fun Fest with music, storytelling, and art activities. The event will be outdoors. We would need you for three hours. Can you do that? And what is your fee?

Storyteller:

Sounds fun! I’d be happy to structure three half-hour sessions for your festival audience with breaks between each session. My programs are high energy and include lots of participation. My festival rate is $350 but I will offer you a discounted rate of $300 if I am permitted to sell my products following each session. Let me mark the date in my calendar. When in October is the festival? 99


Client:

It’s October 19.

Storyteller:

Great. I have you down for October 19. Now allow me to obtain some other information from you so I may send you a confirmation packet.

In the second scenario, Mary turned the conversation to her advantage by taking control through: • • • • • •

Assessing the performance situation Responding to the client positively and enthusiastically Taking control of her performance requirements Offering a discount (Mary will make up the discount in sales) Quoting her fee with confidence Asking for the sale

Be Prepared When a client calls to book you or when you are returning a call to a client, be prepared. Make sure you have everything you need at your fingertips to give an accurate quote—booking form, calculator, if you charge mileage—mileage chart or access to mapping software with mileage figures, and your rate chart. Faye Hanson, a storyteller educator in Little Rock, Arkansas, marks her travel area on a map with concentric circles. Within each circle, she has set rates. The farther she must travel, the higher her rate will be. If the presenter is not ready to book you and requests more information, immediately send a promotional kit. See Chapter 12 for information on promo kits. Follow-up promptly, no later than a week after you have sent the kit. Set a reminder or tickle your calendar for follow-up.

What is Your Budget? You may receive calls where a clear-cut fee is not readily apparent. For example, a client would like you to perform a two-week residency, which would open with an assembly performance, include a teacher in-service, and culminate in student performances. Here is when your negotiating fees will come into play. When a client asks me for a more involved rate, I ask “What is your budget?” Often, the client will have a budget already in mind. I’ll listen to the budget amount and try to determine if it is a feasible rate for me. It is perfectly okay to say, “May I call you back after I do some cost calculations?” It is better to call back after you have calculated your fees and costs than to flounder and immediately accept a rate that is not profitable.

Collecting Fees My contract states, “Fees are payable before or by the end of the date of the first scheduled performance.” Changes to this policy must be made by written request. When my client hands me a sealed envelope at the end of the performance, I open the envelope (out of the client’s sight) and check for any errors (misspellings of names, incorrect amounts, unsigned checks, etc.). I never leave the performance site without checking the payment first. If there is an inadvertent error, I point out the mistake and patiently wait as another check is issued.

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There may be occasions when you must wait for payment long after your performance has taken place. How do you handle situations like this? First, ask if a check has been left for you (sometimes they just forget). If a check has not been prepared, they may ask to mail it to you. When you arrive home, immediately prepare your thank you letter and enclose a copy of your contract and/or invoice with it. I always add a paragraph stating: I have also enclosed another copy of our service agreement and/or invoice. I would appreciate your placing it in line for prompt payment. Thank you for your assistance in this regard. This is a tactful, professional way of handling a request for payment. If you have not received payment after 30 days, send out a reminder note and enclose another copy of your contract/invoice with “PAST DUE” stamped visibly on the copy and add your late fee. Like any other business, you need to be paid for services already rendered. Sometimes a phone call helps. One of my clients had not paid me six weeks after my performance. I made a phone call and found out that they had relocated and, in the process, my invoice was lost in the shuffle. I was asked to fax another invoice and received a check within a matter of days. Elizabeth Ellis gave me some sound advice years ago. She told me she charges 10% of the contract total as a late fee. She states it plainly on her contract and since then, she has had little trouble collecting fees timely. You have to keep on top of your accounts receivables. Running a business, any business, takes money. To keep a steady cash flow, it may be necessary to perform collection duties.

The Booking Checklist

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When I book a show, I like to make sure that I dot my Is and cross my Ts. I do this by having a booking checklist on my booking form. Using a form helps tremendously because you will obtain all necessary information with one phone conversation, thus promoting efficiency. You will need your client’s contact information, the name of the program, location of performance, date and time, audience size and age range, length of performance, and all fee information. Any special requests your clients have can be noted on the booking form. I keep blank booking forms with me at all times so that I can book a show no matter where I am. See the sample booking form at the end of this chapter.

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“I can be as lazy as anyone. When I get a booking call, in one part of the house, I’m tempted to grab a piece of scrap of paper and jot down notes. Don’t do it! Get out the booking sheet that has all the pertinent questions to ask: date, time, service required, contact info, how did you hear about us?, and so on. Most of all, make sure your booking sheet has a place for next steps: Send out PR materials, send contract, call again (date), etc. Having clear tracking and filing systems in place can save you from embarrassment down the road. We spend so much effort trying to get jobs; we need to spend just as much effort keeping prospects and turning them into happy repeat customers.” Susan O’Halloran, Stories for Possibilities 101


When I finish performing, I record the names of the stories, songs, and stretches I used during the program in the “Notes” section of the booking form. After I have checked off my “Thank You” box, which means that my thank you note has been sent, I file the form in a binder in alphabetical order by the client’s name. Thus “Woodlawn Elementary” would obviously be filed under the Ws.

Scheduling and Confirming Shows Once a client schedules you for a performance, follow up with a confirmation letter and contract and/or invoice. Send out confirmations within 24–72 hours to secure the booking. Your prompt and professional approach to scheduling will demonstrate you appreciate the support and look forward to the performance. Your letter should confirm the location, dates, times, rates, mileage, per diem, lodging, etc. If you have a contract, your contract may suffice as a confirmation. I do, however, strongly recommend a cover letter for any type of correspondence that you send out, including your contract. See the sample confirmation letter at the end of this chapter. Your clients may also require an invoice for their accounting department. Providing all the necessary documents at once will facilitate their efforts in providing prompt payment. At this time, you should also send out your press kit so that your client will have what they need to advertise you and receive good publicity. Your confirmation packet should contain the following: • • • • •

Confirmation letter Contract Self-addressed, stamped envelope for returning signed contract Invoice Press kit (contents of the press kit will be discussed in Chapter 12 “Promotional Materials with Pizzazz”)

I make it a habit to contact my client at least two days prior to the performance to confirm the performance(s), to obtain any directions if necessary, and to discuss any last minute details or instructions. At this time, I also remind them of my performance needs. The contact before the performance helps to establish a relationship and to eliminate any miscommunication or misunderstandings. Professional Storyteller Yvonne Healy says, “I handwrite the details of the booking on a booking sheet during a chat with the client. Blanks on the form remind me to ask the pertinent questions. When I enter the date into calendar, I also block out the travel time with allowance for rush hour if necessary. The contract and publicity materials are sent to the client to sign and return as a confirmation of the booking. The booking information is transferred to a database, which is also used later to access information for sending thank you cards, creating mailing lists, and retrieving my archive of stories (which prevents repeats of the stories at the same venue). Included with the mailed contract is a map with directions to the performance location. The client initials a space on the contract indicating that the directions and travel time appear accurate. After slogging through snow and mud with equipment from the far side of the parking lot, my contract now includes a request for a reserved parking space near entrance.”

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“I print my storytelling assignments out in a spreadsheet format and post them on the bulletin board over my desk. In that way, when the phone rings I can glance at it, find the name of the caller and quickly verify pertinent details about my upcoming shows.” Linda Gorham, Professional Storyteller

Contracts and Agreements If you are performing regularly, you should create a contract. Your contract should contain your client’s information, the specifics of your performance (where, when, how many, etc.), and your technical rider (your technical requirements). I include a cancellation clause, an indemnity clause, and a force majeure—a clause which covers how to handle inclement weather, acts of God, etc.—in my contract. If you have legal questions about a contract, the best person to contact is an attorney who specializes in contracts.

Follow-up to Secure Bookings Your professional image will only be enhanced if you are prompt with your follow-up. When a prospective client calls or e-mails you for more information, return the call/e-mail immediately. Don’t wait too long to contact them or you may lose a booking. After speaking with your prospective client, and if they haven’t already booked you, send them a promotional kit. Prompt follow-up and providing a professional and complete promotional kit to my prospective clients has given me an edge over other performers, allowing me to secure new bookings almost immediately upon their receipt of my packet. Even if they have never seen you perform, they will be interested in scheduling you to perform if you are professional in this approach. When sending out information to clients, be sure to tickle your calendar so that you may followup with a phone call. If you have software like ACT, you can schedule a reminder. If you don’t followup, they may forget about you and move on to hire someone else.

Generating Income through Grants and Sponsorships In addition to your performance income, you may want to explore other sources of income. Grants can be written to pursue special projects such as a storytelling residency. (Read more about residencies in Chapter 23 “Storytelling in Education.”) Many large companies have sponsorship and grant programs that support professional development, community development, arts in education, literacy, working with youth, and leadership. A storyteller/actor friend of mine received an artist fellowship of $5,000, which he used to computerize and set up an office.

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Funding Sources Grant funds can be obtained through the National Endowment for the Arts, and state and local arts council grant programs. Companies such as Target and Wal-Mart offer corporate grants. The Foundation Center has a terrific website that contains a database of funding sources and provides information and resources related to grants and grant writing. Visit www.foundationcenter.org for more information.

Corporate Sponsorships You can also approach companies for sponsorships or “in-kind” donations. Karen Chace, a storyteller and teaching artist, found many ways to support her elementary school storytelling club. She received a donation of storytelling journals for her students from a book distributor. Mike Mann, a storyteller who once worked at a bakery, used his background to his advantage. He produced a program called “Mike the Baker” and received a sponsorship from a large bakery in his area. Mike says, “I gave away 10,000 cookies to kids in my area in 2004.” In addition to receiving extra exposure through his association with the bakery, Mike also made a difference in the lives of thousands of children.

Writing a Grant Many people are mystified by grant writing. If you can get over the sheer amount of paperwork involved, it’s pretty straightforward. Build a sound budget for your project and write a clear narrative outlining your program. Some elements to include: • • •

State measurable goals and objectives. Outline the program activities including dates, schedules, the names and titles of people involved in your work, and the number of people the program will affect. List evaluation methods. Grant funders want to know how you will measure the effectiveness of the program.

Grants are usually reviewed by panels. Impress the grant panel by submitting a complete and thorough grant application. Be sure to include all supplemental materials, clearly marked with your contact information. Grants are very competitive. Everyone wants free money. Providing a complete application will give you an advantage. If you are not a nonprofit entity, you will need a fiscal agent through which the grant will be administered. The fiscal agent will sponsor your grant application, as well as disburse and track the grant funds. Schools or libraries may agree to act as your fiscal agent if your project matches their mission or objectives. Other nonprofit arts organizations may also be willing to act as a fiscal agent for an administrative fee, usually a small percentage of the grant funds received. If you receive grant funding, there is always follow-up paperwork. Keep accurate records of your activities as you will need to provide documentation of the program (photos, video, written work), assessment reports, and evaluation forms. Follow-up and meeting deadlines are extremely important. You want to leave a good impression so that you will be remembered when you submit your next grant proposal!

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Booking Management Time-Savers I used to live by my Day Runner. As you know by now, I cannot live without my PDA (Personal Digital Assistant) Smart Phone. At any rate, being organized is the key to your survival as a working storyteller. Being overwhelmed and overloaded with work is a common problem among “Type A” overachievers like me. It’s a classic case of wanting to squeeze in 48 hours’ worth of work in a 12 hour period. One of the ways I alleviate this problem is by hiring an assistant. In this case, I hired my oldest daughter who spends a half hour in my office each evening after school (though not every day) filing, making folders, re-shelving books, and working on small miscellaneous projects.

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1. Prepackage promo and press kits. Place the basics inside your promo and press kits— composite cards (photos), brochure, business card, bio, résumé, quotes, and press clippings. Any letters, contracts, or other customized inserts can be added when you are ready to send it off. 2. Create a Booking Form. Create a customized booking form that you can carry with you at all times. If you do not have the time or would like to use a system that has worked for many performers, I recommend B. J. Abraham’s STAR System (Systematic Tracking and Recording). The STAR system contains pages for your mileage, income, booking checklist, client contact information, travel directions, and log of receipts and expenditures. To learn more about STAR or to place an order, contact B. J. Abraham at [email protected]. 3. Create a booking request form on your website. I have a booking request form on my website, www.storyconnection.net. The booking request form has been an incredible tool for me. Potential presenters fill out the online form and, with a click of a button, it arrives in my e-mail’s in-box. All the information is right there—the contact’s information, venue information, date(s) requested, type of event, etc. That information can go straight into my presenter database. 4. Put your media/press kit online. My press kit is now online. It includes downloadable photos, my logo, a general media release, media releases for specific programs, CD images, and a printable flyer. It’s a great feature for presenters who are technologically savvy and like to create their own promo materials or want to place your photo on their website. Of course, I still send the paper press kit in the mail. 5. Create a general brochure. Create a general brochure that covers the gist of the programs, workshops, keynotes, and residencies you offer. This general brochure can be slipped into everything you send out. Customized brochures (focusing on one program or workshop), postcards, or flyers can be sent out when the presenter requests more information or as a mail-out if you are promoting and offering that particular program. 6. Use both sides of the business card. Personally, I am involved in many projects and organizations. I cannot possibly carry a business card for each venture I am involved in so I use the back of my business card and list them, along with their website addresses. Of

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course, you can also utilize the front of your card, for example, “Mary Smith—Educational Entertainment that makes you smile. Programs, Keynotes, Professional Development for Teachers and Artists, Workshops, Artist Residencies.” Consolidate when you can. 7. Schedule an “office day.” I took this tip from my good friend, Johnette Downing. Each week, she has an “office day.” This is a designated day when she works, returning phone calls, catching up on paper work, rehearsing, working on new projects, or running business-related errands. On this day, no programs are booked. It has worked marvelously for me and I look forward to my office days when I am actually in my office during business hours to take care of business. Granted, there are times when this is not possible, such as when you are on tour. Hint: If you want to work undisturbed, do not tell your family and friends when your office day is if you work out of your home. They will call you at all hours or stop by thinking that you are “off.” 8. Create forms. I create a form for everything. I even have a “Forms” file. I have templates for confirmation letters, letters of introduction, press releases, contracts, fax cover sheets, evaluations, etc. Any document that will be used more than once or on a regular basis becomes a form. 9. Use form-organizing bins. Because I do have so many forms, I went to my local office supply store and bought a 24-slot form organizer. I have a sticker that labels each slot so I know what’s inside. This way, when I am preparing packets, I can just quickly pull out all the forms I need in a matter of seconds. 10. Develop a “packing system.” When I perform, I carry a lot of equipment. I have a backdrop (cloth & PVC 7' 8' frame), Fender Passport sound system (53 lbs.), speaker stands, wireless headset, props, and a dolly. To minimize load-in and load-out time. I have developed a system. Everything goes in the same place every time. When my oldest daughter travels with me as my roadie, we can load-in and set up in 15 minutes because we have developed a system. 11. Use an introduction card. I carry pre-prepared simple introduction cards with me. Before the show, I hand the card to the person who is introducing me and give them the correct pronunciation of my name (especially “de Las Casas”). This eases their apprehension because they don’t have to figure out what to say, it is simple, and it is brief. I create the cards on 81/2" 11" cardstock cut into quarters. See the sample introduction card in Chapter 4 “Preparing for Performance.” 12. Create a media card. In the same way you would create an introduction card for your presenter, create a small media card to hand to any journalists who photograph your show or interview you with facts about your show. Here’s a media horror story—my group, Story Ballet Magic, was performing “Petit Rouge—the Cajun Red Riding Hood” at a library. We had a nice crowd and the photographer was there before the show started. My dancers always performed a pre-show warm-up to test the floor. The photographer took pictures during the warm-up (my dancers were not fully dressed in costume) and that photo appeared in the paper with a caption full of errors that read, “Dianne de Las Casas’ ballet performing a parody of Little Red Robin Hood.” We were not performing a “parody” and it was not “Robin Hood.” Lesson learned. Always provide media cards!

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“I try to always take one day of the week as MY day; for me that day is Monday. I mark my calendar two years ahead of time with DO NOT WORK on Mondays. At least three times a year, I also schedule (in advance) five day sanity vacations after particularly busy work times. This gives me something to look forward to and a chance to catch up on the inevitable pile of paperwork in my office. It is great for emergency date changes too (if necessary). Sanity is priceless!” Linda Gorham, Professional Storyteller

Managing Your Bookings Having a well-run business is about organization and paper control. It’s about putting together a system that works for you. Manage your business well and reap the benefits.

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13. Bring thank you notes on the road. It’s so easy for us to get busy and forget to send out your thank you notes to our clients. I always carry blank cards and stamps so that even when I am on tour, I can jot a quick thank you note and mail it off. If you are staying at a hotel or motel, the front desk is always glad to send your mail for you. Sending out thank you notes right away prevents a backlog.

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“That’s the way my grand mammy told me. And there’s no contradicting this, for she heard it with her own ears, just as you’re hearing it with yours.”

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Recommended Reading Geisler, Harlynne. Storytelling Professionally: The Nuts and Bolts of a Working Performer. Libraries Unlimited, Inc. (1997). Goldstein, Jeri. How to Be Your Own Booking Agent, 2nd Revised Edition. The New Music Times, Inc. (2004). Heflick, David. How to Make Money Performing in Schools. Silcox Productions (1996). Mooney, Bill, and David Holt. The Storyteller’s Guide. August House (1996). Shih, Patricia. Gigging: A Practical Guide for Musicians. Allworth Press (2003).

Booking Management System Resource Abraham, B. J. STAR—Systematic Tracking and Recording. Directionary Plus. 2000. Order by contacting B. J. Abraham at [email protected].

Grant Resources The Foundation Center Provides a database of grant funding sources www.foundationcenter.org

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SAMPLE BOOKING FORM

Booking Date ____________ Date Confirmation Sent________________ CLIENT INFORMATION CLIENT CONTACT PERSON

CLIENT ADDRESS

CLIENT

CLIENT ADDRESS

TEL/FAX

CITY/STATE/ZIP

E-MAIL/WEBSITE

OTHER CONTACT INFO

VENUE SPECS

PERFORMER’S FEES

THEME OF PERFORMANCE

PERFORMER’S FEE

LOCATION(S) OF PERFORMANCE

MILEAGE

DATE/TIME

LODGING

SIZE/AGE RANGE

PER DIEM

LENGTH

TOTAL AMOUNT QUOTED

INITIAL INQUIRY R PHONE

R WEBSITE

R FAX

R REFERRAL

R MAIL

R MAIL OUT

R E-MAIL

R DIRECTORY LISTING

PERFORMER’S CHECKLIST R BROCHURE

R INVOICE

R PORTFOLIO

R PRESS KIT

R GRANT PACKET

R MAP(S)/DIRECTIONS

R DEMO VIDEO/AUDIO

R LODGING INFO

R CONFIRMATION

R PAYMENT RECEIVED

R CONTRACT

R THANK YOU

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Sample Confirmation Letter Date Ms. Ima Presenter 777 Booking Lane Rich Artist, LA 70000 Re:

[Name of Show] [Date and Time of Show]

Dear Ima: Thank you for inviting me to share my stories at________________. This letter will confirm our agreement. I have enclosed a Service Agreement, which I ask that you sign and return in the enclosed self-addressed envelope. I have also enclosed a Service Invoice to place in line for prompt payment. Please let me know immediately if any corrections are necessary. As stated in the Service Agreement and Service Invoice, fees are payable before or by the date of the first performance. Please make checks payable to Dianne de Las Casas. I will arrive approximately 45 minutes before my scheduled start time to set up. The program(s) will run 45 minutes. For my performance, I ask that you provide assistance unloading and loading my equipment, a bottled spring water to drink, and easy access to an electrical outlet. I will provide a thematic backdrop and a sound system, if necessary. Please send written directions/map to the hotel/motel and the performance site(s) at least ten (10) days prior to the scheduled performance. Also, please provide the reservation confirmation number and the phone number of the hotel/motel. Please visit my website at www.storyconnection.net for a full online press kit including a press release, flyer, and downloadable images. Please feel free to use the images to create promotional materials for the program(s). When you submit your press release and/or create any promotional materials, please list me as Author and “Award-winning Storyteller Dianne de Las Casas.” I look forward to my visit! Thank you for your support. In the interim, if you have any questions, please feel free to contact me. Sincerely, Dianne de Las Casas

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Sample Contract

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SERVICE AGREEMENT This agreement is made and entered into between Storyteller Dianne de Las Casas (hereinafter “Vendor”) and the Client and/or undersigned authorized Client representative (hereinafter “Client”) described below: CLIENT CONTACT PERSON

CLIENT ADDRESS

CLIENT

CLIENT ADDRESS

TEL/FAX

CITY/STATE/ZIP

E-MAIL/WEBSITE

OTHER CONTACT INFO

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In consideration for the payment of fees and expenses specified below, Author and Storyteller Dianne de Las Casas will present for the Client the storytelling program/workshop described below:

THEME OF PERFORMANCE

PERFORMER’S FEE

LOCATION(S) OF PERFORMANCE

MILEAGE

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LODGING

SIZE/AGE RANGE

PER DIEM

LENGTH

TOTAL AMOUNT QUOTED

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PAYMENT OF FEES—All fees are due and payable before or on the date of the first performance(s). Please make checks payable to Dianne de Las Casas. Tax ID No. 000-00-0000. Any fees payable after the due date are subject to a late charge not less than 10% of the entire amount due. A 10% nonrefundable deposit shall be submitted upon receipt of this Agreement.

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CANCELLATIONS—The Client shall give Vendor (30) days written notice prior to scheduled performance(s) on any cancellations. If cancellations are made with less than 30 days notice, Client shall be liable for the entire storyteller’s fee listed on this Service Agreement.

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TAXES—Dianne de Las Casas is a vendor or independent contractor, not an employee. Client will not withhold any sums of money from Vendor’s fee for payment of taxes. Any tax liability resulting from Vendor’s fee shall be the sole responsibility of Vendor.

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INDEMNIFICATION—The Client shall indemnify and hold harmless Vendor against any and all claims, demands, suits, judgments of sums of money, to any party accruing against Vendor for loss of life, injury or damage to persons or property arising out of, resulting from, or by reason of any act of omission of the Vendor while engaged in or about, or in connection with, the discharge of the performance of services to be done.

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FORCE MAJEURE—In the event of inclement weather, acts of God, labor disputes, walkouts, or any other condition beyond either party’s control, neither party shall be liable to fulfill the remainder of the Agreement or provide any “makeup” date unless expressly agreed upon by both parties for a convenient future time. All deposits are nonrefundable.

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TERMINATION OF AGREEMENT—Either party to this agreement may terminate this agreement by giving the other party written notice by mail of said intention. Nothing in this paragraph shall be construed to limit the obligations of the Client under paragraph 3.

Read and signed this ________ day of _____________________, change to 200__. __________________________________________ Client

_________________________________________ Dianne de Las Casas


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Chapter 10

Defining Your Market

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“Long ago, as only the very old remember...”


Your Marketing Philosophy Your Target Market Your USP Your Slogan Establishing Your Niche Market Where Do I Market Myself? Resources

Now is the time to sit down with a piece of paper or notebook and define your market—where would you like to share stories? Don’t be general—be very specific. Do you like kids? Perhaps you would like to tell stories in a daycare setting, in schools, in libraries, at summer camps, or at birthday parties. Are you the outdoorsy type? Perhaps you would like to share stories about nature in park settings or at outdoor festivals. Would you rather work with adults and coach them on their storytelling skills? Perhaps you want to do all of the above. Before you begin creating an image or putting together promotional materials, you must know your target audience. Your target market will influence your image and the promotional materials you create. Because I specialize in working with kids, my promotional materials reflect this. My promotional materials are filled with bright colors and images that appeal to teachers, librarians, and parents.

Your Marketing Philosophy In a world full of media blitzes and advertising spots, how does a storyteller avoid the pitfalls of the hype and hoopla associated with everything from soft drinks to tennis shoes? These days, it seems everyone has a story to sell. So how does a storyteller differentiate him/herself from the rest of the pack?

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Though storytelling is a “word of mouth” business, as with any business, there is still the element of self-promotion. Many tellers struggle with the fact that they are involved in a personal art form, from creating the stories to fit their intended audience to involving their audience in the telling of the stories. They also struggle with the fact that, in order to garner business, they have to involve themselves in the very impersonal business of advertising and mass mail-outs. How does a storyteller reconcile these differences? First, look at your storytelling business and your goals. What audience do you intend to market? How are you reaching your intended audience; how are you garnering new clients? After you have answered these questions, you need to decide if you are satisfied with your current results. If the answer is no, then perhaps a re-evaluation and a change of style is warranted. You can engage in a mass mail-out, take out an ad in a trade magazine or a regional newsletter, develop a telemarketing strategy, make personal visits to potential clients, or send invitations to a free showcase. However you decide to promote your storytelling business, consider the fact that once you are in touch with your potential clientele, you can leave them with a very personal impression. And that will be the touch that differentiates you from the rest. Storytelling is a service you provide. Separate the personal you from the professional you. As with any service profession, you fill a need and provide a valuable benefit to those hiring you. My stepdad is gifted with a green thumb and the ability to create beautiful landscape designs. He used his gift to build a successful landscape business. My friend, Verla Kay, is gifted with the ability to write in whimsical, cryptic rhyme. She has become a very successful children’s author. The gift of storytelling is valuable and needed, and there is a wide-open market for storytelling.

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“As artists we struggle so to find our voices, to unearth our ‘it,’ that I think it’s hard to switch to a marketing mindset: give them what they want vs. sell them what we have. When it’s time to go out into the marketplace we have to change from thinking about us to thinking about them. What do they need?” Susan O’Halloran, Stories for Possibilities

Storytelling is a very personal art form and marketing can be that way too. It depends on how you approach your potential clients and what you leave them with. You can still remain a storyteller without becoming a story seller. It also depends on your outlook. Don't look at it as the art of promotion; look at it as the promotion of art.

Your Target Market Your target market is a “defined group you are selling to.” After making your list of venues, categorize them. This will help you when you begin developing a brochure and other promotional materials.

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- Defining Your Market

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Obviously, if you are targeting the education market, you will want to create promotional materials that appeal to teachers and educators. If you are targeting storytellers for a certain type of storytelling workshop, your materials will reflect that as well. You can target toddlers (ages 1–2), kids (ages 3–9), tweens (ages 10–12), teens (ages 13–18), adults, and seniors. Once you have decided who your target market will be, it’s time to develop your unique selling proposition. Read on.

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“In the beginning I did not even know there were markets. I just enjoyed telling stories. Then I decided to do what I like doing best—the early childhood market— because that is what I have been involved in for the past 30 years. It is my niche. I had to do lots of work to make that market recognize me. With perseverance and a ‘Go get ’em’ attitude, I am achieving success. Today, my company, Storytellin’ Time, is becoming well-known in the early childhood market. Do I ever step out of that market? Of course I do, but there is always a spider that pulls my thread and brings me back into the reality web.” Mary Jo Huff; Storytellin’ Time, Granny on the Go

Your USP What is a USP? Your USP is your “unique selling proposition.” It is the characteristic that defines your service and the characteristic that makes you unique among other storytellers. A USP also carries a guarantee. It is different from a slogan although a USP can also serve as a slogan. In 1984, John Schnatter knocked out a broom closet in the back of his father’s tavern and sold his prized Camaro to purchase used restaurant equipment. Setting up a “kitchen,” he began selling his own unique brand of pizza to the tavern customers. His pizza was such a hit that he had to expand his operations. John Schnatter’s pizza company is known as Papa John’s. Papa John’s entered a chain pizza market in the 1980s that was dominated by Pizza Hut and Dominos. His company didn’t just grow; it exploded. Papa John’s boasts nearly 3,000 restaurants in the United States and nine countries. What is Papa John’s USP? “Better Ingredients. Better Pizza.” Obviously, people are buying it (his USP) and eating it (his pizza). Visit their website at www.papajohns.com. You will see their USP plainly and visibly stated at the top of every page, right underneath their logo. Now that you know what a USP is, it is time to start thinking about your own unique selling proposition. Do you have a motif or a philosophy that you want to highlight? Create a USP that is unique, a USP that differentiates you from everyone else. And have fun with it. You are a storyteller, after all.

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Your Slogan A slogan is a phrase designed to sell your product. Dictionary.com defines slogan as “a phrase expressing the aims and nature of an enterprise.” If your slogan is very unique and adorns all your promo material, you may want to consider protecting it with a trademark. Check with the United States Patent and Trademark Office (USPTO) on whether or not your slogan is eligible to become a registered mark. Their regulations require that a slogan be used to identify the source of the goods or services. A trademarked slogan usually accompanies the organization’s logo. Some examples of trademarked slogans are “Just Do It” (Nike) and “Finger Lickin’ Good” (KFC). Storyteller Rose Anne St. Romain, a Louisiana teller, has a great slogan: “Reaching minds one story at a time…” It defines her philosophy as a storyteller and performing artist. Rose Anne’s slogan graces all of her promotional materials, including her envelopes. Rose Anne’s stationery and promotional materials also have a “reaching” figure on them, tying in to her slogan. It is a comprehensive package that gives a complete picture of Rose Anne as a storyteller. Karen Chace, a professional storyteller and prominent arts web researcher, has a unique slogan. “Catch the Story Bug!” Karen’s motif as a teller is a ladybug; it has special meaning for her. She has taken this theme and turned it into an enticing invitation. Her website explains how she was bitten by the “story bug” and she invites you to “Catch the Story Bug” too. It’s fun, yet it also captures Karen’s simple philosophy about spreading stories and storytelling.

Establishing Your Niche Market Sometimes, trying to be too broad in your appeal can hinder your efforts as a storyteller. All too often, you hear of businesses failing because they tried to become too big. You can also apply this to your own storytelling marketing. You cannot always be “something for everyone” or “one size fits all.” Niche marketing can be more profitable than trying to appeal to the masses.

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Niche marketing can be defined as focusing and targeting the specific needs and characteristics of a narrow group. For instance, libraries across the country hold summer reading programs. Library summer reading programs is a “narrow group.” Their needs are finding activities to fill the six to eight weeks of summer reading programming. If you can offer a unique program that satisfies their needs, you have established yourself a niche market.

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“Ask yourself, ‘What do I love or have as an interest that other people aren't doing?’ We found that there was a market for telling stories out of our Scandinavian heritage. We book at a lot of these programs.” Patti Christensen, Patchwork Players



Wendy Whitten, created Flumpa Live!, a singing, storytelling, and science musical extravaganza based in Nashville, Tennessee. Flumpa is a giant frog and Wendy and Flumpa perform an animated show. Early on in her career, Wendy recognized the strength of niche marketing. She targeted library summer reading programs across the country. On her marketing postcard, she featured the benefits of having Flumpa Live! and included quotes from librarians around the country. She focused her marketing and targeted her niche. And it works. During the summer, Wendy and Flumpa travel around the country performing in libraries. She created work for herself when things could have been slow.

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Niche marketing can allow you to customize your marketing efforts and become more personal. In addition, as you develop your market, your expertise grows, allowing you to provide your clients with services that fit their specific needs.

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“We have to be ready to re-invent ourselves. Markets don’t hold still. One year there’s money for school assemblies; the next year there’s not. Give yourself a good cry if a lucrative market dries up, but then get in gear and ask, ‘Okay, what service do I provide now? What market need can I fill?’ ” Susan O’Halloran, Stories for Possibilities

Where Do I Market Myself? There are many venues where you can market yourself. The following is, by no means, an exhaustive list: • • • • • • • • • • • • • • • •

After School Care Aquariums Arts Festivals Associations and Organizations Birthday Parties Book Stores Children’s Festivals Children’s Museums Churches Conferences Corporate Events and Functions Day Care Facilities Festivals Hospitals Libraries Mall 117


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Museums Nature Centers Nursing Homes Orphanages Parent Teacher Associations/Organizations Parks Picnics Retreats Schools Scouting Events (Boy and Girl Scouts) Storytelling Festivals Summer Camps Sunday School Women’s Shelters YMCA and YWCA Zoo

SCHOOL

These are just some of the places where you can market yourself. There is so much more. If you are interested in marketing to schools, every state has a Board of Education that publishes a directory of schools in the state. The website, www.schooltree.org, contains contact information for schools around the country, categorized by state. Listings of libraries can be found in the American Directory of Libraries, which is available at your local library. Be sure to bring plenty of change if you want to copy the pages. Festival listings can be found by contacting your state tourism office. Advertising in a local or regional parenting publication can earn you birthday party work. Listings of organizations and associations can be found in the Directory of Associations or the Encyclopedia of Associations at the reference desk of your library. Don’t forget that the Internet is an invaluable source of information!

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“When I signed a guestbook of a literary magazine, an events planner read my post and contacted me about a gig at an upscale coffee house. Both he and the owner of the coffee house were brand new to storytelling and were excited about the possibilities for storytelling at their venue. I now have an hour-long slot on the first Friday of each month. The owner also invited my local guild to have a ‘night of stories’ where we can tell and sell. This experience reassured my belief that people are CRAVING storytelling in new and unusual places. As artists, we should never limit our opportunities.” Chetter Galloway, Professional Storyteller



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There is no limit to the places you can market yourself. Be creative and imaginative; don’t be afraid to open new doors for storytelling.

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Trademark Information The United States Patent and Trademark Office www.uspto.gov

Where to Find Mailing Lists Book of Lists The Book of Lists is a great resource for new and unusual venues. Most libraries carry the Book of Lists. Festivals This website lists festivals around the world. It also offers a searchable database. www.festivals.com Libraries The American Library Directory lists all of the public libraries in the United States as well as law, medical, and university libraries. This directory is a reference book which may be found at your local library headquarters. This website, maintained by Berkeley, lists U.S. Public Libraries and contains a searchable database. http://sunsite.berkeley.edu/Libweb/Public_main.html

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Museums This website is a listing of museums across the United States. Museums are searchable by alphabetized list, state, or even by type of museum. www.museumca.org/usa/ Nursing Homes This website offers a searchable database to locate nursing homes in your region. www.mynursinghomes.com/findahome.cfm Organizations and Associations The Directory of Associations and The Encylopedia of Associations are books that list associations across the United States. These reference books may be found at your local library headquarters. Parks This is the website for the National Park Service. You may search for parks across the United States. www.nps.gov/parks.html Schools Contact your state department of education for a catalog of schools. Also check school district websites for school addresses. Also check out www.schooltree.org, which lists schools by state. The American School Directory is a web-based subscription service ($9.99 a month or $36/year. You can conduct searches by district and individual schools. www.asd.com This is the listing on the U.S. Department of Education’s website for all the various states’ education departments. http://wdcrobcolp01.ed.gov/Programs/EROD/org_list.cfm?category_ID=SEA Tourist and Visitors Bureaus, Chambers of Commerce This site maintains a list of tourist and visitors bureaus as well as chambers of commerce in each state. www.2chambers.com/

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Chapter 11

Creating an Image

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“In the years behind our years...”

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Creating a Logo Working with a Graphic Designer Stunning Stationery Beyond Business Card Basics Spicing Up Your Image Resources Sample Stationery and Business Card Layout

Your image defines who you are to your hiring presenters and your listening audiences. If you are an energetic, over-the-top teller, your image should reflect your performance personality. If on the other hand, you are more reserved, your promotional materials should capture your understated style. You also want to consider whom you are marketing. Obviously, a flashy, rainbow-colored brochure would not work when marketing high-level corporate executives or attorneys. Give your image careful thought—it will brand you for years to come.

Creating a Logo I recommend that every business create a logo. Why? A logo is your “brand.” A good logo is memorable. Your logo should consistently adorn your stationery and promotional materials. Your logo identifies you; it gives you instant recognition. We live in an age of “brand loyalty.” As storytellers, we should create brand loyalty as well, getting fans and presenters to want to stay with us over the years. They should be able to recognize you as soon as they see your logo. A logo can be as simple as using a unique font for your name or as elaborate as hiring a graphic designer to create a look for you. Remember, your logo will adorn your materials for a long time, so don’t rush into a quick decision.

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There are two basic types of logos. First there is the logotype or word mark, in which a logo is created with lettering using the name of the company. Then there is the abstract logo that is a representative picture of your business, like the burger for Burger King. Burger King actually uses a combination of both. If you decide to use an abstract mark, be sure that it is associated with you by appearing with your company name at all times.

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“More than half of people think visually. People retain 20% of what they read, but 80% of what they see in symbols or word pictures. It is worth the time and money to find the right logo and brief word description that captures the essence of what you do.” Susan O’Halloran, Stories for Possibilities

Cingular, the telecommunications company (now AT&T), uses an abstract symbol, a stylized X figure. It is memorable because it appears in all their commercials, often receiving more attention than the product itself. The company does this to promote logo recognition and it works. Clip art can be used in creative ways to create a logo. Clip art is inexpensive and the right combination can look great. It’s a great way to create a logo if your budget is tight. If you do use clip art, be sure that it is copyright free. As you progress in your career and can afford to do so, you can upgrade your logo by hiring a graphic designer to redesign or create a new look for you. Creating a memorable logo is an art. A good logo should last you at least 10 years.

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“Having a logo created was the best investment I ever made in my business.” Linda Gorham, Professional Storyteller

Working with a Graphic Designer It took some time before I was able to hire a graphic designer to redefine my image. My brochure and promotional materials have gone through several transformations before being designed by a professional graphic artist. Hiring a graphic designer will require an investment but a good designer is worth every penny spent! Invest in a graphic designer when you have created a solid body of work. You will need a variety of programs and services to fill a professional brochure or press kit. As you evolve as a performer, so should your promotional materials. Your promotional materials should reflect the quality of your work as an artist. 122


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When you are ready to hire a graphic artist, the following checklist can help to simplify the process.

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Artist Portfolio—Ask to view the artist’s portfolio, including previous logos and stationery designed. Professional design image is a specialty and a good graphic artist will know how to capture the essence of a business with a few artful strokes. Have a Conversation—My belief is that business is about relationships. It’s how I operate my storytelling business. I applied this same philosophy when I hired my designer. I found him over the Internet but after a phone call to his studio in Los Angeles, I knew he was the right designer for me. He shared my sense of humor yet had an air of professionalism about him, which I admired. He made me feel comfortable. That was important. Communicate with your designer and have a conversation. Make sure that the relationship will work for both of you. My graphic artist and I have been working together for several years now. In fact, he designed this book. Work for Hire—Creation of a logo or stationery is work for hire. This means that you will own the copyright for the logo or stationery. Because you will use the artwork in perpetuity, you may be charged a higher fee. Other design work, such as CD covers and posters, may not be work for hire. You may be charged a usage or licensing fee because the artist will own the copyright. Check beforehand so that you know where you stand. Money Saving Tips—Let your artist know that you have a budget in mind. He will be able to better accommodate your needs if he knows up front that you are working under a budget. To add visual interest to your image, use color. To save money, add only one or two colors, as the full four-color process can become quite costly. Working with the same designer on the logo and stationery may also save you money as he will give you a price on the entire project rather than individual pieces. It also helps to lend continuity to your project. Clearly Defined Concept—Have a clearly-defined concept in mind when you speak to your designer. Don’t be afraid to rough out a sketch, write down key words, or convey certain color schemes that you prefer. This is your image. It has to fit you. The more information you provide to your designer, the better equipped he will be to execute your artistic vision. Creativity and Artist—Like you, the graphic designer is an artist. He is skilled at his work and has an “eye” for design, which is why you hired him in the first place. Be mindful to convey your ideas without inhibiting the artist’s inherent creativity. Working together, you will come up with a combination that satisfies your vision and his sense of artistry. It’s like putting together a story. Your clients can request a story but ultimately, as an artist, you decide how the story is delivered. Samples—Your graphic artist will likely provide you with several samples to view. During this process, carefully review the various designs and play with combinations. Perhaps the graphic would look better in purple than red. Perhaps you want to change the font. Don’t be afraid to approach your artist with changes. He is working for you. Using Technology—My graphic designer is located in Los Angeles. I am in New Orleans. I have never met him in person. All of our business has been conducted online or by phone. He provided me samples to view by e-mail. I even had a network of friends who provided advice and guidance along the way—all via e-mail. 123


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The Final Product—Once you have approved the revisions, your artist will put your artwork into final form. Ask for various output formats, ones that your printer will be able to use. A quick call to your printer to ask for the various formats they take will save you time and money. Get the artwork on disk or CD in multiple file formats (.jpg, pdf, .gif, and .tiff ) and back it up! You may also want to obtain a copy of the original files (my graphic artist works in Illustrator). Keep two copies of the disk/CD in a secure, temperature-controlled place such as a fire safe. Be sure that your digital formats are also compatible with the Internet for uploading to your own website and other forums on the web. Some sites require digital photos and graphics to be a certain format and a certain size.

Stunning Stationery Stationery consists of your letterhead and envelopes. Producing sharp-looking letterhead makes a statement. It says that you are serious about your craft. It says that you are a professional. Your stationery is often the first piece of promo your client sees when they open your packet. Yet it is one of the most underutilized, overlooked pieces of an artist’s image. Your stationery is the “opening act” and it represents who you are. When creating letterhead, your logo should be prominently displayed. Your contact information is vital. It should be visible and not obscured by the lettering of your correspondence. The envelope should mimic the style of the letterhead, repeating the logo and clearly displaying the return address. If you choose to use labels for larger envelopes, incorporate your logo into the label. Technology has made creation of stationery and promotional materials very accessible for the professional storyteller. With the proliferation of laser and color inkjet printers as well as various desktop publishing programs, a storyteller can whip up a great looking letterhead with a matching envelope on their own PC or Mac. If you are operating on a modest budget, you could splurge and have your logo professionally designed, then create your own stationery using the logo your designer has provided on disk. Stationery is often the most underestimated piece of your promotional packet. Your stationery should say, “Wow! Look at me!” If the rest of your promotional materials are jazzed up, then why shouldn’t your stationery be too? Add flourish to your stationery by adding color or by giving it a nontraditional twist (your photo on it, for example). Your stationery should be stunning and stylish.

Beyond Business Cards Basics We all know that business cards are a must. But what we may not realize is that business cards can go way beyond the basics. Standard business cards are 31/2" 2". It’s a small piece of paper but your business card says so much about you. Shouldn’t your business card make a statement? Better yet, shouldn’t your business card motivate people to call you? Here are some ideas to rev up your business cards. Think differently. Think outside of the standard business card box. •

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Splashes of Color Since I switched to a full color business card, I have received more response and compliments about my business card than any previous cards I had. Color adds visual interest to your card.


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Your card doesn’t have to be full color—even adding one or two other colors will help create an eye-catching theme. Black ink on white business cards screams “I need a facelift!” Two Faces A standard business card has a front and a back. Don’t be afraid to use the back side of your business card. You could include an artist statement, your list of credentials, places where you have performed or exhibited, a quote from a satisfied client—the possibilities are limitless. Information Card Many people are using the backside of their business card to offer helpful information. I have seen cards with tip tables and calendars. Those are pretty common, but you could offer helpful hints such as a “Presenter’s Checklist” or “The Benefits of the Arts.” Note Cards When I hand out my business card, I am often asked, “Where are you performing next?” I then write the information on the back of my business card. With the note card idea, you could turn the back of your business card into a mini-notepad with lines. Any information you need to jot down may be written in that space. Headlines Use the back of your business card to create a statement—a headline. Using a nice graphic and a bold headline, your message will stand out in the crowd. The Arts. For Me, for You, for Life.

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Rolodex Cards When I first began telling stories, I designed a brochure that had a perforated Rolodex card. That way my clients could conveniently place me in their Rolodexes. At the top, my heading was “Storyteller.” Although I like the concept of Rolodex cards, I would advise using a Rolodex Card in conjunction with a standard size business card. Magnet Cards My friends and fellow storytellers, Mary and Neil Early, create magnet cards. Their colorful business card is laminated with a magnet adhered to the backside. It’s a great idea that keeps their presence visible. You can also have special magnet business cards made by printing companies such as Vistaprint.com. Tent Cards Tent cards are 31/2" 4" folded in half horizontally. With a tent card, you are able to include much more information. Any of the above concepts can be combined to create a powerful business card that creates quite an impact. Brochure Cards Though much more costly than any of the previous types of business cards, brochure cards are fast becoming a popular way to get a message across. Brochure cards are 31/2" 6" folded in thirds horizontally. They are sometimes perforated so that the standard business card can

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be separated from the rest of the “brochure.” This type of card can feature a headline on the front, information, a mini-résumé, etc. In short, it is a miniaturized brochure. Be careful not to crowd too much information together. Keep your copy simple and clear.

Basic Business Card Content Checklist Having a “kicked-up” business card will certainly draw more attention to you. But don’t forget the basics. Always include the following: R R R R R R R R R R R

Name Title Company Name Snail Mail Address Phone Number Fax Number E-mail Address Website Address Other numbers you want to include such as cell phones or pagers Logo Photo of yourself

Other information you may include: R R R R R R R R R

Professional affiliations Publications Performance Venues (performers) Places Exhibited (visual artists) Published Books (authors) Products (CDs, cassettes, merchandise list) Awards received Artist Statement Fantastic quotes

So my friends, go beyond the basics and add some “Bam!” to your business card. Go ahead. Be bold! You can do it!

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Spicing Up Your Image Do you have the right recipe for marketing success? Are you using the same brochure that you used five or ten years ago? Maybe it’s time to spice up your image. Here are a few tips on getting you and your promo materials in tip-top shape.

Say Stories! How old are your promo photos? Do they still look like you? If they are out-of-date or if your appearance has changed drastically since your last photo session, it’s time for new promo pictures. Hire a professional photographer. He will cast you in the best light and know how to capture the image that you desire.

Glam It Up Now that you have scheduled a photo session, get your hair and makeup done. If you perform on stage, you are an entertainer. Treat yourself like one (even sportscasters do it) and update your image. Of course, your look should be in keeping with your performance image. Linda Gorham, a storyteller from Illinois, is one of the best examples I know. She always looks like a million dollars and it is reflected in all her promotional materials.

Keep Up Your Closet What are you wearing on stage? Sometimes we can get into a rut with what we wear. Add something new to your daily performance ensemble—a scarf, a tie, a vest, jewelry, even a whole new outfit. I recently had new dresses made for my shows and it really jazzed up my mood, which in turn helped me pump up my show.

Livin’ La Vida Logo A logo defines a company. Think of the golden arches and you think McDonald’s. What does your logo say about you? A professionally designed logo will spiff up your image and, if used consistently, will brand you in the minds of hiring presenters and your fans. People do business with people they know. Find a graphic artist through Elance.com, where you specify your needs and artists bid on your project.

Black and White is for Zebras We live life in color. If your current promo materials are in black and white, consider adding color. Even one or two colors can make a striking difference. Full color is even better and with today’s technology, it’s affordable. Vistaprint.com offers free full-color business cards.

Working the Web Getting your image on the World Wide Web can give you international exposure. Your website should contain your bio, current photos, programs you offer, and contact info at the very least. Eliminate broken links and outof-date information. Offer useful content, keep your website current, and create an eye-catching design. Before presenters hire you, they see your image. The old cliché is true: people judge books by their covers. So spice up your image and put away the ketchup. It’s time for Tabasco!

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“The happy pair lived in good health and cheer for many a long and prosperous year.” (Russian Gypsy)

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Recommended Websites The Brochure Place The Brochure Place offers 5,000 full color 81/2" 11" tri-fold brochures at a competitive rate. Great quality, too. www.brochureplace.com Elance You can put your image design projects up for bid to graphic artists around the country. Elance allows you to view artists’ portfolios, see their customer satisfaction ratings, and award the bid to the artist of your choice. www.elance.com Overnight Prints Overnight Prints offers incredible prices on business cards, postcards, and brochures. The quality is fantastic and they deliver quickly. www. overnightprints.com Vista Print Vista Print offers 250 free full-color business cards. It is also an inexpensive source for full-color custom business cards and postcards. The brochures are competitively priced. I use Vista Print exclusively to print my business cards and postcards. Terrific quality and good customer service. www.vistaprint.com

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- Creating an Image

Sample stationery and Business Card Layout

Envelope

Letterhead

Business Card—Front

Business Card—Back


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Printed Promo with Pizzazz

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In this chapter… ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³

Photographs that Dazzle Thom Bennett’s Guide to Fabulous Photos Working with a Photographer Marketing at Face Value Composite Cards Brochures with a Bang! Design Dos and Don’ts Choosing a Printing Company The Printing Process Flyers Money-Saving Tips for Printing Flyer Slicks Posters Postcards The Promotional Kit The Press Kit Promo Materials that Grow with You Resources Sample Letter of Introduction Sample Brochures Sample Postcards Sample Step System Press Kit

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Photographs that Dazzle

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Thom Bennett’s Guide to Fabulous Photos 1. Work with a professional photographer—He will be able, through lighting and posing, to create an image of you that communicates the substance of your performing personality. 2. Consultation—Prior to the shoot, discuss just exactly what image you are looking for. Give the photographer an idea of who you are, what you do and how you would like to be perceived. A seemingly simple headshot requires a lot of forethought. A good exercise is to write out a list of words that describe what you want your photo to say, and give this list to the photographer. This will provide a blueprint that he can use to visually translate your ideas. 3. The photo shoot is a performance—Treat the photo shoot as a scheduled performance and plan to spend at least an hour at the shoot; allow more time if you are doing a variety of poses, clothes changes, etc. 4. After the shoot—You will receive your photos in some form of proofs; either small prints or, more likely, a contact sheet, which is a sheet that will have all of the photos in a thumbnail form. You may also be provided with the option of viewing your proofs digitally on CD or even on a website. Carefully select the best shot(s) and the photographer will then provide you with a finished print that is ready to be sent out for reproduction where your photo will be printed with your name and contact information. 5. Usage—Each photo has a specific purpose. A headshot or promo shot is just that; a photo to be used in conjunction with your other promotional materials. If you wish to use that photo for other purposes, contact the photographer and negotiate the terms for broader usage such as CD art, poster art, merchandising, etc. 6. Update—Don’t let your image go stale. You should update your promo photo at least once a year; more often if you add or change programs. Remember, this photo is often the first time your clients will see you—make a good impression!

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“Don't hesitate to change your photo to match your current look. After showing up at a few venues and being told, ‘You don't look like your picture,’ I got the hint.” Linda Gorham, Professional Storyteller

Working with a Photographer Like choosing a graphic artist, choosing a photographer requires the same amount of care and rapport. When choosing a photographer, ask fellow storytellers and performing artists who they use for their photographs. If you like another performing artist’s promotional materials, ask who their photographer is. If you are unable to obtain a word-of-mouth recommendation from fellow performers, call your local arts council to find out if they have a recommended list of photographers. You may also contact your local professional photographer’s association for a recommended list of photographers. Here are some things to consider when choosing a photographer: •

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Photographer’s Portfolio—View the photographer’s portfolio, especially his experience with performing artists. By looking at the photographs, can you tell what the artist’s art form is? How is the lighting on the photographs? Are all the photos consistent? Have a Conversation—Again, I urge you to have a thorough conversation with your potential photographer. Ask him what his work style is. Your conversation will let you know if a relationship will work for both of you. Work Style—Does the photographer want you to create your own poses or will he direct you as he shoots? Does he shoot one photograph at a time or does he rapid-shoot? How long are his photo sessions and what do they entail? Creating a Package—Some photographers have “packages” that they offer. Be sure that you know what you are getting before you enter into a contract. Most photographers’ fees cover the photo session and include some prints. If you want additional prints outside of your package, you will be charged an extra fee. Find out what the photographer’s fees scale is before you start so you will not be surprised by hidden costs and fees when you place your final order. Head Shots/Action Shots—A storyteller should have a combination of head shots (shoulder up) and action shots (full body in action—telling a story). Your action shots will allow presenters to see your personality as a performer. Your action shots should reflect the style of your telling. Copyrighted Work—The photographer, like you, is an artist. He will retain the copyright to the photographs he takes. For every photo that you use, you will need a copyright release from the photographer allowing your use of the photo (i.e., to print composite cards). If you are planning on using the photos as an image on a product you intend to sell (i.e. a CD cover), check if a usage fee or if royalties are to be paid to the photographer. Obtain usage rights in writing. Using an image without proper authority will place you in violation of copyright law. Sometimes, you can negotiate with the photographer and pay a higher fee for the rights and the negatives. That way, you own the copyright to the photos and can duplicate them as often as you wish. 133


• •

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Money-Saving Tips—Shoot your photos in black-and-white, rather than color. Black-andwhite photos are less costly to reproduce. Using Technology—In one photo shoot I did with a photographer, he took print pictures as well as digital photographs. As part of my package, I was given a CD-ROM with the digital photos for use on my website. I was also able to use the digital photos on self-created promotional materials on my home printer. The Final Product—The photographer will give you a proof sheet of your prints. The proof will have corresponding numbers with the photos. Digital photos can be e-mailed or copied to a CD-ROM. Look over the final proofs carefully and mark your selections on a sheet of paper. Ask family, friends, and professional colleagues for their opinions. Sometimes, their objective view will allow you a different perspective you may not have thought of yourself.

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Marketing at Face Value No one seems to like their driver’s license picture. Or their high school yearbook photo. Or the photo on their employee identification badge. But when it comes to marketing, your face has a priceless value. It’s instant identification with you, the service, and the product. When people see your face, they feel like they know you better and as the old adage goes “People do business with people they know.” Ask yourself this. As a performer, what are you trying to sell? The answer is YOU. I believe that, as a performer, your face should adorn every piece of marketing material you put out there. One of the things I learned from my good friend, multi award-winning children’s musician, Johnette Downing, is the value of the face on every CD. Look at nearly every multiplatinum artist on the market today. Their faces are splashed on the cover of every CD. The record companies know what they are doing—instituting instant brand identification with the artist and inspiring brand loyalty. When you visit my website, you will see my photo at the top of every page. That way, if someone surfing the web stumbles onto a section of my website, they will instantly attribute the page they are viewing to me. My business cards also have my picture on it. How many times have you received a business card from someone and looked at it some time later, only to have forgotten who that person was? A picture is a simple solution and full color business cards are so affordable now. Tom Chapin, multi award-winning family performer, has 10 recordings, all of which sport his image on the cover. On some covers, it’s a photo; on others, it’s an illustration but each image is unmistakably Tom Chapin. When you go to the music store and look at children’s music, his CDs will stand out again the rest because his face is consistently branded on each album cover. Michael McCarty, professional storyteller from southern California, has his face brightly illustrated on his business cards. It’s such a great illustration and immediately captures the flair and personality of Michael. Each time you look at his business card, you are instantly reminded of his captivating presence because his face smiles back at you. So face the truth—how does your marketing reflect you? Don’t be shy about putting your face “front and center.” You face people every day when you perform. Now allow them to remember you with a picture that speaks a thousand words. Give your marketing face value.

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Composite Cards A composite card is a color or black-and-white photograph that has been reproduced en masse for distribution purposes. A composite card can have more than one photographic image. It is usually printed on card stock and has your contact information listed on the bottom or the side of the card. Composite cards are sent with the press kit. These cards are used to reproduce your image in print and other media. Composite cards come in many sizes: 8" 10", 5" 7", and 4" 6". These are generally the standard sizes. Composite cards are quite affordable in black-and-white. Though color reproductions are always more costly, technology has made color more widely available and less expensive.

Brochures with a Bang! Brochures are a vital part of your promotional package. A good brochure will “bait the fish.” After that, it’s up to you to reel them in. Your brochure is representative of your performances style, the programs and workshops you offer, and your performing personality. Basic information your brochure should contain: •

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Photograph—The best brochures from performing artists I have seen are those that have good quality photos on the cover of their brochure. You are, after all, selling yourself as a storyteller. Place your picture on the front and invite them inside your brochure! Description of program(s)—The description can be a general one, describing what you offer as a storyteller or it can be specific and briefly list the selection of programs you have available. Brief biographical sketch—Your bio should be brief, listing your credentials, notable performance venues, and a short blurb about your background. Quotes from Presenters—Quotes and testimonials are powerful marketing tools. They inform a potential presenter that you are good at what you do. Nothing sells a service better than a word of mouth testimonial from a satisfied customer. If you do not have any quotes, start collecting them by asking for letters of recommendations and evaluations. It is better to err on the side of caution, so ask permission before including anyone’s quote in your printed promotional material. Contact Information—Make it easy for presenters to find your contact information. Place it separately in the copy of your brochure so that it is not buried and hidden. Provide your mailing address, phone number(s), fax number, your e-mail address, and website URL. Rates—I recommend not listing your rates in your brochure unless you plan on updating it every year. Not listing your rates will increase the longevity of your brochure. If you are marketing nationally, fees differ from region to region. A simple way to include your fees in your brochure would be to create a single paper insert that can be removed and replaced. The insert could be customized for various mailings. You can also point people to your website to view your fee schedule—“See website for fees.” Your fee schedule is much easier to update on your website than on printed promo material.

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Design Dos and Don’ts We want our promotional materials to say something about us. But what are we trying to say? Don’t let your message get buried in design don’ts. There are some rules of thumb to follow when you design promotional material. Whether you are creating a brochure, flyer, ad, or newsletter, marketing experts seem to agree on some basic principles: • • • •

Purpose—Know your purpose. What is it you are trying to sell? Stories—Ads that read like stories receive a better response. Headlines—Use a headline that stands out. Ask a question. Provide a solution. Benefits—Write about customer benefits. Why will they profit from doing business with you? • “You”—Use words like “you” and “your” and limit your use of words like “we” and “us.” A two-to-one ratio is good. • Headings—For headings, upper and lower case gets a better response than all caps. • Reverse Text—Avoid using reverse text (white on black). It turns readers off. • Simplicity—Keep the copy simple and don't overwhelm your space with different font types, or too much text. • Color—Colored paper or colors on your marketing piece increase response. • Contact Information—Be sure that your contact information is clearly accessible, especially your phone number. • Call to Action—Include a call to action. For example, “Call now” or “Fax your order today.” Give a deadline. • Uniquely You—Keep the spirit of your personality in your promo materials. Don’t create materials that aren’t “you.” Use these basic principles to guide you in designing your promotional materials. Then add elements that are uniquely you to create pieces with pizzazz. Linda Gorham, a storyteller from Chicago, always wears gold shoes when she performs. This is her signature, her trademark. She took that concept one step further and uses dazzling gold color on her promotional materials. The end result is a jazzed-up brochure with matching letterhead, envelopes, and business cards.

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“We get so enthused about what we do. The benefits seem self-explanatory. But they aren’t. It’s important to keep honing our message—what will the audience get from seeing your show or attending your workshop? Spend less time on the features (the description of what you do) and much more time on the benefits.” Susan O’Halloran, Stories for Possibilities



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Tom McCabe, a professional storyteller in Massachusetts, has been collecting pins from devoted listeners for many years now. He attached the pins to his shoes. (What is it with shoes?) His promo copy reads, “A little girl presented her favorite storyteller with a friendship pin. He put it on his shoes and they just grew and grew.” (Tom used the “story” principle here.) Tom’s shoes became a unique trademark for him and he showcases his special shoes in his brochure and his website.

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“We spend so much time on our stories, but not on OUR STORY—why should people care about what we do?” Susan O’Halloran, Stories for Possibilities

Both Linda and Tom used not only their “uniqueness” to help create a theme for their promotional materials, they also employed the basic elements of marketing design to create effective pieces of promotional material that immediately captivates readers. Both of their brochures created pictures in my mind that I will not soon forget. And that is the whole point of designing promotional materials—to create a lasting impression. Lasting impressions often make first sales!

Choosing a Printing Company Establishing a relationship with a good printer is invaluable. A good printer will give you printing and pricing options so that you may make an informed decision. When I work with my graphic artist, I will sometimes use his printer. He has established a relationship with that printer and can get a good deal. As the graphic artist, he also knows the exact specifications to give the printer. There are times when I find it more feasible to work with a local printer with whom I have established a relationship. And there are other times when I find it more economical to use an Internet printing company. Services a printing company may offer: • • • • • • • • • • •

Business Cards Letterhead and Envelopes Brochures and Newsletters Booklets and Catalogs Posters and Flyers Pocket Folders Carbonless Forms Padded Office Forms Thermography (raised printing) Stickers Postcards

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Offset lithography—used by most commercial printers (explained below) Engraving—raised printing (fine stationery) Thermography—raised printing, used in stationery Reprographics—copying and duplicating Digital printing—printed from digital files (with technological advances, this is the future of printing) Letterpress—the original Guttenberg process (antiquated process rarely used) Screen printing—used for t-shirts and billboards Flexography—usually used on packaging, such as can labels Gravure printing—used for huge runs of magazines and direct-mail catalogs

Offset lithography is the mainstay of nearly every commercial printer. This is the type of printing that is used to produce most promotional pieces we are discussing in this book. The way offset lithography works is that images are placed on plates, which are first dampened by water and then ink. The ink adheres to the image area; the water to the nonimage area. The image is then transferred to a rubber blanket and from the rubber blanket to paper. It is called offset because the image is not transferred directly to the paper from the plates as it is in gravure printing. The image (either digital or a hard copy) is transformed into “films.” The images from the negatives are then transferred onto plates. Each of the primary colors—cyan (blue), magenta (red), and yellow, as well as black—has a separate plate. Although the finished product is full of many colors, only these four colors are used. This process is known as four-color printing process and is also known by the initials CMYK (cyan, magenta, yellow and black). Before the document is sent to the printer, a blue-line is created from stripped-up negatives. Printers use the blue-line, a proof that is blue in color, to check for alignment and to correct any errors before the document is printed. You can ask to review the blue-line before the document is printed. Because of advances in technology, many printers are now finding it more feasible to use Adobe Acrobat files as their proof copy. My local printer, who once used blue-lines, has now switched to Adobe files for viewing proofs. The advantage for using this method is that a customer can view the project in true colors and the file can be e-mailed. If you want to see a true-to-life mock-up, it can be printed on a color laser or ink jet. During the printing process, the ink is transferred onto the paper and passed through an oven at nearly 400 degrees Fahrenheit, which dries the printed paper. It is then moved through chill rollers—a 138



series of large rollers filled with refrigerated water. This process sets the ink and prevents smudging. The huge sheets of printed paper are then cut. If the printed paper is for a catalog or book, it is also collated and bound.

Flyers Flyers are a great way to promote inexpensively. A well-designed flyer can be copied on colored or preprinted paper and distributed en masse. The same design tips found in the brochure section in this chapter also apply to flyers. Flyers work well when you require large, cost-effective distribution. Some uses for flyers are:

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Gang-run—Ask for your printer to gang-run your print job, back-to-back with someone else’s job. Gang-running print job means that they are run back-to-back on the same roll of paper, using the same ink. This process eliminates valuable set-up time and if you are not rushed on your job, the printer usually gang-runs jobs once or twice a week. Running your job alone costs more because of the set-up time for the press. Two-color process—Two-color process usually refers to black and two colors. Twocolor process is less costly and can still add an element of pizzazz to your promotional materials. Eliminate bleed—Bleed is when the color extends all the way to the edge of the paper. It is usually less costly to print without bleed, using white space, instead, around the edge of the printed document. Provide correct specifications—Ask what your printer’s specifications are and convey them to your graphic artist. If you are providing a digital image, your output file should be compatible with the software the printer uses. Ask what types of output files they accept. You will eliminate conversion costs if you provide them with the correct specifications. Print on Standard Size Paper—Unusual size flyers and brochures are more costly. To save money, print on standard size sheets of paper—81/2" 11", 81/2" 14", and 11" 17". Review proofs—Carefully review the proof. Careful scrutiny of the preprinted document will save you money by eliminating costly reprints. Familiarize with Various Papers—Familiarize yourself with the various types of paper available. Various textures and weights will factor into the price of your printed material. Promotional materials on 80 lb. stock is a common weight and it is usually less costly than other stocks. 139


Flyer Slicks A flyer slick is different from a flyer. A flyer slick is a glossy flyer that features your name, logo, and photo with a blank space for filling in performance venue information. These are provided to clients that book you so that they have a way to advertise your show. Flyer slicks can be 81/2" 11" to “sky’s the limit” in size. Determining size depends on your budget and how visible you want to be. For costeffectiveness, print your flyer slick on white, glossy 80 lb. paper and your clients will be able to copy it to colored paper. For the “Wow!” effect, print in full color. In this case, you will have to provide as many copies as your client needs because they will be unable to cleanly reproduce a color flyer slick.

Posters Musicians think nothing of creating posters. You see posters of bands everywhere. Yet, I rarely see posters for storytellers. A giant poster has impact. It says, “HERE I AM. SEE MY SHOW!” Posters can be created to promote an upcoming book or performance. Be creative and combine the function of a flyer slick into the size of a poster. Storyteller Sue Black has done this with dazzling results. Her poster-sized flyer slick is colorful, functional, and captivating. It generates immediate excitement about the show when people see it hanging in a school, library, or theater.

Postcards Postcards are one of my favorite ways to market. Full-color postcards are inexpensive and can provide a stunning introduction to your services. Postcard marketing can be one of the most economical and effective ways to target your clients. Postcard postage rates are much cheaper than first class letter stamps. For full impact, use both sides of your postcard to get your message across.

The Promotional Kit Your promotional kit is the packet you send out to impress a client with whom you would like to pursue further business. Because they can be costly to produce, you will want to reserve them for VIPs, those who show great interest in hiring you but are still not convinced. The contents are slightly different than those of a press kit. An expertly presented promotional kit says volumes about your professionalism and your dedication to your career.

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“Promotional kits can cost money. Mailing them adds to the cost. But the business generated by a good kit is priceless.” Linda Gorham, Professional Storyteller



There are many ways to package your promotional kit. My preferred method is to place the materials inside a colored two pocket folder with a die-cut slot for a business card inside. I have also seen promotional kits placed inside colored file folders, colored expandable folders, and report covers. Your promotional kit should contain: • •

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Letter of introduction—This letter will introduce you and state that you look forward to hearing from your potential client soon. (You will initiate the follow-up call.) Business card—Place your business card in the die-cut slot of your folder. If you are using a colored file folder, buy clear plastic adhesive business card holders to place on the outside of the folder and slip your business card in it. Brochure—Provide a brochure for your client. Résumé or Performance Highlights—You should include a résumé or a sheet of performance highlights. This will include your performance and touring history, festivals, workshops, residencies, publications and/or recordings, education and any other relevant information. Program(s)—If your prospective client is interested in a particular program, provide a sheet detailing the program(s) you offer. Quotes—Include a sheet of quotes, testimonials from happy clients. Print Media Clippings—Nothing gives you credibility like a good write-up in print media. If you have been featured or profiled in the media, include copies of the article. When you copy the article, include only the write-up about you, any correlating photos, and the publication’s masthead. The clipping or “tear sheet” shold be void of any other articles, pictures, or adversising. Your clipping should be copied onto plain white paper (colored paper is very distracting and can muddy the appearance of photos). Provide no more than five of your best clippings (each on a separate sheet of paper). Too many clippings will clutter your promo kit. Positive media publicity will demonstrate your professional credibility to a potential client. Samples of Work—If you have a storytelling audio or video, it is a good idea to include a copy as a sample of your work.

The Press Kit The press kit is what you send out to clients who book your show and to the media. The press kit will be used to generate publicity. Like the promotional kit, your press kit should also be housed in a pocket folder or file folder. Elements of your press kit can be printed on your dazzling stationery or customized into a “step system.” With the step system press kit, the inserts are stacked, like stairs so that you can see each heading for each sheet of paper. There are vertical and horizontal step systems. I like the step system because it makes looking through a press kit easier. Each individual insert can pulled out quickly.

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In addition to the above items, in your press kit, you will also need: • A Press Release—Your press release entices the public to see your show by including an exciting description of your show and interesting information about you. A good press release will generate positive publicity on your behalf. • Flyer Slick/Poster—Provide a flyer slick or poster advertising your performance. The flyer slick/poster should contain your name and logo prominently displayed, and spaces left blank for location, date, and time. • 8 × 10 photo—Provide either an original photo or a quality, reproducible composite card. You can also indicate that your publicity photos are downloadable from your website. (I highly recommend having a downloadable press kit that includes your photos.) • Technical Rider—List your lighting, space/stage requirements, sound, electrical hookup, equipment needed, and transportation (you may omit this if it is in your contract or confirmation letter). Creating promotional materials with pizzazz takes time and effort but a well-developed promotional packet is worth its weight in gold. If you don’t have the time or would like the input of someone experienced, hire a consultant. Take time to really put together a knock-out package elicits the “Wow!” effect.

Promo Materials that Grow with You

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Your promotional materials will need periodic updating as you change and grow in your career as a storyteller. The photos of you that grace your marketing materials should reflect how you look right now. If you receive rave reviews from the media or notable clients, you should update your materials to reflect that. Also take note of significant tours and venues. For instance, if you performed at the Kennedy Center or a prestigious performing arts center, include that in your marketing material updates. All of the following promotional materials will require updating at some point or another: business cards, biographies, brochures, flyers, flyer slicks, photographs, postcards, posters, press kits (both print and electronic), press releases, and résumés. Frequently update your website as well. This will be discussed later in Chapter 14 “Developing an Internet Presence.” Keep a binder or scrapbook of all your promo materials so that you can see your growth and development as an artist. Marketing is an evolving process. As you grow, so should your promotional materials.

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Graphic Design Elance You can place your image design projects up for bid to graphic artists around the country. Elance allows you to view artists’ portfolios, see their customer satisfaction ratings, and award the bid to the artist of your choice. www.elance.com

Photography Resources ABC Pictures, Inc. The best resource that I know of for black-and-white composite cards. 1,000 8 10s for $120. 1867 E. Florida Street Springfield, MO 65803-4583 1-888-526-5336 www.abcpictures.com International Freelance Photographers Organization (online database of photographers by region) P.O. Box 777 Lewisville, NC 27023-0777 phone: 336-945-9867 fax: 336-945-3711 www.aipress.com

Preprinted Paper and Brochures Idea Art A catalog of preprinted stationery paper, including brochures. www.ideaart.com Paper Direct A catalog of preprinted brochure and stationery paper. Continually adds to their selection. www.paperdirect.com

Printing The Brochure Place The Brochure Place offers 5,000 full color 81/2" 11" tri-fold brochures at a competitive rate. Great quality, too. www.brochureplace.com

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Overnight Prints Overnight Prints offers incredible prices on business cards, postcards, and brochures. The quality is fantastic and they deliver quickly. www.overnightprintscom Print for Less Prints full color promotional materials at a better rate than local printers. www.printforless.com PS Print Prints full color promotional materials at a better rate than local printers. www.psprint.com Vista Print Vista Print offers 250 free full-color business cards. It is also an inexpensive source for full-color custom business cards and postcards. The brochures are competively priced. I use Vista Print exclusively to print my business cards and postcards. Terrific quality and good customer service. www.vistaprint.com

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Sample Letter of Introduction

Date Ms. Ima Presenter 777 Booking Lane Rich Artist, LA 70000 Dear Ms. Presenter: I am writing with regard to my work as an author and storyteller. I am the author of Story Fest: Crafting Story Theater Scripts (Teacher Ideas Press 2005), Kamishibai Story Theater: The Japanese Art of Picture Telling (Teacher Ideas Press 2006) and Handmade Tales: Stories to Make and Take (Libraries Unlimited 2007). Tangram Tales: Story Theater Using the Ancient Chinese Puzzle, The Story Biz Handbook: How to Manage Your Storytelling Career from the Desk to the Sage, Scared Silly: 25 Tales to Tickle and Thrill, and The Cajun Cornbread Boy are forthcoming titles. Each of my resource books is available as a workshop, all of which have received standing ovations. My work as a storyteller has garnered rave reviews in national U.S. publications including Publisher’s Weekly, Booklist, School Library Journal, and AudioFile Magazine. In the U.S., I am a member of prestigious juried state artist rosters: Louisiana State Roster Artist, Louisiana Touring Directory Artist, and Mississippi Arts Demonstration Roster Artist. My award-winning CDs, Jump, Jiggle & Jam—A Rhythmic Romp Through Story Land, Jambalaya—Stories with Louisiana Flavor and World Fiesta: Celebrations in Story and Song are the recipients of multiple awards including National Parenting Publications Association (NAPPA)


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Honors, iParenting Media Award, Children’s Music Web Awards and Storytelling World Honor Award. My performances, called “traditional folklore gone fun” by OffBeat Magazine and “revvedup storytelling” by Publisher’s Weekly, are full of lively audience participation. I perform arts-in-education programs and teacher/librarian workshops, which are well received internationally. I perform at schools, libraries, festivals, museums, conferences, and special events internationally for over 75,000 children annually. I am an enthusiastic advocate of literacy, arts-in-education programming, and family togetherness. Please visit my extensive website at www.storyconnection.net for more information. I look forward to hearing from you soon. If you have any questions, please do not hesitate to contact me. Thank you for your consideration. With kindest regards, Sincerely,

Dianne de Las Casas Enclosures

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Sample Brochures

81/2" 11" Tri-fold Brochure


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Sample Brochures

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Sample Postcards

51/2" 81/2" Oversize Postcard

51/2" 41/2" Standard Postcard


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6" 4" Standard Postcard

51/2" 41/2" Standard Postcard

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Sample Step System Press Kit

Step System Press Kit From The Story Biz Handbook: How to Manage Your Storytelling Career from the Desk to the Stage by Dianne de Las Casas. Westport, CT: Libraries Unlimited. Copyright © 2008.

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Extending Your Visibility

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“At a time when the rivers were made of chocolate and wishes could come true...”


Signs Bumper Stickers Costumes Promotional Giveaways Your Answering Machine Creating Wearable Promo Over 25 Promotional Ideas

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Now that you have developed a nice promotional package, what are other ways you can develop a following and create more visibility? Here are some other ways to market yourself.

Signs At every show, I bring a 2" 6" full color canvas sign. The sign has a grommet on each corner and attaches to a stand. The sign has my full color photo, my logo, and my website on it. Before I began using this sign, I brought along a corrugated plastic sign emblazoned with my name, logo, and website. Black-and-white signs can be easily produced by a sign company and are very affordable. As soon as your audience is seated and they see your sign, they are drawn into a pre-show buzz and begin talking excitedly about the upcoming performance.

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Bumper Stickers Though I was not previously fond of bumper stickers, I do like bumper stickers that promote the arts and storytelling! Ruth Stotter, author of About Story and More About Story sent me a bumper sticker that reads “Tell Me A Story.” It is blue with white lettering. I placed the bumper sticker on the back window of my van and it draws so much attention. I was once driving on the interstate when a van next to me honked furiously and the driver waved her arms wildly. She wanted me to pull over. It was my friend and fellow performer, Johnette Downing! I pulled into a gas station and she told me that she was behind me and knew that it was me because of my “Tell Me A Story” bumper sticker!

Costumes I personally like wearing a costume when I am on stage. It gives that “other world” feel to the performance. When a performer is wearing a costume, the audience knows that a show is going to take place. I wear a “butterfly” dress. It is a big dress that has sleeves that fan out like butterfly wings. When I tell stories, it creates a cool effect and audiences love it. I am always complimented on my dresses. It also makes getting dressed for a show simple! Costumes are a great way to advertise your show. If you perform historical monologues of Betsy Ross, for example, a costume would certainly bring attention to the stage!

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“I believe storytellers should look the part. They should wear something special that makes them unique and shows the world that they are ready to perform.” Linda Gorham, Professional Storyteller

Promotional Giveaways People love getting something for nothing. Johnette Downing, a children’s musician, gives away free tattoos with a CD purchase. It’s a big hit with kids and grown-ups alike. Storyteller Yvonne Healy gives away sticky notes and pens to her clients. I like creating goody baskets and frequently use them for drawings at booths, exhibits, showcases, and workshops. For example, when I exhibit at teacher conferences, I fill a clear backpack with classroom supplies, books, and my CDs. I keep a big box in my office called my marketing box. In the box, I store all types of goodies and books so that I can create a goody basket at a moment’s notice. I buy sale items year-round and store them. To win the goody basket, people must fill out a form that asks for their name, organization, snail mail address, and e-mail address. The addresses are added to my database and e-mail list when I return home. People like receiving free gifts. I build the cost into my marketing budget. Examples of promotional goodies you can give away are:

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- Extending Your Visibility

Postcards Trading cards/baseball cards Tatoos Pins Pens Books Bags Stickers Sticky Notes CDs Audiocassettes Videos DVDs Goody baskets Novelty items (purchased from companies such as Oriental Trading or Fun Express)

When you choose promotional items, be sure that they have value for the recipient. The items should be fun and/or useful. They can be used to emphasize a theme. I attended a library conference in which a large library supply company had a jungle theme. They gave away small stuffed monkeys that had t-shirts screened with their company logo. Conference attendees went wild over those monkeys! A good promotional giveaway should remind the recipient of you. If possible, have your logo printed on the product.

Your Answering Machine Don’t overlook your answering machine as a way to promote yourself. A cheerful voice on the other end will invite your potential clients to book you. When people call, you can point them to your website or direct them to book you by e-mail. Tom McCabe does a marvelous job of this. He offers clients a “free, awarding-winning audiocassette” of stories to clients who handle the entire booking process online. It’s a clever business idea because Tom is able to book shows around his schedule and save money on long distance charges for out-of-town clients.

Creating Wearable Promo Whenever I see Steve Otto at a storytelling event, he is always nicely dressed in his uniform polo shirt with “Stories by Steve” embroidered in visible letters on the front. Joe Wos takes the wearable promo to a whole new level. His hats, jackets, shirts, and even his tennis shoes sport his “Once Upon a Toon” logo. In addition, he offers t-shirts, trading cards, and tattoos for sale after his shows.

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“I have my logo embroidered on my shirts. Talk about a conversation starter! Cost—priceless!” Linda Gorham, Professional Storyteller

Over 25 Promotional Ideas Here are some more marketing ideas. Feel free to use them or let them act as a springboard to inspire you to create your own unique marketing strategies.

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1. Write an Article—Offer to write an article for a trade magazine, your local paper, a newsletter, or your guild newsletter. Writing articles on subjects you have expert knowledge in establishes you as an expert. Being an expert is instant professional credibility. 2. Schedule a Showcase—Schedule a showcase for yourself or partner with other artists. Invite key people, such as the media and the general public, and hiring presenters. Serve simple food and drinks. Have door prizes. Employ a good emcee. Give away a free performance as the grand prize. Advertise that in your press release. This technique also works when you are new or starting over. Schedule a showcase at a public venue such as a public library. Alert the media. Don’t forget to provide a visually stimulating display table with your business cards and brochures. 3. Hold a Contest—Next time you release a CD, hold a contest. Have children design the artwork or come up with a title for the CD. Have some of your clients serve on the judging panel. Give the winning child an autographed CD and a free show at his/her school. Send out press releases and get lots of media attention. 4. Donate Products to a Worthy Cause—Develop a program where you donate two to three of your products (CDs, books, videos) each month to different children’s charities—hospitals, shelters, etc. Or donate a small quantity when you first release your product. Send out press releases. Schedule media interviews with a representative from the organization to which you are donating. 5. Creating a Dazzling Display—Create dazzling displays when you rent a booth at a booking conference or other event. A great table display attracts attention. Set out a huge goody basket that passersby can register to win. This will generate traffic. Have goodies ready to give away when people come to your table. Don’t forget to have a succinct “canned speech” ready to explain your services. At your display table, you can also set up a CD player with earphones so that people can listen to a selection from one of your CDs. If you are really ambitious, set out two mini CD players. 6. Create Theme or Holiday Promotions—Send out promotional postcards or flyers around themes or holidays. For example, in August send out a promo for “School Daze—Beat the Back-to-School Blues with Storyteller Rocky Mountain!” Put mini erasers in the envelope or offer a discount. This is a perfect promotion for times when bookings are slow.



7. Hold a Free Public Performance—Hold a free, open-to-the-public performance to commemorate a special event like your town’s anniversary, or the opening of a new library. Giving back to the community helps to create goodwill and shows your commitment to the community. 8. Dress Up Your Signature Line—You may not think of this as marketing, but when you send out an e-mail, include your full name, title (Storyteller, Author of Bug Hugs, etc.), and your contact information including address, phone and fax, website URLs, and e-mail address. Listing your website so that people can just click and go drives more traffic to your site. 9. Link and Be Linked—Begin a list of relevant arts links on your website—link to other performers, arts organizations, and resources. In turn, ask those same individuals and organizations to add your link to their site. It’s a networking/marketing web that gives you greater visibility. 10. Do a Promo Performance at a Conference—Find out what conferences are in your area— library associations, education conferences, family conferences, home schoolers conference, PTA conference, etc. Ask if you can do a free promotional concert or even just set up a display table. Performers are not paid, but they sure do get great visibility and make incomegenerating contacts. 11. Offer a Free Program to PTAs and PTOs—It doesn’t have to be a full-blown performance. Maybe just a 15 to 20 minute segment of a show. Speak to them on the importance of arts education and provide a handout with your contact information prominently displayed. 12. Prepare a Portfolio and Make Marketing Calls—I have a binder filled with my promotional materials: photos, résumé, recommendations, etc. All of the pages are in clear sheet protectors. When I really want to make an impression, I schedule an appointment with the hiring contact and bring my portfolio. (I also bring along a promotional goody.) It works. 13. Invite a Potential Client to See Your Show—Cultivate important contacts by inviting them to see you in action at an already scheduled venue. If it is a private gig, such as a school performance, clear your visitor’s attendance with the appropriate party. Nothing sells you better than the magic of your performance itself. If you are performing where there is an entrance fee, send your potential client complimentary tickets, or put his/her name on the promotional list at will call, where tickets are held at the box office. After the show, make a point to speak to your client contact and thank them for coming. Reinforce their memory of you by handing them your business card and brochure. 14. Designate a Portion of Your Products as Promotional—If you are an author or a recording artist, a portion of your product should be designated as giveaways. Be selective and give away your products to key people—not every friend and family member who wants one. (Of course, you have to give one to your mom!) Send out your product with your press kit to the media, to hiring contacts you wish to cultivate, and to arts agencies when you are applying for grants. 15. Invite the Media to Lunch—Invite the media person who handles announcements and reviews of children’s shows. Call the paper and find out that person’s direct line (ask the receptionist for the direct line instead of being transferred so that you can keep that number for future reference). Then call Joe Media and state who you are. Say, “I appreciate all you do to give greater visibility to the arts for children in this area and I would like to take you to 157


lunch at your convenience.” When you go to lunch, don’t hard-sell Joe Media. Just enjoy the conversation and get to know Joe. Don’t forget to send a note saying how much you enjoyed lunch—include your business card. Later on, when you need a media plug, you’ve got Joe’s direct line. You can call him up and this time, he’s your friend. 16. Begin Your Own Mailing List—Set out a pad and pen on a table. After each performance, ask the audience to join your mailing list for information on upcoming shows, products, and specials. You can establish a snail mail list or an e-mail list. I like e-mail lists because they are inexpensive and easy to set up. Keep your name in front of your adoring fans. 17. Send Out a Newsletter—Regularly send out a printed newsletter or e-mail newsletter (my preference) with your performance news and product information. Include fun stuff in your newsletter like stories, word searches, crossword puzzles, or recipes. A content-rich enewsletter will keep subscribers reading month after month. Storyteller Granny Sue sends out a printed newsletter that I really enjoy. I read it cover to cover and look forward to receiving it because of the fun stuff she includes. 18. Mentor Another Artist—If you are a veteran artist, offer to mentor a beginner. You can schedule a few free coaching sessions and after that, decide if you would like to charge for your services. Mentoring another artist creates goodwill in the arts community. It demonstrates your commitment to your art form and will garner you another adoring fan. Your protégé will always speak highly of you wherever he/she goes and will never forget your kindness. A friend of mine, a children’s musician, was mentored by another children’s musician. They became good friends and the mentor always received work referrals from her student. Conversely, the teacher also referred work to her student. To this day, the student, an award-winning, accomplished children’s musician, sings her mentor’s praises and even dedicated one of her albums to her teacher. 19. Read the Paper—Check your local paper to see where other children’s artists are performing. Note the place and see if there is a hiring contact in the article. If one children’s artist performs at that venue, chances are they will hire other children’s artists in the future. Send them your information or, better yet, make a phone call. Also check for other venues—associations and organizations have special events and functions—could they be in need of a children’s artist? 20. Host an Appreciation Reception—Host a reception yourself or partner with a group of artists to thank the people who have hired you in the past. Make sure there are tasty refreshments and snacks! Set up a dazzling display with your promo materials. Have fun activities and give away goodies, including your products. Do a mini performance in honor of your guests. 21. Insert Your Business Card—Place your business card in every piece of correspondence even if you think the person you are corresponding with already has a card. Recently, I received an e-mail from a colleague that stated, “I’m glad you included your card because a computer crash wiped out my e-mail log.” 22. Mention What You Do in Every Conversation—Take the opportunity to mention what you do in every conversation. You never know to whom you may be talking—the president of a PTA, a children’s librarian, the dentist who throws an annual employee party… Every one is a potential hiring contact!

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23. Host a Hospitality Suite—If you attend a conference, host a hospitality suite. Print flyers to advertise your hospitality suite and invite people to come at certain times. Have snacks and beverages. It’s best to invite people to the suite after workshops and activities are over. Set out a guest book where guests can sign and write down their contact information or set out a fish bowl for a business card drawing. Make sure you “meet and greet” everyone who comes in and be sure to give out your information. 24. Give a Free Workshop—Sponsor a free workshop in conjunction with the public library or museum or some other public place. The workshop could be to teach kids how to make instruments, to instruct adults in storytelling, to teach the art of shadow puppetry, to instruct kids in creative movement, or to give lessons in creative drama. You are only limited by your imagination! A colleague and I hosted a free storytelling workshop and the paper gave us good publicity because it was FREE. We did it to introduce people to our new storytelling guild. We had over 30 attendees, many of whom are still members of the storytelling guild. 25. Adopt a School—Adopt a local school and offer your services (performance(s) or a residency) for a period of time. You can practice new material on the students as well as get a great recommendation for future gigs. Send out a press release and tie your “community service” into an event, special date, or make up your own like “Dare to Make a Difference.” For special events and dates, look at Chase’s Calendar of Events for ideas for ideas. 26. Take Care of Your People—This may not seem like a marketing tip but it is, indirectly. Everyone has to start somewhere. Thank the people who helped you along when you first started out. A note of appreciation, a CD or book dedication, or a complimentary copy of your product will all suffice to thank the people who helped you make it happen. Sincere appreciation is the best form of marketing.

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“And now the story is yours.”

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Recommended Reading The Chase Editors. Chase’s Calendar of Events. McGraw-Hill (new edition every year). Since 1957, Chase's Calendar of Events has been the ultimate reference calendar: the standard day-byday directory to special days, weeks, and months as well as holidays, historical anniversaries, fairs, and festivals. Each edition of Chase's Calendar of Events has more than 12,000 listings. The book is revised annually and the new edition always publishes in the fall for the following year.

Promotional Items Fun Express Fun Express is a great place to find inexpensive novelty giveaways. Fun Express sells in large bulk for companies. www.funexpress.com Oriental Trading Oriental Trading and Fun Express are both subsidiaries of the same parent company. The difference is that Oriental Trading offers smaller amounts for retail customers. www.orientaltrading.com Tattoo Sales This is a great resource for temporary tattoos. It is approximately $100 for 5,000 one and a half inch tattoos. You can provide your own design or choose one of their available templates. Good customer service. www.tatoosales.com

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Chapter 14

Developing an Internet Presence

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“A great while ago, when the world was full of wonders...”

In this chapter… ³ ³ ³ ³ ³ ³

How Do I Begin? Elements of a Good Website Working with a Web Designer Adding Fun Features Using Your Website to Win New Clients and Service Existing Clients Chris King’s Guide to Winning Websites

³ Resources

You don’t have to be a website designer to develop a website. Having developed several websites myself, I have learned a lot about the entire process. After several frustrating attempts to design my own site in the interest of saving money, I gave up. It was then I realized that I needed to either take a class or hire a professional. I prefer not to pay for my own learning curve. I opted for the latter. An Internet presence is an absolute necessity in your total marketing package. So many people flock to the Internet to research whatever interests them. Search engines make it easier to find what you are looking for. I continually receive inquiries and book shows online because of my website. My website has been instrumental in expanding my business. The website is one of the most important promotional tools for a performer.

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A well-developed, visually appealing website tells people that you are professional; it gives you an edge. Form and function are equally important. There are millions of websites on the Internet that are competing for attention. Many of those websites belong to other performers. Your website must be able to compete. It should be attractive and easy to use. Don’t know the first thing about developing a site? The following is a step-by-step guide to developing a website.

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1. Domain Name—I suggest registering for a domain name that is easy to remember (i.e. www. storiesrus.com) or easily identifies you (i.e. www.joesmith.com). Because “de Las Casas” is a spelling challenge, I decided to make my domain name, www.storyconnection.net. The Story Connection is the name of my company. There are many domain name registration companies out there. I recommend www.godaddy.com. Their domain names for .com, .org, and .net are $8.95 for one year and less than that if you order more years. You can reserve a domain name for less than $70 for 10 years at GoDaddy. The normal rate is $35/year for a domain name. When you do reserve your domain name, I recommend reserving it for several years. Reserving your name for more than one year will improve your search engine placement. It demonstrates your commitment to your business, showing longevity. Even if you don’t plan on developing a website soon, I recommend reserving your desired name before someone else buys it. Domain resellers purchase domain names and resell them for hundreds even thousands of dollars. Reserve your name right now! 2. Site Development—This is where you either decide to build the website yourself or hire a professional. If you hire a professional, he will probably complete the remaining steps for you. 3. Decide on a Host Company—You’ll need someone to host the site. Hosting the site means that you pay for someone to store the site and make it available for viewing on the Internet. Hosting fees vary and can cost up to $50/month. 4. Domain Name/Name Server—After you have decided on a host company, you will need to change the IP address on your domain name account so that it points to your name server, your new host. 5. Upload Your Site—Check with your website development software for instructions on this step. If you are working with a designer, he will do this step for you. 6. Search Engines—Submit your website to as many search engines as possible. Listing with major search engines such as Google, Yahoo, Alta Vista helps to direct traffic to your website. The web industry refers to this as SEO (Search Engine Optimization). SEO helps to ensure that a website is accessible to a search engine and improves the changes that the site will be found by the search engine. You can either use a search engine submission company (find by typing “Search Engine Submission” into Google search box) or ask your web designer to do it for you. Search engine placement is a vital component of your web presence. Whether you are building your own site or hiring a web designer, knowledge of SEO is a must. 7. Maintenance—Once your website is up and running, you will either need to maintain it yourself or have someone else maintain it for you—do updates, check to ensure there are no broken links, etc.

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- Developing an Internet Presence

Elements of a Good Website When I am surfing the Internet, I am always attracted to great looking sites. But there are other elements you need to consider when designing your website. What keeps a visitor at your site? Here are a few pointers:

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The Look—It is important to create a dynamic design that is eye-catching and professional. I recommend treating your website as you would a brochure. It represents who you are, your image. Invest some time and money into designing a site that wows visitors. Fast-Loading—If your site takes too long to open, forget it. In this day of high tech, faster than the speed of light computing, the age-old virtue of patience is virtually lost. Visitors will leave your site if it takes an excessive amount of time to load. Your website should take no longer than five to ten seconds to load. Easy to Navigate—A good website should be easy to navigate. From any page on the website, the visitor should always be able to return to the “home” page. There should be no dead end pages, and buttons should be visibly displayed at the top or side of the site. Consistency—Whether you design your own site or have a professional design the site, your site should be consistent. A template helps to create consistency. Don’t let the word “template” fool you—it doesn’t mean that your site has to look “cookie cutter.” You can have a customdesigned template for your site. Information—Consider offering useful information on your site that will keep visitors returning. For example, if you are a puppeteer, instructions on how to work a hand puppet would be useful for teachers, parents, and kids. A musician could offer instructions on how to make a homemade instrument. Storytellers can, of course, offer stories! Bibliographies, links, and your arts-related activities are other ways to offer information on your site. Design Elements—The same design elements that apply to print materials (brochures, flyers, etc.) also apply to websites. Keep the copy simple and don’t overload your pages with too many graphics and different types of fonts. Be sure to leave “white space” so that the eyes relate easily to the copy.

Working with a Web Designer If you do decide to work with a designer, here are some helpful hints in choosing a website designer:

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References—Ask the designer to provide you with references. What do his other clients have to say about his work? Contact—Though most business can be handled by e-mail, I recommend calling your prospective designer and chatting on the phone. This way, you can get a feel for his professionalism, his ability to interpret your vision of the site, and to ensure you will be able to work together. You are establishing a relationship and you want to make sure that relationship will work. Design Concept—It helps if you already have a design concept in mind when you begin planning your website with your designer. Buttons/Pages—Know what “buttons” you want on the site—each button usually counts as a page. Your buttons will be your navigation menu. If, like me, you have a lot of pages on your site, consider having a set amount of navigation buttons with each button offering a submenu or drop-down menu. Most artists will have these pages: ± Home ± About Artist (bio, résumé) ± Contact Artist ± Programs and Workshops ± Links to other relevant sites ± Store for selling of products (books and audios) Other pages you can include: ± What People Are Saying (quotes) ± News Room (press clippings and press releases) ± Activities (teacher lesson plans, etc.) ± Kids Page (fun section for kids)

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Providing Copy—To save money, write your own copy and provide it to your designer. Proof it yourself, and then have someone else proof it before you send the copy to the designer. Two or three pairs of eyes are better than one when it comes to proofing copy! Reviewing Development—Ask to review the site as it develops. The designer should be able to post the site to an online location where you can view the various stages of development. He may also be able to e-mail page samples to you. Establishing Deadlines—Developing a good website takes time. Proper planning and deadlines are vital. Be sure to give your web designer firm deadlines.

Developing a good website is not easy and does take time. But the end result it worth all the effort. Your website is your interactive online brochure and it should sell you. A great website is worth a thousand paid gigs.

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Adding Fun Features Adding fun features to your website can increase traffic and encourage repeat visits. Consider adding such features as a guest book, games and activities, or a blog spot. With a guest book, visitors can sign in and make comments. A blog is a journal of your thoughts and opinions, one of the latest trends in personal communication.

Entering the Blogosphere You’ve probably heard of the term by now—blogging. Blog is a portmanteau of “web log.” It is an oline journal that you can update as often as you please. Why blog? Blogging allows you to make your business more personal. You can share articles, performance news, book reviews, travel notes, product releases, photos, and so much more. Offering a blog or a link to your blog on your website can increase visitor traffic. People interested in your work will have a reason to return to your site because you update your blog on a regular basis. Being from the New Orleans area, my blog served me well in the weeks and months following Hurricane Katrina. My family, friends, colleagues, and clients kept up with my whereabouts by reading my blog. It was a terrific tool to connect with people. You can set up a blog for free. There are many services available. The most popular blog sites are blogger.com, livejournal.com, and wordpress.com. You can categorize your blog so that it will be made available to people interested in your blog topic. As a storyteller, you can categorize your blog under “arts and entertainment,” “books,” “education,” etc. The possibilities are many. The best way to blog is on your own website. If you don't know how to set this up, work with a knowledgeable web designer. Be sure to include an RSS feed with your blog so that visitors can subscribe to your blog. RSS Feeds are explained below. By blogging regularly on your website, you can increase visitor traffic, which in turn, can increase business.

RSS Feeds RSS stands for “Really Simple Syndication.” It is a web feed format that is used to publish frequently updated content such as blog entries, news headlines, or podcasts. An RSS document, which is called a feed or web feed, contains a summary or full text of the content from a website. RSS makes it possible for people to keep up with their favorite websites, blogs, or podcasts in an automated manner. Instead of manually checking someone's blog for updates, whenever updates are made, they come straight to you. Having an RSS feed on your website also significantly increases your web traffic ranking. If you would like to set up an RSS feed for your favorite blog, news, or podcast, you can set up a “reader.” A reader works much like an email in-box, except that it gathers all your RSS feeds in one place for you to read whenever you please. Google.com/reader and bloglines.com are great RSS readers. Then you will need to subscribe to an RSS feed. Once you click the RSS button and subscribe, you will either be given an automatic button to a number of readers such as google.com/ reader or bloglines, or you will need to copy and paste the URL into the “add subscription” box of your reader.

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Blogroll Sounds like a funky new appetizer, right? Hmmmm. A blogroll is a sidebar on a blog that has links to other blogs. Being included in someone else’s blogroll is a great way to drive traffic to your blog. Conversely, listing other related blogs helps categorize you as an expert, pointing your readers to other great resources.

Podcasting The term “podcast” is a portmanteau of the acronym pod, which stands for “portable on demand” and the word “broadcast.” Simply put, a podcast is a form of on-demand broadcasting. A podcast is a collection of digital media files such as voice recordings, video recordings, photos, and documents, which are distributed over the Internet, using syndication feeds (RSS). Users can then download the podcasts to their portable media players or computers. The distinguishing feature of a podcast is that it can be syndicated and subscribed to when new content is added. A great example of a storytelling podcast is Eric Wolf ’s Art of Storytelling with Children podcast—www.storytellingwithchildren.com. Eric interviews storytellers across the nation on the art of storytelling with children. The podcasts are broadcast each week and listeners can subscribe or listen to archived interviews on his website. Sean Buvala, Executive Director of Storyteller.net, also offers podcasting on his website. Like Eric Wolf, Sean interviews storytellers on various topics. His podcast is called the “Storyteller.net Amphitheater.” Visit the archive to listen to past podcasts. If you would like to learn how to podcast, a great online tutorial is www.how-to-podcast-tutorial. com. The tutorial is free and explains podcasting in relatively simple terminology.

Social Networking on the Web In the business world, social networking or SNS (Social Networking Sites) on the web has become a form of viral marketing. It allows you to connect with a network of your friends’ friends, even if you have never met them before. It’s a “word-of-mouse” referral. Let's put it this way. You sign up for a page on FaceBook. You live in California. Your friend and fellow storyteller, Susie, lives in New York. You add Susie as a “friend” on FaceBook. On her page, you see that Susie knows Mary, a storyteller from Kansas. Because of your mutual connection to Susie, you are in a better position to connect with Mary. You add Mary as a “friend,” who approves you because you know Susie. You begin corresponding. The next time you go to a conference and meet Mary face-to-face, you already know her! There are many social networking sites available. Sign-up is free. The ones with the most traffic include: MySpace, YouTube, FaceBook, LinkedIn, Plaxo, Hubpages, Twitter, StumbleUpon, Ning, and Digg. Social networking can greatly enhance your presence on the Internet, allowing you to reach thousands, perhaps millions of people you would not otherwise reach. While it can be timeconsuming, it doesn't cost anything (except your time). It can help you make connections and spread your message. It can drive traffic to your website and significantly boost your traffic engine rankings.

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Here’s a great example. A couple had their wedding reception filmed and posted to YouTube. In this video, the newlywed couple begins dancing the traditional wedding dance to “Unchained Melody” by the Righteous Brothers. Then, without warning, they break into a lively dance to the song “Baby Got Back” by Sir Mix-A-Lot. The video received so much attention that it was viewed more than three million times, landing the couple on national television. Though the couple only did it for fun, they danced their way into the hearts of millions of people in a very short period of time. Of course, it is nearly impossible to sign up for every single social networking site. Choose the ones you feel most comfortable updating and maintaining. I belong to all of the ones I mentioned above but spend the bulk of my time on two to three networks. One that I really like is Ning. It allows you to create your own social network. I have two—http://kidsread.ning.com and http://professionalstory teller.ning.com. People with interest in your topic join. I also like FaceBook, which is less “buggy” than MySpace. Searches are also much easier on FaceBook. Social networking can be a boon to your web presence. It can give you a place to connect; upload photos; join forums, discussions and groups; blog and share your message; and create a community of people who share your interests.

Developing a Wiki According to Wikipedia, the definition of a “wiki” is as follows: “A wiki is software that allows users to create, edit, and link web pages easily. Wikis are often used to create collaborative websites and to power community websites. These wiki websites are often also referred to as wikis, for example Wikipedia is often considered one of the best known wikis.” Wikipedia has become the world’s largest online encyclopedia. Anyone can sign up on Wikipedia and edit the content. It belongs to the World Wide Web community. So, how can this help you? For example, let’s take the storytelling wiki on Wikipedia. Perhaps you wrote an authoritative online article on the art of storytelling. You can edit the wiki and add it to the “External Links” section. Perhaps you authored a book on the art of storytelling. You can add it to the “Further Reading” section. There are wikis on just about every subject under the sun. Use it to your advantage but use it wisely, as wikis are places many people visit for definitive information. There are strict guidelines for editing or creating a wiki. Be sure to read them thoroughly.

Tracking the Results of Your Website Whether you are new to the World Wide Web or a seasoned veteran, it is important to track the results of your website. Are you using your website to its fullest potential? Are people visiting your site? Are you being linked to other websites? Do you have high search engine ranking? Yes, there are a lot of questions and it can seem overwhelming but it doesn’t have to be. There are services that can help you track the results of the traffic on your website. Alexa.com is a company that computes traffic rankings by analyzing the web usage of millions of Alexa Toolbar users.

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My favorite website tracking service is Websitegrader.com. When you type in your URL, you receive an instant report that includes your website grade, meta tag summary, image summary, readability level, domain information, Google page rank, Google indexed pages, Alexa traffic rank, inbound links, and more. This report will help you determine how much traffic your site is receiving and what you can do to improve your website grade. So what does all this mean? Search engines like Google send “spiders” or “bots” to gather data on websites. The best way for this to happen is to insert a “robots.txt” file on your server. Your web designer can do this for you. Another way is to use meta tags for robot instructions. www. robotstxt.org/meta.html How many page views your website receives, how many sites you are linked to (outbound links), and how many sites link to your site (inbound links) are calculated to give you a page ranking. If you are highly “organically linked” (meaning you didn’t pay to advertise your site on a search engine), your search engine ranking increases. Type your website’s name with quotations around it in Google’s search bar. Is your website in the top ten listings? If not, you may want to work on optimizing your Internet presence.

Driving Traffic to Your Website Another way to drive traffic to your website is by creating the proper “meta tags” on each page of your website. A meta tag is an embedded title, description, keyword, or phrase that helps search engines identify the content of your website and categorize it. For instance, if someone searches “Healing Stories,” the website for the Healing Story Alliance comes up as the first search result in Google. “Healing stories” is most likely one of their site's keywords. Work with your web designer to come up with a list of keywords for each page of your website. For optimal effect, it is best to have different keywords for each page as the content of your website varies from page to page. Think of every word you can to describe how someone might search for the content of your site. Do you tell nature stories? Then “Nature Stories” should be a keyword or keyword phrase. If you are targeting schools, you might want to consider “Education.” Are you a festival storyteller? Then consider “storytelling festivals,” “festival storyteller,” and “festival teller.”

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Using Your Website to Win New Clients and Service Existing Clients

Your website is one of the most important promotional tools. Use your website to your advantage, providing your new and existing clients with useful services and streamlining office function by taking advantage of technology. Create a Living Brochure Think of your website as a living, breathing, interactive brochure. Your website is an expanded version of your brochure, able to provide more information and services than a single sheet of paper. With a website, you have unlimited potential and space to get your message across. You have the ability to make instantaneous changes and updates with a website; whereas with a brochure, once you print 1,000 brochures, that’s it. It’s static. You can’t change the information on it until the next printing. As a “living brochure,” your website has the power to change with you at any time during your career. Got a great review in today’s New York Times? Add it to your website tomorrow! Take advantage of this ability and allow your website to grow, just as you do as an artist. Take Bookings through Your Site Once someone has visited your site and is excited about hiring you, how do they book you? Do they just send you an e-mail or do they have to pick up the phone and call you? Since your potential client is already at the keyboard, it is easy for them to fill out a form requesting to book you. I receive bookings nearly every week through the “booking request form” on my site. Even current clients fill out the form and submit it. It makes the paperwork simpler too because the information is already at the fingertips. The information comes to my e-mail in-box. I just print out the booking request form and voilá!—I have the paperwork ready to be filed. Provide an Online Press Kit Your clients may want to provide their local media with information and photos of you to generate publicity when you are touring their area. Your clients may also prefer to create their own promotional materials. To facilitate their needs, provide an online press kit with your logo, downloadable photos and images, a general press release, and a downloadable full color flyer. Providing this service for your clients facilitates their needs and can drastically cut down on your overhead by trimming mailing and printing costs. Create a Calendar or Performance Schedule Keep an updated performance schedule on your website for clients and fans to see where you are performing. Your calendar can be useful in helping them to select booking dates. Update your schedule regularly. Keep ’Em Informed with News Flashes I like to use the front page of my website to advertise cool happenings in my storytelling career. My front page serves as

my “headline” page and I update the information frequently. Keeping this information updated invites my clients and potential clients to visit again to see what else is happening in my career. Tell your clients, fans, and potential clients all the cool news happening in your career. Where have you been performing? What awards or honors have you received? What new projects are you working on? Keep ’Em Coming Back with Information and Resources Design your website as a resource site in addition to a promotional site. You can include sections for parents, teachers, librarians, teens, and kids. Numerous resources, information, and links will keep visitors returning to your website. People enjoy useful information. When you provide it on your website, they will return for more. Sell Products through Your Site Mary Jo Huff, an educator and professional storyteller, knows the early childhood market. A former owner of a daycare, her knowledge of the market is vast and she provides educators and librarians with unique products that aid them in story time. In addition to promoting herself as a storyteller, she encourages others to exploring their own storytelling talents and provides them with resourceful products that enhance their storytelling. Her business savvy has helped her create a successful online catalog that includes her own CDs and books as well as puppets, props, and other storytelling implements. In addition to keeping visitors returning to her site for more products, Mary Jo has also provided herself with another stream of revenue that supplements her performance income. Sign Up with PayPal Selling products through your site is easy, even if you don’t have a merchant account. PayPal (now owned by eBay) makes it easy to accept credit cards through your website. They don’t charge an annual service fee. Instead, they take a small percentage out of each sale. Funds from sales are deposited into your personal PayPal account and you have the options of having the funds directly deposited in your bank account or having a check sent to you. Offer Audio and Video Clips Clients and potential clients, especially, want to hear or see samples of your work. With today’s technology, you can provide streaming video and audio clips. This is also a much more cost-effective way to market your work. To avoid illegal downloads of your music or stories, provide audio clips in a flash format rather than MPS or Real Player. Keep It Fresh Most importantly, keep your website fresh. Update the information on your site on a regular basis. Providing timely, updated information will keep visitors (old and new) coming back for more.

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Chris King’s Guide to Winning Websites This guide will arm you with information to create a winning website—whether or not you design it yourself or hire a designer to help you with the creation. Start by asking yourself the important questions. To plan and prepare a website, you need to honestly answer the following questions. Why Am I Building This Site? (Types of Websites) If you surf the Internet on a regular basis, you are familiar with the variety found in the types, styles and purposes of the websites you visit. There are many different reasons for building a website. •

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Brochure—A brochure site will include pertinent information about you, what you do, and how to get in touch with you. Include a photo of yourself, testimonials from satisfied clients and the reason a visitor should hire. This kind of site gives you credibility and also saves the time and expense of sending packets with your information. Informational—The informational site is one that people will visit to gather information, read articles, and find links to other useful sites. E-business—The e-business site is where you sell products. This can be combined with your brochure site and/or your informational site, but is often more effective if has its own unique focus.

Who is my target audience? As with any form of marketing, we must consider the people who will be visiting and the people we want to visit the website. What will make my website a success, and how is success measured? When I pose this question to my clients, the usual answer is, “Success will be when lots of people visit it.” And, yes, the more people who visit our site, the better. But if they only visit and never contact us, purchase our products, and seldom return, is it really a success? What “turn-offs” must we avoid? Here are some other pitfalls to avoid: •

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Long URLs—I can’t stress enough the value of having your own domain name. Yes, there is a plethora of free web space on the Internet, but it usually comes with the price of annoying banner ads, avoidance by the search engines, and a lack of credibility. Long download time—Everyone is in a hurry today and will not wait for large graphics, extra code, busy backgrounds, and space-eating audio, and video clips to appear. More than two clicks to find something—User-friendly navigation is essential. Excessive scrolling, broken links, a lack of links, and the overuse of frames are some of the flaws that Vincent Flanders and Michael Willis write about in their book, Web Pages That Suck: Learn Good Design by Looking at Bad Design. It should be read by anyone building a website.

“If I build it, they will come.” Wrong! Just because you have a website doesn’t mean that the world will find it. •

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Direct Visitors to Your Site—Your website address should appear on every piece of printed material you hand or send out (business card, letterhead, envelope, brochure, contract, invoice, etc.). You should also include a link to it in your e-mail signature (make sure to state the whole URL, including the http:// because some e-mail programs will not make the link). Search Engine Placement—This brings us to the enigma of search engines. They all work a little differently and change constantly. To receive a high placement, some search engines and/or directories require a payment. Some look at your Meta tags, your content, how many links to your site from others, and/or how often you update. An excellent resource is Susan Sweeney’s 101 Ways to Promote Your Web Site.

How will we keep our website current? There is nothing more disconcerting than visiting an out-of-date website. It is important to plan for the time, energy, expense of adding timely information, and deleting last year’s dates and listings. Even though the process of creating and building a winning website takes time, money, and effort, I can’t think of a more exciting and rewarding endeavor! Do it. Have FUN. You’ll be glad you did!

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Recommended Websites Godaddy.com Godaddy offers domain names for $8.95 per year with rates even cheaper if you sign up for more years. It’s the most inexpensive place I’ve found on the Internet. The standard price for purchase of a domain name is $35/year. www.godaddy.com The Storytelling Ring If your site is not a member of the Storytelling Ring, it should be. The ring links storyteller’s websites to each other with an icon that is placed on your site. Instructions on how to join are on the home page of the Storytelling Ring site. http://i.webring.com/hub?ring=storytelling

Blog Services Blogger.com LiveJournal.com WordPress.com All three sites offer free blogs with RSS feeds. You can update your blog as often as you like and load photos as well as videos.

Electronic Press Kit Service Sonic Bids Sonic Bids is a company that offers a place where performing artists can store their EPKs (Electronic Press Kits) online. You can upload photos, a bio, your performance schedule, and soundtracks. In addition, Sonic Bids offers a service that allows artists to “drop” their EPKs into a promoter's box. Sonic Bids has a large list of venues that accept online submissions. Although this site was built primarily for musicians, there is great value in it for storytellers as well, especially if you have any spoken word or music recordings. www.sonicbids.com

How to Podcast Blog Lines Like Google Reader, another great service to organize your RSS subscriptions. Free. www.bloglines.com Jason Van Orden's How to Podcast Tutorial This site is a great primer on how to set up a podcast. In addition, you can subscribe to his podcast (of course) and his blog. www.how-to-podcast-tutorial.com 171


RSS Readers Google Reader A great way to organize your RSS subscriptions all in one place. Simple sign-up and free. www.google.com/reader

Search Engines Alta Vista Alta Vista is a reliable search engine. Their home page, like Google, is uncluttered. www.altavista.com Dogpile Dogpile is a search engine that “fetches” the results of other search engines. It informs you from which search engines the results were tallied. www.dogpile.com Google Google is, by far, my favorite search engine. I use it almost exclusively. Their home page is not cluttered with ads and the results are quick and extensive. www.google.com Yahoo Yahoo is a great search engine. Yahoo excels in offering other great services such as free e-mail, free listserv and newsletter building, and access to thousands of listservs. www.yahoo.com

Storytelling Podcasts Eric Wolf ’s The Art of Storytelling with Children Eric conducts weekly podcast interviews storytellers nationwide. www.storytellingwithchildren.com Sean Buvala's Storyteller.net Sean’s website is a plethora of storytelling information. In Sean’s “Storyteller.net Amphitheater,” Sean interviews storytellers, offers informational classes and coaching. www.storyteller.net

Social Networking Sites FaceBook FaceBook is a general social networking site. Upload an unlimited number of photos, and share links and videos. www.facebook.com

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LinkedIn LinkedIn is primarily a professional networking site, for business professionals. Post your work history and résumé and connect with people in your industry. www.linkedin.com MySpace MySpace is a general social networking site. As of this writing, it had over 221 million users. www.myspace.com Ning Ning offers the latest social networking features, customizable to meet your unique needs. You can build your own Social Networking Site—invite members, upload pictures and videos, start a discussion or forum, and share information. www.ning.com Digg Digg allows you to discover and share content from anywhere on the web, from the largest online destinations to the most obscure blog. www.digg.com Hubpages Share your advice, reviews, useful tips, opinions, and insights with hundreds of other authors by contributing useful articles. www.hubpages.com Kids Read This network is for teachers, librarians, children’s book authors, and children's literature lovers who believe that when kids read, worlds open. http://kidsread.ning.com Professional Storyteller This network is for professional storytellers, people who make their living in the field of professional storytelling—performance storytellers, workshop leaders, teaching artists, recording artists, and authors. http://professionalstoryteller.ning.com StumbleUpon StumbleUpon discovers websites based on your interests, learns what you like and brings you more. www.stumbleupon.com Twitter Twitter is a service for people who want to communicate and stay connected through the exchange of quick, frequent answers to one simple question: What are you doing? Twitter offers micro-blogging, RSS, and instant updates of your friends. www.twitter.com

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Plaxo As of this writing, Plaxo is not quite at the social networking level of other social networking sites. It is, however, a great place to store a back-up of your address book and calendar. With Plaxo, you are connected with other members when they update their contact information as Plaxo automatically updates your address book. www.plaxo.com YouTube YouTube allows people to easily upload and share video clips and across the Internet through websites, mobile devices, blogs, and email. www.youtube.com

Website Services Audio Generator Take your website to the next level and add audio that you can update as often as you like. For $30/ month, you can add audio to your website with the ability to change your message(s) as much as you want. Audio Generator works this way: (1) you are given a number to call, (2) while on the phone, you record your message, (3) it is then available on the Web for immediate listening, and finally, (4) you or your webmaster can then include the audio on your website. For a storyteller, this is an awesome tool! You could have a different story posted to your website as often as you'd like. www.audiogenerator.com Instant Video Generator This is super cool. With a web cam and the tools you are provided with when you subscribe, you can instantly generate video for your website. It's easy and instant—no mega tutorials. Imagine being able to have a “Story of the Week” on your site. What a fantastic marketing tool! www.instantvideogenerator.com

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Networking to Success

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“Beyond the woods, beyond the seas, beyond the high mountains lived a frightful dragon.” (Chuvash)

In this chapter… ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³

Give Away Your Business Cards Attend Meetings, Conferences, and Events Circulate Around the Room Work the Room! Exchange Business Cards Join Organizations Join Listservs Join Social Networking Sites on the Web Volunteer Keep Track of Contacts Say “Thank You” An Attitude of Gratitude

³ Resources “Why go to a conference?” you ask. “To network,” is the reply. “Why join this organization?” you ask. “It’s good networking,” is the answer. Everywhere you turn, someone is telling you to “network.” What is networking, exactly? Networking is the art of making business contacts through social connections. These social connections may come through every day contact with people at the grocery, at the dry cleaners, or even at the doctor’s office. Other social connections come from joining organizations, and attending parties, meetings, conferences, and events where you make contact with professional peers, and even on the Internet. Here are some helpful hints to successful networking.

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Give Away Your Business Cards Whenever you meet someone, be sure to bring up what you do for a living. Don’t be shy. You don’t have to come on strong like a pesky salesperson. Just offer your business cards (two—one for them and one for a friend) in the event they or someone they know might require your services in the future.

Attend Meetings, Conferences, and Events If you have the opportunity to attend events where you will meet professionals in your field, do so! Be sure to bring plenty of business cards and have them in a place where they are easily accessed so that you are not fumbling around when you need them. If you are wearing a conference badge, stash a stack of business card behind your name tag.

Circulate Around the Room If you are at a social function, a party or an event where there is a room full of people, circulate. Introduce yourself and engage in light conversation and do the bulk of the listening. Exchange business cards. Meet as many people as you can.

Work the Room! The art of networking requires that you learn how to “work” the room. In simple terms, this means that you circulate around the room to meet people. You can never predict when it will happen, but someone you meet may be the source of a great opportunity down the road. When attending meetings, conferences, festivals, and social events, eyeball the room to see who is there. When you spot the person you’ve been dying to meet, ask a friend or colleague to introduce you. If you are alone and don’t have anyone to introduce you, approach that person, wait for her to finish her conversation, then politely introduce yourself. If she is deeply engaged in conversation, don’t hang around, approach her again later at a more convenient time. Another way to network is through “tag team” networking. A friend and I do this at conferences all the time. We travel around the room as a team. When we meet someone, I begin speaking, introducing my friend. “This is my friend, Mary Smith. Mary is an award-winning author and has written more than 20 books. I am in awe of her talent.” Mary responds by saying, “I guess we belong to the Mutual Admiration Society because Dianne is an amazing storyteller and quite the author herself.” This takes the pressure off you to self-promote and a third person testimonial has the advantage of carrying more credibility.

Exchange Business Cards When you meet a professional colleague, as your conversation comes to a close, ask, “Do you have a business card?” When he hands you his, you hand him yours. When receiving a business card from someone else, be sure to pause to look at the card and give a compliment on a positive feature of the card (i.e. “Great logo!”). Also, visualize matching the face to the card so that you can later remember who gave you the card in the first place. While the contacts are still fresh in your mind, it is good to jot down any notes (somewhere on the business card) about relevant aspects of your meeting.

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If I meet someone else who owns a PDA (Personal Digital Assistant), we beam each other our contact information. My PDA also has a feature that allows me to take a picture and add the image to the person’s contact information. When I look up that person’s contact information again, I can also place the name with the face. When you arrive at your office, scan your business cards or enter them into your contact database right away. That way, You will have immediate access to their information. Tickle your calendar for a prompt follow-up on a key lead.

Join Organizations Join organizations including the National Storytelling Network (NSN), local and state storytelling organizations, arts councils, library organizations, and educational associations. Contact members of the organization and introduce yourself especially if you live in their area. You are making valuable contacts and building a wide circle of people who can become part of your support network.

Join Listservs Join Internet listservs such as STORYTELL. A listserv is an Internet forum in which you can communicate with people around the world through e-mail. When you join a listserv and post a message, it is sent to everyone on the list. They see your posts and you see their posts. Be an active contributor. Offer information and resources. Listservs provide an invaluable place to network. You can meet people in your field, become acquainted with arts professionals, and discuss topics related to your art form—all without having to leave the comfort of your office. Listservs also provide a great way to obtain information when you are crunched for time or have researched to your wit’s end to no avail—the collective wisdom of a listserv can provide many valuable resources and tools. If you ever attend a conference in your art discipline, you will already have connections to people you have communicated with on the listserv. But for all its benefits, be forewarned: (1) they are addictive; (2) they can produce massive amounts of e-mails generated to your in-box; (3) and because of the volume of e-mail, they can be very time-consuming. However, the personal and professional connections you will make are invaluable and rewarding. If saving time is an issue for you, check if the listserv you are interested in comes in digest form. Digest form consolidates all the day’s e-mails into one e-mail that is sent to you once a day as opposed to receiving 50 e-mails a day. With the digest form, you can still keep abreast of the latest news without feeling overwhelmed. Learn to speed read. Karen Chace (my friend and former business partner) and I met through the STORYTELL listserv. After meeting on STORYTELL, we met at the NSN conference. Because of that, we have become good friends and business partners. It was all through networking on the Internet.

Join Social Networking sites on the Web As I emphasized in the previous chapter, social networking sites such as YouTube, FaceBook, and Professional Storyteller can be powerful weapons in your marketing arsenal. Research the sites that

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best fit your interests and create a profile. Then connect! A listing of some of the most popular social networking site can be found in the resource section of Chapter 14 “Developing an Internet Presence.”

Volunteer Volunteer to be a part of a committee or help with an event. You will meet new people and make more contacts. In addition, you will become known as a person of integrity and commitment to service. People who volunteer also tend to be movers and shakers in their communities. Look at organizations like the Junior League and the Young Leadership Council. In the storytelling community, volunteers are the lifeblood of festivals, conferences, and guilds. When you volunteer at an event, or for a board or committee, you will likely meet people who are active in the storytelling community—people who have contacts.

Keep Track of Your Contacts Be sure you have some way to keep track of your contacts. File your business cards in alphabetical order or, better yet, enter the information into a database or contact management database. ACT!, Goldmine, Microsoft Access, and Microsoft Outlook are great contact management databases that can keep your business contacts organized and readily accessible.

Say “Thank You” I can’t ever stress enough how far a “thank you” goes. If a networking contact has been particularly helpful to you, send them a handwritten thank you note. That extra effort gets you noticed. Again, include your business card. Networking is a powerful tool in building your business. Always be ready with a warm smile and have your business card handy!

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An Attitude of Gratitude

No matter how you say it—Arigato, Dunca, Gracias, Mahalo, Merci, Xie Xie—“Thank you” has the same effect in any language. Sincere appreciation travels a long way in building good will and great relationships. Thank You is Elementary When my oldest daughter was in elementary school, she always gave her principal a gift on special occasions. No matter how many gifts the principal received, less than a week later, she mailed a thank you note. My daughter loved receiving thank you notes from her principal. That principal appreciated her students and it made a difference. Paying Tribute How did you arrive where you are today? No storyteller travels alone. There are many people who helped you throughout your journey—your clients, your audiences, and your personal support system (family and friends). If you sit down and think about it, you could probably come up with pages and pages of names. Now you know why Oscar acceptance speeches are so long. The Hill Brothers, a children’s music group from New York, pay tribute to their clients once a year in their printed newsletter. They list every single venue that hired them, giving them a prominent space in the newsletter. What a way to say “Thank you!” Building Relationships with Thanks “Thank you” should be an automatic habit of your business practice. Send handwritten thank you notes when possible. Who to thank? Obviously, the client who hires you for a show deserves a note after the performance. If you received a great review or a journalist wrote a wonderful article about you, send him a thank you note. Always ask new clients how they heard of you. If they were referred by someone else, send that person a thank you note. I also like to send a note of thanks to the vendors I do business with—my website designer, my graphic artist, my printer, etc. Their talent helped my career development. Keep thank you postcards and a stock of stamps at the ready. Thank your audiences for listening. Without listeners, you couldn’t be a storyteller. Remember your family and friends too—they do their part in supporting you as an artist. Let them know how much you appreciate them. 1,000 Blessings No matter where you are on the storytelling career path, your journey begins with an attitude of gratitude. Thank the people who have helped you along the way and the blessings will return to you one thousand fold.

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“And so the story goes.”

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Listserv STORYTELL STORYTELL is sponsored by the School of Library and Information Studies at Texas Woman's University in Denton, Texas. With more than 500 subscribers worldwide, STORYTELL is the worldwide source for discussions about storytelling. To subscribe yourself to STORYTELL, send the following e-mail: To: [email protected] Subject: subscribe storytell e-mail_address end <send message> After you have subscribed, you will receive a message containing listserv instructions. STORYTELL’s homepage: www.twu.edu/cope/slis/storytell.htm

Organizations The Children’s Music Network The CMN has been in existence since 1980. Their membership includes teachers, performers, songwriters, radio hosts and parents who care about the quality and content of children’s music. www.cmnonline.org The National PTA For over a century PTAs have worked within school and communities across the country. This site offers information for parents and teachers on supporting and advocating for school children across America. www.pta.org National Storytelling Network Searching for a concise calendar of storytelling events around the world? It’s here! Need to network? Look no further! Their links list will take you traveling through libraries, newsletters and publications, and special interest groups! www.storynet.org Puppeteers of America Puppeteers of America is a national nonprofit organization founded in 1937. This site is a treasury of information on puppetry in the USA. www.puppeteers.org

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Chapter 16

Marketing with Results

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“Did you ever hear the story of...?”

In this chapter… ³ ³ ³ ³ ³ ³ ³ ³ ³ ³

Telemarketing Sales Letters Postcard Marketing E-mail Newsletter Marketing Print Newsletters Mailing Lists Ads and Where to Place Them The ABCs of Marketing Your Act Marketing with Results Resources

³ Sample E-mail Newsletter

As a professional storyteller, direct marketing will be one of the most important vehicles you will use to earn more business. Learn to use direct marketing to achieve the tangible results like more performances or increased sales. Various types of direct marketing will be discussed further.

Telemarketing Telemarketing is a form of direct marketing where a salesperson uses the telephone to call prospective customers to attempt to sell products or services. Often called “cold calling,” telemarketing evokes negative images of unsolicited phone calls that interrupt dinner with your family. However, used judiciously, telephone sales can be a very effective way to win new clients. When you are making calls to potential clients, be sure there is a “smile in your voice.” Smiling as you talk adds enthusiasm and

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energy to your sales pitch. Have a script nearby and rehearse your pitch. You don’t want it to sound canned or artificial but you do want to have it nearby to keep you on track as you speak. You have to grab the attention of the listener within eight seconds or you have lost the sale. Be sure your opening line is well-rehearsed and time your delivery. When selling your services, extol the benefits of your storytelling services and why it fits their needs. Read more about telephone sales techniques in Ellen Bendremer’s book Top Telemarketing Techniques.

Sales Letters Many direct marketers use sales letters to achieve their sales objectives, a benefit-laden letter that entices your clients to want to do business with you. More is better; the more pages you have, the better your chances of winning new business are. When developing a sales letter, include the following: • • • •

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Headline—Attract attention to your letter with a splashy benefit headline—“Become a Better Storyteller. Guaranteed!” Benefits—Throughout the letter, be sure to stress the benefits of your services or product— “In the workshop, you will learn insider’s secrets to improving your storytelling techniques.” Features—Also intersperse copy about the unique features of your service or product “This workshop will include hands-on activities and a 32 page resource guide.” Testimonials—Include solid testimonials from satisfied clients—“This was by far the best storytelling workshop I have ever attended! I learned more about myself as a storyteller in this 6 hour workshop than during my entire 15 year storytelling career!”—Jane Story Organization—Format the letter so that the information is organized and legible. Call to Action—Ask for the sale. Set a deadline and call for immediate action. Instill the urge to purchase, i.e., “Schedule Secrets of a Storyteller workshop today! Act by midnight, April 15 and receive a 25% discount.” The P.S.—In case you haven’t added one, add a post script. Readers are almost always drawn to the P.S. of a letter. Use your P.S. to repeat your sales pitch, list your deadline or—“P.S. Don’t forget the deadline is midnight, April 15!”

Postcard Marketing I am an avid fan of postcard marketing. A well-designed postcard can say so much about you. Postcards are a cheap and effective method of reaching a large number of potential clients. In addition to being inexpensive to reproduce, standard postcards are also cheaper to mail. With the new printing technology available, full color postcards are affordable. To add more “Wow!” to your postcard marketing campaign, oversize your postcards. Two companies that are great postcard sources are Vistaprint.com (www.vistaprint.com) and Modern Postcard (www.modernpostcard.com).

E-Mail Newsletter Marketing The Internet has made our world more accessible. Through web surfing and e-mail, we are connected to each other in virtually seconds. It is through e-mail technology that I have effectively gained access

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to my clients and fans. I market directly through my e-newsletter Story Connection Express. Feedback from my readers is tremendous, has increased my bookings and CD sales, as well as enabled me to reach new fans and potential clients. So how do you build your own e-mail newsletter?

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Find an E-mail Program While you may be able to send out your e-newsletter through your own e-mail program, I suggest finding a software or program that is built specifically for handling e-mail lists. As your list grows, many servers are able to detect bulk e-mails and will categorize it as “spam” (unsolicited junk mail) and will block passage of the e-mail. With a specialized program, your e-mail newsletter will sail through the ominous spam guards. Of course, I know you are looking for free or minimal cost programs. I have two that I recommend from personal experience. I use Dada Mail, freeware created by Justin Simoni, to manage all of my lists. My webmaster integrated the program into my website in the password-protected “Admin” section, where I am able to access, manage, and update my Dada Mail account. I have also built numerous lists through www.yahoogroups.com. Yahoo groups recently changed their policy and users are now only able to add ten e-mail addresses per day in an effort to prevent spamming. To submit an existing e-mail list to Yahoo Groups, there is a process that requires Yahoo’s approval. Still, Yahoo Groups is an effective way to maintain a list and they give you several options including the choices of building a listserv or an e-mail newsletter only list.

Building Your List So where do you get your addresses? If you are a working storyteller, you already have resources. Clients who have hired you previously should be included on the list. Fan e-mail addresses can be obtained by displaying a sign-up sheet at each performance and inviting them to join your list after every performance. Don’t be shy. If you don’t ask, no one will sign up. At workshops, conferences, and residencies, I offer a gift basket drawing in exchange for a sheet of paper with the person’s name, organization, and e-mail. At one school where I was the artist in residence, I put out a gift basket filled to the brim with teacher supplies bought at the Dollar store. They went nuts over the basket—one teacher put her name in 10 times. (She didn’t win!) That gift basket netted me 60 e-addresses, all of whom are still subscribers. Whenever I meet people, I talk about my profession. At the end of the conversation, I ask if I may add them to my e-mail newsletter. I have never been turned down. I write their information in my PDA and as soon as I get home, I add them to my list. I make it my goal to obtain at least 10 e-addresses a week. Don’t forget about friends and family! It occurred to me that much of my husband’s extended family had no idea what I did. I added them to Story Connection Express and have received orders from them as gifts for friends. My husband’s aunt bought my CD, Jambalaya—Stories with Louisiana

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Flavor, for a friend’s daughter, who was blind. She said that her friend had been looking for childfriendly audios for her little girl.

Captivating Content Of course, content is what keeps your readers happy. I know several storytellers who have used e-newsletters very effectively in their overall marketing strategy. Doug Lipman is the king of e-mail newsletters. His newsletter, E-Tips, has a subscribership of over 5,000 in 70 countries. Chris King, storyteller and web expert, has an awesome article in March/April 2004 issue of Storytelling Magazine called “Establish Your Presence on the Internet.” In her article, Chris says, “Remember, people prefer to hire those they know, like and trust. A well-written and regular e-newsletter produces that effect.” Tom Doty also has an e-newsletter that I really enjoy. He journals his travels and shares stories and his newsletter is enjoyable reading. In my e-newsletter, Story Connection Express, I include a personal note, themed articles, recipes, family activities, a story of the month, news on my career, and a link to my performance calendar. Feedback has been phenomenal and my clients call me up to book me because they are “reminded” by my newsletter. My newsletter goes out on a regular basis, around the 15th of the month so my readers know when to expect it. One of the tellers at my bank said, “Dianne, I really enjoy your newsletter and I look forward to reading it every month. My daughter and I do the activities you suggest.” That wonderful compliment really validated my efforts and made me feel great. My list has now grown to nearly 11,000 subscribers worldwide.

Subscribing and Unsubscribing As with any other aspect of your performing career, you must be responsible. To eliminate the possibility of your e-newsletter being designated as spam, allow your subscribers to “opt-in” (choose). Place a subscribe box on your website (every page if you can) to allow visitors to opt-in to your newsletter. You can double opt-in, which is recommended by web and e-mail newsletter experts. Double opt-in requires your subscribers to confirm their subscription, which also helps to validate their e-mail address and eliminate potential spam. The ability to unsubscribe is equally important. If someone is no longer interested in receiving your e-newsletter, give them an easy way out. An “unsubscribe” link should be included in every newsletter to allow them easy removal from the list.

Purging Your List Your subscriber’s e-mail addresses will inevitably change and you will, from time to time, receive bounce messages. Be vigilant about keeping your list clean and delete bad e-addresses so that you don’t overload your server. Many e-mail newsletter programs have bounce detection and can be automatically set to remove bad e-mail addresses after a certain number of “hard” bounces (nonexistent e-mail addresses). Many times, e-mails will bounce due to Spam blockers, firewalls, or full mailboxes (“soft” bounces). In those cases, your e-mail newsletter program can be set to keep the addresses on your list longer.

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Cost-Effective Outreach E-mail newsletters are a lot of work and maintenance but worth every ounce of effort. Besides your time, e-newsletters are a cheap and effective way of reaching a large audience. Think about how much mailing a newsletter to 5,000 people would cost. At the current postal rate of $.42 for 5,000 (that would be a maximum of 4 legal sheets of paper—e-newsletters can be as long as you please), you’re looking at $2,100. That doesn’t include the cost of printing and paper! If you produced a snail mail newsletter to 5,000 people every month, it would amount to $25,200 a year just in postage alone. Through e-mail, you have the potential to reach thousands more with the click of the button for a tiny fraction of that cost. Connecting with people through cyberspace is the way to go. It’s not tomorrow’s technology. It’s today’s effective marketing tool. So start writing and building your list. You can do it! And you’ll be greatly rewarded. It’s the gold at the end of the rainbow.

Print Newsletters Print newsletters are a great way to keep you in touch with your clients and fans. To create an effective newsletter that will excite your readers, you must include useful information such as tips, resources, or how-to articles in addition to news about your upcoming performances and product release information. Your content-rich newsletter should also reflect elements of your personality that will differentiate you from others. There is nothing like the feel of printed paper in one’s hands. A paper newsletter says “I care enough about you to spend the time and money on this printed newsletter.” Face it. There is more expense involved in creating a printed newsletter but the results are often worth the cost. Granny Sue (a/k/a Susanna Holstein), a storyteller from West Virginia, does this beautifully with her newsletter “Stories from the Mountains & Beyond.” Her printed newsletter is filled with seasonal descriptions of the mountains, news of her family, recipes, stories, and tips. Of course, her newsletter is also filled with upcoming performances and workshops she offers. I look forward to receiving her newsletters and read them cover to cover, delighting in its content. David Titus, a storyteller from Oklahoma, has a newsletter that is printed on newsprint, just like a newspaper. David specializes in telling string stories. In his newsletter, he shares news of his travels around the world and even includes instructions for a string story. It’s a powerful newsletter I am sure his fans and clients love receiving! I know I do. Stephen Hollen, a storyteller and author from Kentucky, publishes “Plain Brown Wrapper Stories,” a print newsletter filled with hilarious tall tales and happenings from “Beloved, Kentucky.” The newsletter is, of course, printed on plain brown paper. Stephen’s newsletter is fun and full of his witty personality.

Mailing Lists Your mailing list is the life blood of your direct marketing campaign. To build a mailing list, begin with the clients you already have. Enter every client who has ever hired you into a computer database. 185


I like using Microsoft Access to build large databases. I also use Microsoft Outlook for my personal contacts. From your database, you will be able to create labels and merge letters. Continually add contacts, building your database. Also, be sure to purge your mailing list often. Remove outdated addresses and update contacts as often as necessary. Returns cost you time and money. If you need to build a mailing list from scratch, one of the ways to begin is by purchasing a mailing list. Companies like PCS Mailing Lists and other list brokers rent or sell lists. You will usually pay by the thousands. The more specific the data you require, the more the list will cost. If you market to schools, you can contact your state’s Department of Education for a directory of schools or mailing labels. If you market to libraries, check the Directory of American Libraries. The Internet is a plethora of resources and it’s free. You will need to take some time to sort through the information to determine if it will work for you.

Ads and Where to Place Them Effective marketing campaigns often include placement of sales ads in various publications. High ticket performers who wish to book into large theaters nationwide will often place ads in Inside Arts, the trade magazine published by the Association for Performing Arts Presenters (APAP). Storytellers who wish to tour the festival circuit or whose products appeal to a large number of other storytellers may wish to place an ad in Storytelling Magazine, a publication of the National Storytelling Network. If you would like to target specific regions of storytellers, check local and regional guilds who publish newsletters. If you would like to market to the educational market, consider placing ads in educational magazines such as Creative Classroom or Early Childhood Today. Be aware that when you are placing ads, you will probably spend a good bit of money. To track your results, have the readers reply to you with a code i.e., SM0606-SBH for “Storytelling Magazine, June 2006, Story Biz Handbook” so that you know which publication it came from. Look into various trade publications for the market you are targeting. Be sure to examine the publications closely to determine their content and pay attention to ads already placed. You can always contact the sales department of the magazine and ask for their media kit and rate schedule.

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“If you want to be a full time storyteller, you have to spend at least as much time marketing your business as you do learning and telling stories. There are a million ways to market your business, and you should know them all. Take every marketing class you can find, read every book there is, try everything, until you are as busy as you want to me. Then keep it up, because if you stop, you will no longer be as busy as you want to be! The biggest mistake when it comes to marketing is just not doing enough!” Kathi Gathercole, Author of Unlocking Your Booking Potential

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The ABCs of Marketing Your Act Advertising—Take out ads in trade magazines and newsletters. Tap into your industry resources. Brochure—Create a professional brochure to advertise your performances, workshops, residencies, and products. Create a look of unity by balancing graphics and text. Composite Cards—Create composite cards (mass produced copies of your publicity photo) to include in your press kit. It’s good to have both a head shot and an action shot. Direct Mail—Direct mail is a very effective way to harvest new clients. Create an eye-catching direct mail campaign that is clear about the services you offer. E-mail List—Start an e-mail list. At each performance, set out a notebook and a pen for people to join. E-mail notices of upcoming performances to your list. An e-mail list is very cost-effective and easy to maintain. Flyers—Flyers are still a very effective, inexpensive method of advertising. Giveaways—Giveaways are great promotional tools. Giveaways help to keep your name in front of your audiences and potential clients. I use inexpensive tattoos to give away to kids at smaller venues. Heart—Market your art with heart. Put a little piece of yourself into your marketing, keeping it warm and friendly. For example, Donald Davis once sent out hand-lettered Valentine postcards. The personal touch counts. Identity—Define who you are. What is your target market? How will people remember your name? Juggling—Marketing is an ongoing process that keeps you juggling tasks. To remain a successful performer, you must be able to effectively manage the various aspects of marketing. KISS—“Keep It Simple, Stupid.” Okay, so that’s not politically correct but it certainly is a good piece of advice. When creating promotional materials, less is more. If your promo pieces are crowded with extras, your message will get lost. Too much information is overwhelming. Logo—A good logo will define our image for years to come. Use color to create interest and design a logo that makes a lasting impression. You can use graphic images, special fonts, or a combination of both. Your logo should be featured prominently on all your materials. Mailing Lists—The life blood of direct mail. Keep your mailing lists current. Purge mailing lists often to minimize returns. Lists can be obtained from list brokers, trade associations and organizations, and the Internet. Networking—Meet and greet people. Make contacts. Shake hands and exchange business cards. Create a network of people who know your name. Organizations—Join organizations and associations. A trade or membership association in your art form will give you access to industry professionals who are “in the know.” You will make valuable contacts and be able to cull information from a large pool of resources. 187


Press Kit—Your press kit should contain: cover letter, bio, list of programs/workshops, testimonials, brochure, press release, press clippings, photos or comp cards, and a business card. Quality—Top-notch, quality promotional pieces make a statement about you. It is worth investing the time and money into creating quality materials that have the “Wow!” effect. Relationships—Marketing is about relationships. Cultivate and nurture those relationships. Good business relationships will yield you repeat business. Stationery—Many people underestimate the marketing value of stationery. Well-designed, professional stationery makes an impact. Be sure your logo is prominent and your contact information is clearly visible. Make a second generation photocopy of your stationery. Does it still look good? Consider how it will look on the other end when you fax a letter. Testimonials—“Undeniably the best performance of the millennium.”—The New York Times. Does a statement like that catch your attention? It sure does! Glowing testimonials lend credibility to your work. USP—What is your Unique Selling Proposition? A USP is a distinct and appealing idea that sets you favorably apart from others and offers a guarantee. It is best to adopt a USP that dynamically addresses an obvious void in the marketplace, which you can honestly fill. Papa John’s Pizza is an example of a distinct USP: “Better ingredients. Better pizza.” Voice—As a storyteller, your voice is one of your most important tools. Your voice tells your story. So what is the voice behind your promotional material? What does your marketing material say about you? What story does it tell? World Wide Web—Develop a web presence. Your website can be one of your most effective marketing tools. It allows potential clients and audiences to access you immediately. In addition, your website can offer more information than your printed materials. Start a viral marketing campaign by blogging, podcasting, and joining social networking sites. Link and be linked. Harness the power of the web and make it a vital part of your marketing tookit. X Marks the Spot—Bulls eye! You hit the target! The right marketing approach will give you access to the clientele you want and generate bookings. So focus and take aim. Yes! You Can!—Mastering marketing is not difficult. It just takes time and effort. Believe that you can do it. Yes, You Can! Zest—Though we have come to the end of the alphabet, it is only the beginning for you. So Zip to it and market your act with Zest!

Marketing with Results As an independent artist, you will have to work hard to “shake the bushes.” Your marketing campaign must be dynamic and consistent. Marketing is hard work but it is worth the effort and will result in more business.

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RESOURCES Bendremer, Ellen. Top Telemarketing Techniques. Career Press (2003).

E-mail Newsletters Doug Lipman’s E-Tips Tips on How to Improve Your Storytelling and Information on Doug’s workshops and products. Sign up for the free newsletter at his website. www.storydynamics.com David Frey’s Marketing Best Practices This free newsletter from marketing expert David Frey is chock full of useful information that will change the way you approach your marketing. In addition, David offers news about workshops and, of course, his available products. Subscribe on his website. www.marketingbestpractices.com Alexandria Brown, The E-Zine Queen Alexandria Brown publishes one of my favorite e-mail newsletters. Her e-zine focuses on helping people build their e-zines. And I don’t find her to be a hard sell. www.ezinequeen.com

Free E-mail Newsletter Programs Dada Mail Dada Mail is a freeware e-mail newsletter management program created by Justin Simoni. It is easy to use and reliable. I’ve been using it with gret success for years and highly recommend Dada Mail. http://mojomail.sourceforge.net/

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Yahoo Groups Through Yahoo Groups, you can build a listserv or a newsletter distribution list. www.yahoogroups.com

Listservs STORYTELL is THE listserv for storytellers. Engage in discussions regarding the art form with storytellers from around the world. To subscribe yourself to STORYTELL: To: [email protected] Subject: subscribe storytell email_address end <send message>

Postcard Printing Resources Modern Postcard Modern Postcard has been recommended by several of my performing artist friends. Reasonably priced, design service available, and great quality. www.modernpostcard.com Vista Print Vista Print is my favorite source for printing postcards. The postcards are very inexpensive and great quality. www.vistaprint.com

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Sample E-mail Newsletter STORY CONNECTION EXPRESS – MAY, 2005 Keeping in touch with Dianne de Las Casas “Connecting Kids and Learning through the Arts” Theme: Cook with Your Kids! © 2005 by Dianne de Las Casas

CONTENTS Note from Dianne Cook with Your Kids! Unique May Celebrations World Fiesta Receives Rave Review in ALA Booklist Story Connection Radio Hour Dianne’s Recommended Media for Kids Read It Again! By Eliana Together Time Activity: Pizza in a Pinch Story: The Little Red Hen Makes Pizza Where Can I Find Dianne’s Recordings? Select Upcoming Events

NOTE FROM DIANNE Dear Friends: This past month, storytelling has brought me to Madison, Wisconsin and all over Louisiana: Lake Charles, Baton Rouge, and in my local area. I performed at Fest for All and at the New Orleans Jazz and Heritage Festival. Jazz Fest is always fun and the weather was absolutely gorgeous. I always look forward to eating my favorite annual Jazz Fest treat: Mango Freeze (wish I could get that recipe)! May is a month full of fun celebrations. The weather is warming and it’s a great time for fun activities indoors and outdoors. Cook with your kids and whip up a delicious milkshake or cook a whole meal on the grill (it’s National Barbecue Month). Or pack a picnic and head for the park. Anyway you look at it, food brings families together. So don an apron and head into the kitchen. It’s time to cook with your kids! (What a perfect gift for Mom on Mother’s Day—a restaurant-style meal at home. That means no cleaning up for Mom!) Motherhood is a sacred gift and loving mothers are extraordinary women. Thank you to all the Mothers who give freely and love unconditionally. Thank you, especially, to the two most wonderful mothers in my life—Josie Chretien (my mother) and Jennie Casas (my mother-in-law). Happy Cinco de Mayo! Happy Mother’s Day!

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COOK WITH YOUR KIDS By Dianne de Las Casas The hearth was always the heart of the home. It’s where the cooking took place. Families gathered around the food. They connected with conversation around the food.

Food and Families Food still brings families together. Whether it’s out for a bite to eat or a large gathering, food and family go hand in hand. As a busy mom, I don’t cook often enough but when I do, I love cooking with my kids. Cooking in our house becomes a team effort. I am head chef. My daughters, 14-yearold Soleil and 4-year-old Eliana, are my sous chefs. Dad often becomes the dishwasher. While I do the major cooking, Soleil preps the vegetables and washes the interim dishes. Eliana helps me stir, sprinkle spices, and set the table. Of course, safety is the utmost issue and I watch Eliana closely. When the meal is on the table and we sit down to eat, it is such a joy to know that we all had a hand in the meal. Eliana says, “Cooking with my Mommy and my sister is fun. I love making fancy meals.”

Cooking is Learning When you cook with your kids, the process can be so much fun. It’s a chance for you to catch up with your kids and teach them valuable skills they will be able to use throughout their lives. Eliana learns about nutrition and how to measure ingredients. Soleil learns meal planning and recipe creation, handy skills to know as she prepares for life outside when she goes off to college. In addition, every member of the family is important and no one person is burdened with preparing the entire meal alone. Meals don’t have to be elaborate—they can be simple and quick (Check out our Pizza in a Pinch recipe).

Kid-Friendly Fare To make things easy in the kitchen, find a recipe book with kid-friendly recipes. Some great books are: • • • • • • •

Cooking with Kids for Dummies by Kate Heyhoe Rachael Ray’s 30 Minute Meals for Kids by Rachael Ray Kids Cook! by Betty Crocker Better Homes and Gardens New Junior Cookbook by Jennifer Dorland Darling A First Cookbook for Children by Evelyne Johnson The Children’s Quick and Easy Cookbook by Angela Wilkes Emeril’s There’s a Chef in My Soup! Recipes for the Kid in Everyone by Emeril Lagasse

Family Fun Magazine is also a great source for kid-friendly fare.

Passing on Family Recipes Don’t forget about those “secret” family recipes. Continue the legacy of Grandma’s apple pie by teaching your kids how to bake it. Pass down your cherished family recipes and memories to your kids.

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Inventing New Dishes Inspire the next Emeril and let your kids get creative. What kinds of recipes can you invent? If you want food that’s edible, teach them how spices work together to create flavors. Every culture has spices that give their food a distinctive taste. In India, curry is common. In Mexico, cumin often flavors food. Sesame oil and soy sauce say “Asia.” Olive oil, basil and oregano speak “Italian.” In addition to creating their own flavors in the kitchen, your kids are learning about world cultures too. Another bonus about getting kids in the kitchen is that they learn to appreciate the various flavors of food—this can help curb your kids’ appetites for a constant diet of nuggets and fries.

Creating a Family Cookbook Once you reach culinary perfection, write it down! The dish you and your kids invent may become a family staple at every holiday meal. Start a Family Cookbook. Collect priceless family recipes and add a few of your own. Be sure to create more than one copy. What a cool gift to give to your high school graduate! Cooking with your kids is an awesome way to spend time with them. When you cook with your kids, making meals means making memories.

UNIQUE MAY CELEBRATIONS National Barbecue Month—Fire up the grill and pull out your favorite barbecue sauce! National Hamburger Month—An American meal mainstay, hamburgers have grown in popularity since the early 1920s. Just look around the corner—you’re sure to find a burger joint nearby! Limerick Day—May 12 is Limerick Day. It is observed on the birthday of one of its champions, Edward Lear. The limerick dates from the early 18th century and is described as “the only fixed verse form indigenous to the English language.” Have some fun and pen a limerick! National Reading is Fun Week—May 15–21, 2005. Celebrate reading and pick up a good book. Don’t just read to yourself. Share the fun and read aloud to someone! Visit the Reading is Fundamental website at http://www.rif.org. Be sure to visit the RIF Reading Planet at http://www.rif. org/readingplanet/. The RIF Reading Planet has an Activity Lab, Game Station, and Book Zone. International Pickle Week—May 20–30, 2005. Want to dress up that burger? Pile it with pickles! America’s funniest veggie is nationally recognized.

WORLD FIESTA RECEIVES RAVE REVIEW FROM ALA BOOKLIST It’s an honor and privilege to be reviewed in the April 15, 2005 issue of American Library Association Booklist Magazine. Below is the review: “Storyteller Dianne de Las Casas and jazz musician Betsy Braud collaborate in this delightful fusion of storytelling and music. The gentle multicultural stories, including folktales from India (“The Boy Who Wanted a Drum”), Greece (“The Wolf and the Kid”), and Africa (“Anansi’s Hat Shaking Dance”) demonstrate the joy and comfort that music brings to people throughout the world. de Las Casas’ commanding voice, unique characterizations, emotive vocalizations, and creative methods of reaching out

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to her audience are most engaging. Chants, songs, and realistic sound effects that can be repeated provide active participation in the stories. Braud’s upbeat music and a dose of good humor also stand out in this entertaining, high-energy CD.”—ALA Booklist Order your copy at http://www.storyconnection.net/store.htm

STORY CONNECTION RADIO HOUR Join me on my Story Connection Radio Hour (part of Uncle Chris’ Kids Show). Don’t forget, if you are outside the metro New Orleans area, listen to the show webcast on the Internet at http://www. wtul.fm Tune in to WTUL FM 91.5 on Saturday, May 7, 2005. The Kids Show is on from 8–10 a.m. CST and I appear from 9:00 a.m. to 10:00 a.m. CST.

DIANNE’S RECOMMENDED MEDIA FOR KIDS BOOKS Mama Loves You By Caroline Stutson Illustrated by John Segal A book done in simple rhyme, Mama Loves You captures the love between a mother and child, whether Mama is a porcupine, a butterfly, or a human. “Flit to Mama; Fly sky-high. Mama loves you, Butterfly.” The simple illustrations by John Segal are a perfect accompaniment to the poem. A heartwarming read; perfect for celebrating Mother's Day. My Mom By Anthony Brown Author-illustrator Anthony Browne creates a warm and funny tribute to moms everywhere. He captures how children everywhere feel about their moms. “She’s nice, my mom. She’s a fantastic cook, a brilliant juggler, a great painter, and THE STRONGEST WOMAN IN THE WORLD.” My favorite part of the book is its illustrations. In every picture, a piece of Mom's floral bathrobe transforms into something else. For the mother who covers every profession in the world, this book’s for you! We Girls Hold Up This World By Jada Pinkett Smith Filled with photographs of girls, young women, and women of all ages and races, this book is a poem that pays tribute to the strength of and beauty of girls. My favorite verse reads: We girls hold up this world as we build our self-esteem. We know that discipline will turn a princess into queen. It is a beautiful book with a positive message. This is definitely a mother-daughter or grandmothergranddaughter read together book.

Website—Food Network Cook With Your Kids http://www.foodnetwork.com/food/lf_kids/text/0,1904,FOOD_16382_19600,00.html Get great tips and recipes for cooking with your kids. Watch instructional videos and learn how to make your kitchen safe for kids. 194



READ IT AGAIN! BY 4 YEAR OLD ELIANA Green Eggs and Ham By Dr. Seuss This month, it seems as though Dr. Seuss has taken over our family library! Eliana is now reading on her own and LOVES Dr. Seuss’ classic, Green Eggs and Ham. We have read the book in a house, with a mouse, in a box and with a fox. We read the book here and there. We read the book anywhere! Eliana does so like Green Eggs and Ham. Thank you, thank you Sam-I-Am (and Theodore Geisel). Mr. Brown Can Moo, Can You? By Dr. Seuss Eliana bought the board book version with her own money, choosing the book over a doll and a mini Magna Doodle. Eliana carries the book in her purse and reads it constantly. Her favorite verse is “Boom! Boom! Boom! Mr. Brown is a wonder. Boom! Boom! Boom! Mr. Brown makes thunder.” Eliana said to me, “I love the music the words make.” That’s music to my ears! Note from Dianne: In 1954, Theodore Seuss Geisel (Dr. Seuss) read a report on illiteracy in school children. The report concluded that children were not learning to read because the books were boring. Geisel’s publisher made a list of 400 important words children should know and asked Geisel to write a book containing only 250 words. It took two years but the result was The Cat in the Hat. In 1960, Geisel was challenged to write a book containing only 50 words. That resulted in Green Eggs and Ham. Dr. Seuss made an indelible contribution to literacy and school children across America continue to read his incredibly fun, NOT boring books. Dr. Seuss has even been honored with his own U.S. postage stamp! “Boom! Boom! Boom! Dr. Seuss is a wonder!”

TOGETHER TIME ACTIVITY: PIZZA IN A PINCH This pizza takes less than 20 minutes to make from beginning to end. It’s great when you’re in a time crunch or when you need a quick and easy recipe for kids to master. Ingredients: Large whole wheat tortillas Bottle of ready-made pizza sauce Grated mozzarella Pepperoni slices Preheat oven to 375 degrees. Spread the pizza sauce on the tortillas. Sprinkle the mozzarella first and then top with pepperoni. Bake in the oven for 15 minutes. The delicious pizza comes out crispy, like thin crust pizza. You can be creative and add your own topping choices: mushrooms, artichoke hearts, spinach, olives, etc. The kids really love this one.

STORY: THE LITTLE RED HEN MAKES PIZZA Retold by Dianne de Las Casas ©2005 Twice as long as long ago, there lived a little red hen. Her favorite food in the whole world was pizza! One day, she decided to make herself a giant pizza. She needed flour for the dough, tomatoes for the sauce, mozzarella cheese and pepperoni. When she checked the cupboard, she saw that she was out of flour. When she checked the refrigerator, she saw that she was out of tomatoes, mozzarella cheese and pepperoni. She needed to go shopping! 195


On her way to the store, she saw her friends, the dog, the cat, and the duck. The little red hen asked, “Who will help me shop for the ingredients for my pizza?” “Not I,” said the Dog, “Not I,” said the Cat, “Not I,” said the Duck. And that was that. “Never mind then. I’ll do it myself,” said the little red hen and she did. When she finished shopping, she needed help preparing the ingredients for her pizza. She saw her friends, the dog, the cat, and the duck. The little red hen asked her friends, “Now who will help me prepare the ingredients for my pizza?” “Not I,” said the Dog, “Not I,” said the Cat, “Not I,” said the Duck. And that was that. “Never mind then. I’ll do it myself,” said the little red hen and she did. When she finished preparing the ingredients for her pizza, she needed help baking the pizza. The little red hen asked her friends, the dog, the cat, and the duck, “Now who will help me bake the pizza?” “Not I,” said the Dog, “Not I,” said the Cat, “Not I,” said the Duck. And that was that. “Never mind then. I’ll do it myself,” said the little red hen and she did. When the pizza was finished, it was very hot. She carried it to the table and set it down. She opened the window so that the pizza could cool off. The smell of the pizza drifted to the noses of her friends, the dog, the cat and the duck. Suddenly, they came knocking at the door. The little red hen answered, “Yes?” They said, “We smell pizza!” The little red hen said to her friends, “That’s right! Now who will help me eat the pizza?” “I will,” said the Dog, “I will,” said the Cat, “I will,” said the Duck. And that was that. “Oh no, you won’t,” said the little red hen. “None of you helped me shop for the ingredients for my pizza, prepare the ingredients for my pizza, or bake my pizza! I’m going to eat it myself!” Her friends, the dog, the cat, and the duck began to cry! The little red hen did not like seeing her friends cry. She said, “I’ll tell you what. If you promise to help me clean up the mess, I will share my pizza with you.” The three friends agreed.

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When they finished eating the giant pizza, there was a huge mess. The little red hen asked her friends, “Now who will help me clean up this mess?” Guess what they said? “I will,” said the Dog, “I will,” said the Cat, “I will,” said the Duck. And that was that. From that time forward, whenever the little red hen needed help, she could always count on her friends, the dog, the cat, and the duck. And that was that!

WHERE CAN I FIND DIANNE’S RECORDINGS? Dianne’s CDs, Jambalaya—Stories with Louisiana Flavor and World Fiesta—Celebrations in Story and Song are available at the following retailers: Virgin Megastore, 620 Decatur in New Orleans, LA (504) 671-8100 Maple Street Children’s Book Shop, 7529 Maple Street, New Orleans, LA 70118 (504) 861-2105 Louisiana Children’s Museum, 420 Julia Street, New Orleans, LA 70130 The Rocking Horse Toy Store, 628 Front Street, Nachitoches, LA 71457 (318) 357-8889 Barnes & Noble Baton Rouge, 2590 CitiPlace Court, Baton Rouge, LA 70808 (225) 926-2600 You may also order the CD online Dianne’s website http://www.storyconnection.net CD Baby http://www.cdbaby.com Bathtub Music http://www.bathtubmusic.com Amazon.com http://www.amazon.com Tower Records http://www.towerrecords.com Major Catalogs: Book Wholesalers, Inc (BWI) http://www.bwibooks.com The Book House, Inc. http://www.thebookhouse.com Follett Library Resources http://www.follett.com Instructional Video http://www.insvideo.com

SELECT UPCOMING EVENTS Want to find out where Dianne is performing? Check out Dianne’s performance calendar on her website at http://www.storyconnection.net/calendar.php

ABOUT DIANNE DE LAS CASAS Full of contagious energy, multi-award winning storyteller Dianne de Las Casas sizzles on stage with “traditional folklore gone fun!” Audiences don’t just listen—they sing, clap, chant and roar! Childhood travels around the world helped shape her future as a storyteller. Dianne lived in the Philippines, Hawaii, and Spain and traveled across Europe and the United States. Her varied cultural experiences nourish her imagination, and she continues to draw on that knowledge, adding depth and 197


richness to her tales. Dianne travels internationally performing and presenting programs, workshops, teacher training, and artist residencies. Thank you for subscribing to Story Connection Express.

Warmly, Dianne Dianne de Las Casas Award-winning Professional Storyteller Recordings: Jambalaya—Stories with Louisiana Flavor 2004 iParenting Media Award 2004 Children’s Music Web Award 2005 Storytelling World Honor for “The Ghost of Jean Lafitte” Rave review in School Library Journal & AudioFile Magazine World Fiesta—Celebrations in Story and Song (storytelling with a full jazz band—new release December 2004) Rave review in ALA Booklist & School Library Journal P.O. Box 2656 Harvey, LA 70059 504-368-1831 ph/fax [email protected] [email protected] http://www.storyconnection.net “Connecting Kids and Learning Through the Arts”

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Chapter 17

Making the Headlines

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“Not in your time, not in my time, but in the old time, when the earth and the sea were new...”

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The Press Release Creating a Publicity Campaign Making Media Contacts Where to Obtain Media Lists Press Release Services Media Interviewing Skills Hiring a Publicist Making the Headlines Resources

³ Sample Press Release

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It’s your ticket to gold! Great media attention can do so much for your career as a storyteller. It’s free advertising. Nothing gives you more credibility than a prominent publication praising your work. People believe what they read.

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“A lot of artists start off with the bias that the media only wants glitz, sex, and fluff. But the public also wants inspiration and information. There are plenty of reporters looking for content.” Susan O’Halloran, Stories for Possibilities

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The Press Release A press release is a short summary or a piece of news that allows you to publicize key elements of your story to journalists. A good press release plays an important role in your marketing strategy as a performing artist. Your press release is your ticket to gold. The funny thing about press releases is that they are both an editor’s worst enemy and best friend. While editors tire of reading the same old boring press releases, they jump for joy when they find a jewel in the pile. Editors are hungry for news and the press release is how they find much of what they need. Nothing says credibility like great media coverage. It’s free publicity. To create a “buzz” and to get the editor to notice your press release amongst the hundreds he sees every week, your press release must contain compelling content. But first, let’s go over the basics.

Press Release Basics • •

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Type “PRESS RELEASE” in all caps, bold letters at the top center of the page. Return a couple of times and provide your complete contact information: name, address, phone number, cell number (you want them to be able to reach you when they need to write a story), fax number, e-mail address, and website address. Return twice and type “FOR IMMEDIATE RELEASE” in all caps, bold letters. Return twice more and center your headline. In your introduction paragraph, you will include your story angle and key elements—the who, what, where, when, why, and how of your event, service, or product. The press release should be written in the third person. Write in the active voice and avoid any jargon, technical terms, and acronyms. The main body of your press release will contain interesting information that will hook the editor into either placing your entire press release, word for word, in the publication or by enticing him to write a story. The closing paragraph will summarize the information of the first paragraph and then close with a call to action.

Four Types of News Releases According to Monica Pierre, author and radio personality in New Orleans, there are four types of news releases: • • • •

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The Advance or Announcement—The most common release, this is used to announce upcoming events. The Backgrounder—This type of release is used to provide background information on an issue, product, or business. The Feature—Feature releases tend to be human interest-type stories. The Follow-up—The follow-up release is issued immediately after an event takes place.


- Making the Headlines

Writing a Press Release that Packs a Punch Once you have all the facts at hand and have compiled your basic press release, look at it again. Do you have a catchy headline? Is the copy compelling? Will an editor take note when he sees your press release? Most press releases work on an inverted pyramid. The most important information is at the top with the less important information toward the end. If editors are pressed for time and space (which they always are), they can glean the first paragraph of your press release and still have a workable short story or at least a blurb. Remember, press releases are always written in the third person. Here are some tips for your press release. • • • • • •

What is your angle?—Are you solving a problem or filling the readers’ needs? How? Head-turning headlines—Write a headline that makes the reader want to immediately dig in. It doesn’t have to be over-the-top sensational, but it does have to be dynamic. Quotes—Quotes will make your press release seem more like an article. When a publication has space to fill, they look for complete press releases that require little or no editing at all. Don’t sell—Create a press release full of facts. Copy that looks like advertising turns editors off. Get to the point—Keep your press release concise and get to the point. Eliminate the fluff. Establish your expertise—Give them a reason to write about you. For example, you have a Masters in Education and 20 years in the field as an 8th grade math teacher, which is why you are the expert when it comes to authoring the book, Problem Solved: The Easy Way to Get Kids to Love Math.

Develop a Targeted Slant Know your publications and be sure that the article you are pitching is right for that publication. Biz New Orleans was a brand-new publication when I decided to send them a press release. But how do storytelling and business relate? Why would they want to write an article on me? It was all about the slant of the pitch. The headline of my press release read: “Storytelling: A Business?” The rest of the press release related to my role as an entrepreneur with my storytelling business. It worked. They wrote a full-page article on me and even sent a photographer to one of my performances to shoot pictures for the article.

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Sometimes, a well-written press release is reprinted word-for-word. This has happened to me several times. Newspaper and magazines are always under the time crunch. An expertly crafted press release can become that much-needed article they are looking for before press time.

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“When you pitch a story idea to a reporter, they have one question in mind: Why would our readers (or listeners or viewers) be interested in this story now? Connect your story event to something timely. Piggy-back current events. Connect to holidays, anniversaries and the season. Conduct an informal poll and share your numbers. Keep asking yourself the question: Why is this event newsworthy?” Susan O’Halloran, Stories for Possibilities

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When you are writing your press release, avoid phrases like “Number 1” and “Greatest.” That immediately turns editors off because it makes your press release look like one glorified ad. Editors like facts; the more interesting, the better.

Helpful Tips When Sending the Press Release

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Do Your Homework—Be sure that the publication you are targeting covers the type of news you are sending them. Who Gets the Release?—Do not send a press release that is not addressed to a specific person. That’s the quickest way to make it to File 13. Find out the editor’s name, correct spelling, and how they want it sent—fax, e-mail, mail. In the Body—If you are sending a press release by e-mail, be sure to include the release in the body of the e-mail and not as an attachment. With so many viruses floating around, people are quick to delete e-mails with attachments from unknown sources. Deadlines—What are the editor’s deadlines? Timely submission of your press release is crucial if you want media coverage. Your Website—If you are advertising a new performance or a product, be sure that it is listed on your website, especially if your press release directs readers to “visit www.moreinfo.com” for more information. Calling an Editor—Do not call an editor to find out if they have received your press release. Yes, you will stand out—as a pest. And your press release will make it out of the slush pile and into the garbage pile. If you do need to contact an editor, call your dime. 1-800 numbers are meant for their customers, not to help you fund your marketing campaign.

Creating a powerful press release means crafting a piece that highlights the best of you and meets the media’s needs. Tell a compelling story and do your homework. The difference between a good press release and a great press release is publication!

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“The media won’t be your advocate. They have a job to do, too. They’re busy people with a consumer base and sponsors to serve. You have to present yourself as a resource to them. Their job is to be timely and interesting. Help them out. Don’t send them an announcement (“I’m performing at XYZ on March 25th), but a concept wrapped in the benefits their audience will receive.” Susan O’Halloran, Stories for Possibilities



Creating a Publicity Campaign Sarah Geist Rosen, a successful publicist whose clients have been featured in such publications as Billboard Magazine, Nick Jr., and Family Fun magazine, says, “At the beginning of a campaign, it is important to plot your basic selling points, facts that would convince a journalist to write about you. The first press release reflects these selling points. If the artist has had some previous media exposure (which is always helpful!), include a quote sheet and/or reprints of the more impressive articles with the press release. For media outlets that are particularly important, include a personal pitch letter to the writer or editor. From there, try to build on the press that you get, continuing to reprint and send out more major features and reviews—to show editors that ‘Hey, this magazine wrote about me, maybe you should too!’ ” Sarah also says, “If the particular CD, video, or book has been out for a while, it is important to come up with fresh, new angles. Send out press releases that state you are on tour, won an award, or were invited to perform somewhere prestigious.” Send out press releases when you have something newsworthy to say. Don’t just send out press releases for the sake of sending out press releases. Sarah advises artists to take time to think about the following: • • •

What makes you special? What is exciting and different about your work? If you were writing your own feature article about yourself, what would the headline be?

A successful publicity campaign depends on cultivating contacts and follow-up.

Making Media Contacts In Dale Carnegie’s famous book, How to Win Friends and Influence People, which has over 10 million in print, he advises, “Learn to love, respect, and enjoy other people.” In a world where editors are bombarded with press releases, strange requests, and pushy sales people, sincere appreciation goes a long way. I attended an event in which the emcee of the event, a news anchor and local celebrity, was unavoidably detained and could not make the ceremony. With a schedule to follow and a crowd of 200 anxiously waiting at tables where dessert had already been served, the event coordinator was in a panic. Another news reporter was in the audience. Offering to pinch hit, he emceed the entire event with aplomb and grace, saving the ceremony and winning over an entire audience. I admired his charm and off-the-cuff humor. When I returned home following the event, I immediately wrote him a letter thanking him and praising his performance. He wrote back immediately and thanked me profusely. He gave me the number to his personal line and told me to call him whenever I needed anything. I didn’t expect anything in return, but what a reward for a simple thank you! Making friends in the media is not hard. Like anyone else, they appreciate sincere praise and they love a good story. So win ’em over and pitch your story! Whenever I am interviewed, I ask for the interviewer’s card. If the interview is a good one, I always send a handwritten thank you note in the mail that includes my brochure and business card. I also ask for a copy of the article or photo that

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appeared in their publication. This is a great way to collect press clippings, especially for out-of-town appearances. A radio personality spoke for a group and I was in the audience. I really liked her message and I spoke to her afterward, praising her talk and buying her book. I invited her to lunch at a later date and she accepted. At lunch, we really connected and I found out she lived in my neighborhood! She asked me to interview for her weekly radio show. Her show reaches the entire metropolitan area of New Orleans and beyond. It was great exposure. Since then, we have become friends and I know that I have an ally in the media. When I am in another town, I ask my client if any pre-performance publicity ran. If it did, I always make sure to visit the local paper. I buy a copy of the paper, thank the editor for running the article, and leave my card. In some towns I visit annually, I am guaranteed coverage because of the relationships I have built. And it’s all accomplished with a simple visit.

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Keep abreast of what journalists are writing. Your story may tie in to something they are covering. If a story runs and you appreciate the journalist’s treatment of the subject, send a personal thank you note. Enclose your business card. When interviewed, ask for the interviewer’s business card. Send a thank you note with a request for a copy of the story. Invite the media to lunch. Get to know who’s who in your media community. If a media celebrity is involved in a cause you believe in, lend your support and attend any functions associated with their cause. Be sure to talk to the journalist and let them know who you are. Visit newspaper offices when you can and leave your card.

Above all, be sincere about what you do and it will show.

Where to Obtain Media Lists There are a number of ways to obtain a list of media contacts. In Louisiana, we have the Louisiana Press Association. They publish a book of all the media in Louisiana. For $30, it’s a goldmine of information. Check to see if your state has a press association. Look at publication’s masthead. In a magazine, it is typically located a few pages inside. You’ll see the tiny 2-point font print listing the Publisher, Editor-in-Chief, Managing Editor, Copy Editor, and so on. Google, my favorite search engine, is genius at locating information. Use Google to find listings. The SRDS Business Publication Advertising Source is a huge book that contains over 1,000 pages and lists the name and address of almost every business periodical printed. Your main library will probably carry it in the reference section. Jeffrey Dobkin’s Book, How to Market A Product for Under $500, goes into great detail on how to use the SRDS Directory efficiently. Bacon’s Newspaper/Magazine Directory is probably considered the publicist’s Bible for media contacts. While SRDS lists the information, it is probably better used to place targeted ads. Bacon’s 204



directories contain information on the publishers, addresses, phone numbers, fax numbers, editors (including specific editors), and reporters for each publication. This information is invaluable when it comes to public relations (PR) campaigns. They even include the types of press releases that are accepted at each magazine.

Press Release Services A press release service can be a very valuable tool in getting great media coverage. For a fee, a press release service will distribute your press release to journalists nationwide or even worldwide. InternetNewsBureau.com is one such service. Targeting 10,000 journalists and publications worldwide, their press releases receive large coverage. The advantage to using a press release service is that they have already cultivated the media contacts, established a reputation, and established a distribution network. Their knowledge of the media business and their resources are what you pay for. Consider how much time it would take you to locate and cultivate a hundred media contacts. A good press release service will have the staff and resources to send your press release to the right people. For an example of a press release, see the end of this chapter. There are free press release services available such as PR Web and Free-Press-Release.com. Yes, free. After your press release is approved, it is sent out to thousands of journalists worldwide through e-mail. You can donate funds and your press release is given more priority. PR Web allows you to track the number of times your release has been accessed. If you decide to use a free press release service, do not use more than one. They send to the same media outlets and it does you no good to have your press release arrive twice in an editor’s in-box. I have had some success with the free press release service—the trick is to create the right headline.

Media Interviewing Skills What do you say when you are being interviewed? What don’t you say? Performers are often in the spotlight and can perform in front of thousands with no problem, but when it comes to media interviews, many artists tend to freak out.

The Impromptu Interview You’ve sent out the great press release and the media has responded. They want to interview you before or after your performance. What do you do? •

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Have a “Fast Facts” sheet available to any journalist who comes to your performance. In bullet form, list important bio information. The fast facts card will provide them with accurate information and correct spellings. Anticipate common questions and have quick, yet eloquent answers. Create a list of interview questions and have a friend or family member perform a mock interview. When being interviewed, be yourself and speak from the heart. Allow your pride in your profession to come through. 205


The Advance Interview If you receive an advance invitation to appear on a radio or TV show, you will need to be prepared. This is your chance to shine in front of your adoring public. Your answers should be good enough to use as sound bites. Here are some helpful tips: • •

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Send a confirmation letter and a bio when you are booked as a guest. This shows your professionalism, interest in their program, and appreciation of their invitation. Send a list of suggested interview questions. Journalists often appreciate being sent interview questions in advance. This helps them by eliminating some of their prep work and giving them relevant subject matter to cover. Another option would be to contact the interviewer and ask for a list of questions that will be asked. That way, you can be prepared with articulate answers that will make you and the interviewer look good. Arrive early. Eliminate the stress of last-minute preparation and arrive to your interview early. It demonstrates your reliability. Dress appropriately. If you are performing along with your interview, your costume might be appropriate. However, if you are simply interviewing, wear clothes that flatter you. If you are being interviewed by a publication, ask if there will be a photo shoot so that you may be prepared with the appropriate dress. Sit up straight and smile when you talk (even if you are on radio—it will “show”). You may be pre-interviewed. The host may ask you some preliminary questions to obtain background information and to prep you. If you are privy to a pre-interview, remember that you will have to repeat the information when you are on the air. Look your interviewer in the eyes when they are asking you a question. Do not interrupt the interviewer. Never sing or talk to yourself while waiting for the interviewer. You may be “live” on the air! Do not shamelessly plug yourself or your products. Your information will be displayed or given to the audience at the end of the interview. If you are caught off-guard with an unexpected question, take a moment to compose a thoughtful answer rather than rushing the answer. Promptly send a thank you note to the producer of the show and the host. They will remember how considerate you are and your chances of being invited back will greatly increase.

Common Questions Performers are Asked To give you an idea of what to expect, here are some common questions you may be asked: • • • •

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Where are you from? How did you get started as a children’s artist? Where do you find inspiration for your material? What does it take to put a show together?


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Why did you choose to perform for children? Why is it important to perform for children? Where could someone go to learn your art form? Where can our audience find your products? Where are you performing next?

Great media interviewing skills are a must and will further demonstrate your mastery of your art form. If you interview well, your interviewer and audience will assume that you are also a superb performer. The key is good preparation.

Hiring a Publicist Another option for great publicity is hiring a publicist. Good publicists will not only send out press releases; they will generate leads and follow up, guaranteeing media coverage. Publicists have hot media contacts, contacts they have cultivated and relationships they have established. Hiring a publicist is not cheap, but the results are often worth the cost of the investment. Typically for a small, independent publicist, you will pay from $1,500 to $3,000 per month. Publicists can be hired for a one-time project fee or for an ongoing basis. A friend of mine hired a publicist for a four-month project. In that time, her publicist generated a TV interview, much local press, and reviews in national publications. The publicist’s impact was a boon to my friend’s career. Elizabeth Waldman Frasier of Waldmania, a PR firm, specializes in publicity for children’s artists. Her clients have included Laurie Berkner, Milkshake, and Grammy Nominee Zak Morgan. Elizabeth says, “The difference between using a press release service and a publicist is huge. A press release service just sends the press release out. A publicist does the necessary follow up and cultivates contacts.” Sarah Geist Rosen, a veteran publicist whose clients have appeared in national magazines and talk shows, advises, “Having a good publicist can be invaluable. 90% of the entertainment coverage you read about didn’t happen on its own—whether it's a CD review in Rolling Stone or a feature in People. It happened because a publicist was on the case, not because a journalist thought, ‘Hey, maybe I’ll write about so-and-so.’ Hiring a publicist really depends on where you are in your career. If you are just starting out, have not acquired press clippings, are not on a label, and have no budget for PR, I would say you’re not ready to hire a publicist yet. If you are in a position to hire a good publicist, he or she will do the work for you.”

Making the Headlines If you are unable to invest in a publicist, you will need to arm yourself with knowledge and discover ways to get the media to notice you. No amount of advertising and marketing can equal the impact of good publicity. Make the media your friend and you will make the headlines.

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Recommended Reading Dobkin, Jeffrey. How to Market a Product for Under $500. The Danielle Adams Publishing Co. (2001). ———. Uncommon Marketing Techniques. The Danielle Adams Publishing Co. (1998). Levinson, Jay Conrad, and Seth Godin. The Guerilla Marketing Handbook. Mariner Books (1995). Levinson, Jay Conrad, Rick Frishman, and Jill Lublin. Guerilla Publicity. Adams Media Corporation (2002). Silber, Lee. Self-Promotion for the Creative Person. Three Rivers Press (2001).

Free Press Release Services Free-Press-Release.com Free-Press-Release.com operates much the same way as PRWeb. www.free-press-release.com PR Web PRWeb.com sends out press releases to thousands of media outlets via e-mail. The site allows you to track the number of times your release has been accessed. www.prweb.com

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Publicity Tips Annie Jennings Annie Jennings is a publicist who specializes in book publicity. Her e-mail newsletter and free teleseminars are educational. Nationally known authors and experts offer publicity advice. Annie offers the only “Pay for Placement” publicity program; you pick the placements you want and you don’t pay unless you are placed. www.anniejenningspr.com Bill Stoller’s PublicityInsider.com Bill Stoller, a wildly successful publicist, produces an incredible website and offers an info-packed free newsletter, Publicity Insider Update. His site offers great resources and information on how to get free publicity. Ten times better than Publicity Insider Update, is his paid subscription newsletter Free Publicity. If you are a do-if-yourselfer publicist interested in gaining regional and national media attention, make the investment and subscribe to Free Publicity ($97/year). www.publicityinsider.com

Tracking Publicity Google News Alerts Google provides a free service that allows you to track Internet publicity on any subject, including your name. On the Google home page, click on “News.” You will be taken to another page. Click on “News Alerts.” You can fill out the information and track news on any subject you wish, including keeping up with media coverage of yourself. I always do a Google news alert on each new book and CD that releases. When an online review appears, the alert is emailed to me. www.google.com TrackTVinc.com My friend, Johnette Downing, told me about this great resource called Track TV. If you appear on TV anywhere in the United States, they can provide you with a copy of the footage on VHS, Beta, DVD, etc., for a fee. They can also provide you with the transcript of the segment. www.tracktvinc.com

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sample PRESS RELEASE Contact: Dianne de Las Casas The Story Connection P.O. Box 2656 Harvey, LA 70059 (504) 368-1831 [email protected] http://www.storyconnection.net Note: Photos downloadable from http://www.storyconnection.net/press_kit.htm Review copies available FOR IMMEDIATE RELEASE ______________________________________________________________________________________ Louisiana Children’s Audio Wins Third National Award The Louisiana by-waters and bayous are home to some of the nation’s most flavorful folklore. Professional Storyteller Dianne de Las Casas’ debut children’s audio, Jambalaya—Stories with Louisiana Flavor, was just awarded a 2005 Storytelling World Honor. The CD was also awarded a 2004 iParenting Media Award and a 2004 Children’s Music Web Award. AudioFile Magazine says, “Start in the kitchen with a recipe for jambalaya, a rice dish made ‘with a little bit of this and a little bit of that.’ Each of the stories in de Las Casas’ collection spices that pot. Dianne de Las Casas narrates with a clear and sincere voice. Refrains, songs, and sound effects embellish her storytelling.” Louisiana is the home of many different cultures including the French, Spanish, Acadians (Cajuns), and Africans. The blending of these cultures results in a rich mixture of tales. Calling upon her family’s Cajun heritage, de Las Casas retells traditional Louisiana folklore such as “The Talking Eggs” and adds a tasty twist to familiar favorites such as “The Cajun Cornbread Boy,” an adaptation of “The Gingerbread Boy.” The Cajun Cornbread Boy will be a picture book published by Pelican Publishing Company. De Las Casas recorded Jambalaya with family listeners in mind. She says, “The stories celebrate the many cultural flavors of Louisiana.” School Library Journal says, “Dianne de Las Casas has cooked up a delightful dish of folktales. Her clear enunciation is unaccented, making the stories universal. Regional music opens each story, helping set the mood—the blues sing on electric and acoustic guitars, Zydeco zings from a Cajun band, a bouncy tune hops on harmonica, and a haunting melody floats on piano. This is a welcome addition to units of Louisiana study, as it truly captures the flavor of the area.” In November and December 2004, de Las Casas toured Singapore and the Philippines. She spent her childhood living and traveling worldwide. She lived in the Philippines, Hawaii, Spain, and California, and traveled across Europe and the United States. De Las Casas says, “My varied cultural experiences add dimension to my stories. I really love sharing other cultures with kids and opening their eyes to new worlds.” De Las Casas currently resides in the New Orleans area with her husband and two children, a preschooler and a high schooler.

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De Las Casas looks forward to new adventures. “I am excited about my new children’s audio, World Fiesta— Celebrations in Story and Song, with Betsy Braud the Jazz Nurse. It’s storytelling with a full jazz band. My work is about the celebrating children, cultural diversity, and the power of language.” Jambalaya—Stories with Louisiana Flavor is available on de Las Casas’ website at www.storyconnection.net, www.cdbaby.com and www.amazon. com.### From The Story Biz Handbook: How to Manage Your Storytelling Career from the Desk to the Stage by Dianne de Las Casas. Westport, CT: Libraries Unlimited. Copyright © 2008.

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Seeing is Hiring

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“Some people don't believe what they are told. They only believe what they see...”

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One-Stop Shopping Juried Showcases Demo/Promo Video Tips for Hiring a Professional Video Company Nonjuried Showcases Showcase Your Best Exhibiting or Buying Booth Space Tips for Dynamite Displays on a Dime Where Do You Find Showcase and Exhibit Venues? Create Your Own Show-and-Tell The Personal Invitation The Scene to Be Seen

³ Resources

Visibility is your key to success as a performer. The more opportunities presenters have to see you in action, the better. When you enter department stores, racks of clothing line the walls. Near the racks, there are usually fitting rooms because the stores want you to “try it before you buy it.” They know that if you can see how the clothes fit, you are more likely to buy them.

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“Showcasing is the ultimate ‘See me? Want me? Hire me!’ show. They are great vehicles for exposure to specific audiences. Showcases are sales shows. WE are the products on display. THEY are the hiring groups. Get the idea? They need performers. We have the talent they need. They ask questions; we provide answers. It’s a win-win situation.” Linda Gorham, Professional Storyteller

One-Stop Shopping Imagine a store filled with performers of all kinds, where presenters can “try before they buy.” These one-stop shopping venues exist. They are called showcases. School districts, libraries, and other organizations host showcases where performers can demonstrate their work before a buying audience. There are two types of showcases: juried and nonjuried.

Juried Showcases A juried showcase involves a selection panel that reviews the candidates. Juried showcases are usually part of a conference or festival. The selection panel usually involves a submission packet, which includes their application form, complete press kit, video or other sample of work, and the fee (if one is required). Large arts booking conferences such as the Performing Arts Exchange (PAE), Arts Midwest, and International Performing Arts for Youth (IPAY) host juried showcases. Booking conferences can be quite an investment, so you need to decide where you are in your career and determine whether your current professional needs justify the cost of the conference. The competition for showcase spots is stiff and the panels are very selective. Time limits depend on the particular showcase but are strictly followed. I once attended a conference where a performer was showcasing with her band. Her slot was 20 minutes and she went over her allotted time. Without warning, the theater lights came on and the microphone was shut off. When she realized what happened, she graciously exited the stage, but was she embarrassed! Afterward, presenters talked about the performer who went over time. Lesson: Never, never go over time! Prepare a piece that will fit within the allotted time and allow extra time for the unexpected. Rehearse and time yourself. I participated in a showcase that allowed me 6 minutes of performance time. I performed a 41/2 minute piece, which allowed me a little extra “commercial” time and gave me room to spare. Breathing room is always good. Many juried showcases charge a fee. In addition to your showcase entry fee, if you are selected, you may also be required to purchase booth space. High-end showcases like these are usually associated with the larger arts conferences. Including the showcase fee, the cost to rent booth space, booth dressing, promotional materials, lodging, food, and travel, showcasing at larger events can run into the thousands. If you are showcasing, you will likely also want to buy ad space in the program to

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advertise your work. Playing with the big boys is not cheap, but booking gigs at conferences like these can be very lucrative. It is at these big conferences that tours are block-booked.

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“Booking conferences are huge affairs with big-name stars and talent agents competing for bookings at colleges and theaters. It can be a daunting and expensive experience. In addition, it can take years of attendance to develop relationships with the bookers. You should plan on attending for at least five years before getting booked. Because of the expense involved, booking conferences should only be considered by experienced, highly talented performers with strong egos.” Harlynne Geisler, Author of Storytelling Professionally

Demo/Promo Video Showcase judges and festival producers will tell you that a good demo video is necessary. They use the demo videos to determine if the performer is right for their event. So what makes a video good? Quality production and editing are important as well as good camera angles that allow the viewer to really see your art. Fancy camera angles and cool fade-in and fade-out effects should only be used if they enhance the overall quality of the video. Typically, a demo video will showcase 5 to 10 minutes of your best work. Viewers only have a few minutes to watch the video and make a determination so be sure to showcase your absolute best. Producing a demo video can be a costly venture. You will have to pay for the camera man, the producer (if you have one), the equipment rental, and the editing of the video. In addition, you will have to produce copies from your master. All in all, the project total could soar into the thousands. There are ways to cut the cost of a video, though. Using only one camera greatly reduces cost. You can also check into the film and television department of a local university. Professors and students are often looking for projects and may be able produce a video for you at little to no cost. Many cities have local access stations. If you are doing an event for a nonprofit or a charity, send the local access station in that area a press release and invite them to attend. I performed at a library in Houston, Texas. The library had an arrangement with the local cable access station to film their story times for viewing on the cable channel. Through this arrangement, two of my storytelling shows were filmed. In exchange for permission to film me, I asked the TV station to provide me with a copy of the DVDs. The result was two 45-minute, professionally filmed DVDs, using two cameras. Of course, I can’t sell the DVDs but the quality is terrific and I can certainly use them as demos.

Hiring a Professional Even with modern technological advances in camera equipment, I still recommend hiring a professional to shoot your video. You wouldn’t ask a friend untrained in dentistry to perform a root canal, would you? 213

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Hire a company that has had experience videotaping a live performance or has worked with a performing artist before. Ask to view samples of their work and/or references. Call their references. Discuss your vision for the project in detail. Outline your vision on paper and give it to them. Ask for a fee schedule. Establish a budget. If the video company knows that you are operating on a budget, they are less likely to go into production overtime, costing you more money in the end. Obtain a contract outlining their fees and services.

NonJuried Showcases There are showcase events that do not subject you to the juried process. You simply pay your fee and showcase and/or exhibit. If you do pay to showcase, I recommend that you purchase booth space if available. Passing out promotional materials indicating your booth number is helpful in drawing presenters to your booth. I exhibited and showcased at a library conference in Texas and saw performers who really knew how to take advantage of their showcase time to promote their booth and vice versa.

Showcase Your Best Showcase your very best work. It should be a polished piece you can perform blindfolded and bound. I once showcased a new work at a library conference. Can we say HUGE mistake?! My piece had not yet been live-audience tested and my material lacked the polish and pizzazz of my usual work. The energy of the audience went down with me. Fortunately, most of the audience consisted of previous clients who knew my work and they were very forgiving. But I am sure there were others in the audience who had never seen me perform before. First impressions are lasting impressions. It was a hard lesson to learn. I attended a showcase where the a capella group, Three Men and a Tenor, performed. They were fantastic. They had the entire theater up on their feet dancing. They maximized their 15-minute slot with a knockout show that won them a standing ovation. You can bet they got bookings! I spoke with Chuck Colby, one of the performers and the group’s manager. Chuck says, “You gotta get ’em from the get-go.” In 15 minutes, the group warmed the audience up, performed their best pieces, and left the audience wanting more. That’s the goal of a showcase slot.

Exhibiting or Buying Booth Space If you have ever been to a trade show, you know that there are rows upon rows of exhibit booths. Dressing the booth space is entirely up to you, including providing your own table or alternatively, 214


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renting one. To avoid unexpected surprises, find out exactly what the venue provides. If you require electricity, be sure to let your contact know in advance. Typically, you pay for a 10' 10' booth, which usually includes the piping and drapes. Sometimes, you are provided with a skirted table but most often, you have to provide your own table, carpeting, flooring, chair, and pay extra for electricity. Conference attendees will likely see hundreds of booths so decorating your booth with flair to stand out in the crowd is a good idea. Professional table top displays can be purchased and cost $200 and up. I use a colorful and fun table top puppet theater ($30) that I converted into a stunning display for my promotional materials and photos. Be creative and make displays that reflect your personality and the uniqueness of your show. As a veteran booth exhibitor, I have learned a few tricks along the way.

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Corner spaces cost more but are usually worth buying because of the walk-by traffic. Giving away a fantastic goody basket draws people to your booth (the names and contact information serve to help you build a mailing list). Build your supply of booth dressings including tablecloths, display signs, display stands, easels, etc. Giving away freebies also attracts people to your booth. Be sure that your freebies have value (i.e., pen or a CD opener) or that they are a hot novelty (such as lit, flashing pins). If they are not memorable or relate to your company in some way, they are a waste of money. You want to make sure that people will keep your freebie so that they remember you. Having your name or logo on the freebie helps. Multilevel displays work best, drawing attention at eye level so you can speak to someone who is not looking down. A prepped speech helps speed the process, especially when you are addressing large crowds or are in a high traffic area. Try to bring someone to work with you so that you can take needed breaks without having to leave your booth unattended or hire a booth sitter. Bring light snacks and water to keep refreshed. Have promotional materials ready to pass out so you are not fishing around when someone approaches your booth. Comfort is important—wear professional yet comfy clothes and shoes. Bring a tall stool so that you can sit and rest between visitors. A tall stool enables you to see approaching visitors. Pack compactly—try not to bring more than you need. Get to know your booth neighbors and make friends. No matter how you may feel, greet people with a smile.

When preparing to exhibit, be sure to stock plenty of promotional materials to pass out to booth visitors. Conference attendees always like freebies, so having candies or some sort of promotional item to give away is advantageous. Prize drawings always draw a crowd so put out a bowl and give away a gift basket or service in exchange for attendees’ contact information. That way, you can also add them to your mail or e-mail list later.

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“Q: How do I generate interest in my booth? A: Well, you can become a circus hocker and thrust your brochures in everyone's bag as they pass by. Yeech! I prefer a more subtle approach. Chocolate works wonders!” Linda Gorham, Professional Storyteller

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Create a custom backdrop by sewing two 60" wide panels together about 7–8' high. Iron on or hot glue your logo, interesting decals, stars, or cut outs. Create coordinating table cloths that can be draped over a 6–8' table. Create a stand-up table top display from foam core board. It is very lightweight and inexpensive, and can be covered with fabric that can be stapled on the back for a coordinated look. Promotional materials should be displayed in upright holders that allow your visitors easy access to the materials. Sprinkle confetti on your display table. It’s inexpensive and jazzes up an exhibit. Create multilevel displays by covering boxes with wrapping paper or fabric. Set items on top of the boxes.

Where Do You Find Showcase and Exhibit Venues? Educational conferences, library conferences, arts conferences, museum conferences, school districts, and PTA conferences are good places to look for showcasing and exhibiting opportunities. I participate in about four exhibit/showcase venues a year in my local area and attend at least one large professional booking conference a year. Many of the local venues require small fees to participate. Look also for public exhibit venues where you can get your name out to the general public—local malls and kids’ fairs are great resources. There are thousands of professional organizations that have annual conferences. These organizations have thousands of members—members who are potential clients. Exhibiting at conferences such as IPAY, the regional arts conferences, state PTA conferences, the national PTA conference, NAEYC (National Association for the Education of Young Children), IRA (International Reading Association), ALA (American Library Association), etc. will expose you to thousands of potential “buyers.” 216


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Create Your Own Show-and-Tell You can always create your own showcase and exhibit venue. I have coordinated several of these for the arts organization I run in Louisiana for the Independent Children’s Artist Network. I find show/ exhibit space (you can often barter with a venue in exchange for free performances), schedule artists, create promotional materials, invite presenters, create signage, and send out publicity. On the day of the showcase, I arrange the room, coordinate volunteers, set up the space, advise the emcee, play hostess to the performers (reserving their seats and providing refreshments), play timekeeper, and perform a host of other duties involved in creating a successful event. You can collaborate with other artists to produce a showcase. Self-producing a showcase can take months of preparation. You will need volunteers to assist in the flow of the event. It is always good to ask someone else to emcee the event, especially if you are the coordinator or one of the showcase performers. Offering free food and beverages also helps to attract and keep a crowd. If you are producing a morning showcase, a continental breakfast offering suffices. Don’t forget the coffee and fixings! To curtail the cost of your food, ask local businesses to sponsor your event. Be sure to include their name in your promo materials as a sponsor of the event and display a high profile banner at the event. To enhance your event, have the following available: • • • • •

Program of the day’s events Promotional materials on display Mail or E-mail List sign-up sheet Goody bags (not required, but they enhance the event) Giveaway basket (people love free giveaways!)

If you know of an event (conference or networking opportunity) that attracts the hiring presenters you are looking for, offer to coordinate a free showcase to dovetail that existing event. There are many teacher and librarian associations that meet on a regular basis and hold annual conferences or dinners. Either coordinate a showcase with other artists or offer a free showcase of your own performance. The great thing about dovetailing with an existing event is that you don’t have to advertise to attract an audience. Your audience is already there for you. Creating your own showcase is a lot of work and can be overwhelming. If you are not familiar with how showcases work, it is best to dovetail with an already-existing event with a built-in audience.

The Personal Invitation If you live in an area that is not conducive to producing a showcase, invite presenters to see you in action at a particular venue. Send a personal invitation so that they feel important. Let the venue know that you have a special guest attending to see the performance. Cover their entrance fee if there is one and ask your host to add their name to the guest list.

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For a performer, showcasing and exhibiting is an important part of the overall marketing strategy. It’s the place that allows presenters to get to know you and your work firsthand. It’s like standing in front of your new class with a really cool show-and-tell. Afterward, everyone wants to talk to you and be your friend. So show your best side and have your booking calendar ready.

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Arts Agencies and Showcases International Performing Arts for Youth Showcase International Performing Arts for Youth is an international showcase opportunity for performers who specialize in shows for kids. Each year, the conference rotates to different cities in the United States and Canada. National and international presenters, such as the Kennedy Center, look for hot acts to book for their upcoming seasons. Competition is fierce and performers must be of national quality. www.ipayweb.org The National Assembly of State Arts Agencies Looking for a state arts agency? The NASAA website is the gateway to all the state art agencies in the nation. You can check with the agencies in your state or the states you want to tour regarding showcase opportunities. www.nasaa-arts.org

Showcase Sources Schoolshows.com Schoolshows.com is a website that features performers who specialize in school shows. They provide a listing of showcases. www.schoolshows.com

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Chapter 19

Getting on the “A-List”

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“Now little one, I will tell you a little story. Ever so long ago there lived...”

In this chapter… ³ ³ ³ ³ ³ ³ ³ ³ ³

State Artist Rosters and Touring Directories Local Arts Council Listings Directory Listings Internet Directory Listings Guild Listings School District Listings Library Listings Other Listings Getting on the “A-List”

³ Resources

Another great way to increase your visibility is to be listed in various artist rosters. List yourself in as many places as possible.

State Artist Rosters and Touring Directories Many state arts councils maintain artist rosters. These rosters are usually juried listings (panelapproved) of artists in all arts disciplines. Some states have rosters specifically geared for arts-ineducation work while other states publish a directory of their touring artists. Many states have both types of rosters. It is very worthwhile to be listed on these rosters because they add a certain amount of prestige and credibility to your performance résumé. In addition, states that have active marketing programs send their rosters out to presenters. This exposure increases your performance opportunities. Listing on an artist roster does not cost money, but your submission packet will be thoroughly evaluated by a panel of judges, who will decide if your work is of listing quality. A typical submission packet includes:

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The form they provide for you to fill out. Your press kit including photos, press clippings, touring history, bio, brochure, and business card. Sample(s) of your work (audio and/or video).

Each arts council usually has semiannual and annual deadlines to be considered for their various rosters. Check with your local and state arts council to find out if your state publishes an artist roster. Another advantage to listing in a state agency arts council directory is the potential for subsidized funding. Arts councils may offer more points on grant applications for those organizations hiring approved artists. They may also have dedicated funds available to support touring and arts education projects. While it is certainly worthwhile to list on state and local artist rosters in your own area, also look into the possibility of listing on rosters in neighboring states if you tour.

Local Arts Council Listings Check with your local arts council as well. Many local arts councils maintain both juried and nonjuried listings of performers. These lists or directories of performers are often circulated to hiring presenters.

Directory Listings Directory listings are usually paid listings in which you buy ad space. National organizations such as the National Storytelling Network (NSN) and the Children’s Music Network publish directories. Children’s Theater Center (CTC) is another company that publishes an arts-in-education directory that is sent to over 10,000 schools in northeastern United States. Another paid directory listing is the Write On! Speakers Bureau. If you are a storyteller, check with your local storytelling guild—they may publish a directory. If they don’t, you could volunteer to help coordinate a directory. In my state of Louisiana, prior to Hurricane Katrina, I coordinated the publication of an annual directory for Independent Children’s Artist Network (ICAN). Louisiana artists of all arts disciplines who specialize in working with kids are listed in the ICAN directory. The directory is sent to 1,500 presenters statewide. It is a paid listing and our artists have benefited greatly from participating in the directory. The advantage to listing in a directory is that the directory becomes a resource. People are less likely to discard a substantive catalog than a single brochure. Listing with other quality artists can also lend you more credibility.

Internet Directory Listings There are many great resources on the Internet. With Internet listings, fees vary. Some offer a free listing while others charge. If you opt for a pay listing, be sure that the site generates enough traffic to warrant the fee. One of my favorite Internet directories is www.eventslink.info. The interactive website allows you to change your account, determine who is online, and read performance reviews.

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Eventslink.info is $12/month. Schoolshows.com, run by Rick Davis, is another great listing directory. The cost for listing with www.schoolshows.com is $48/year. If you are a storyteller, look into listing with www.storyteller.net. You can earn a free listing if you contribute to their website in a wide variety of ways.

Guild Listings If you are a storyteller, musician, or puppeteer, look into the local chapter of your arts organization. For instance, in the storytelling community there exist a number of local guilds that produce directory listings or, at the very least, a list of the membership. Being an active member of your local arts organization is a great way to make more marketing connections, and it keeps you abreast of the news in your community.

School District Listings Many school districts maintain a list of approved performers. These performers are often advertised via the school district newsletter and in the school “pony,” their interschool distribution system. You may also want to check PTA and PTO organizations. Many of them provide funding to the schools for hiring performers and maintain their own lists.

Library Listings Don’t overlook your local, regional, or state library as a resource. Often, librarians compile lists of performers they make available to fellow librarians. Some states even have formal directory listings. In Louisiana, the State Library maintains an online directory of performers. There is an application process, but it is relatively simple compared with juried directory listings.

Other Listings Nonprofit organizations such as Young Audiences maintain a list of performers. Young Audiences is a nationwide nonprofit arts organization that books artists in schools. They act primarily as a booking agent, taking a fee from each performance. To be listed with Young Audiences, artists must undergo a juried audition. Many Junior League chapters maintain a list of performers that they recommend for the many service projects and events they sponsor. In my area, the Junior League chapter sponsors a storytelling festival and books talent for the children’s stage of a local festival.

Getting on the “A-List” Being listed in a number of directories will allow you to reach more potential clients. Some of the prestigious listings, such as juried listings with arts councils, are also good résumé builders and can add prestige and credibility to your career. What are you waiting for? Become an “A-List” Storyteller!

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Recommended Websites Arts in Education Directory This anual directory mailed to over 5,000 schools in the northeast United States. Artists must provide camera-ready artwork. The fee is $500+ for a black-and-white ad. In addition, you can advertise online for $100/year. Arts in Education Directory 415 32nd St., Ste 300 Union City, NJ 07087 Phone: 1-800-341-3585; 201-617-8585 Fax: 201-643-3100 [email protected] www.arithmetickles.com/directory/index.html National Storytelling Directory National Storytelling Network (NSN) 132 Boone Street, Suite 5 Jonesborough, TN 37659 1-800-525-4514 [email protected] www.storynet.org Schoolshows.com This website offers a free listing for three months, after which time you may pay $48/year to maintain a basic listing or pay $96/year for a premium listing. www.Schoolshows.com

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State Arts & Local Arts Council Listings The National Endowment for the Arts has an area of their website with a listing of regional and state arts agencies. http://arts.endow.gov/partner/state/SAA_RAO_list.html Story-Lovers.com Jackie Baldwin has generously offered a service to storytellers. If you send her your business card, brochure, and website URL, she will post them on her site. www.story-lovers.com Storyteller.net This website, created and maintained by Sean Buvala, offers storytellers a free website listing. For a minimal fee or contribution, listings can be upgraded to include more information. www.Storyteller.net Storytelling Guilds NSN’s website maintains a listing of guilds. www.storynet.org/Programs/Guilds/ Write On Speakers Bureau Write On Speakers publishes an online directory featuring storytellers speakers, and authors. The annual listing is $97. www.writeonspeakers.com Young Audiences Young Audiences publishes a catalog of artists that is sent to area schools. Young Audiences has chapters across the country in major cities. www.youngaudiences.org

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Chapter 20

Who’s Selling You?

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“Once long ago, in a little town that lay in the midst of high hills and wide forests...”

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Working With a Booking Agent Booking Yourself Hiring an Assistant The Role of Marketing and PR Testimonials Word-of-Mouth Finding an Audience Who’s Selling You? Resources Sample Evaluation Form

Did you ever dream of being a star when you were a little kid? Lights, camera, action, and an entourage? Who is the creative team behind the big star? Big name stars have managers, attorneys, agents, publicists, image consultants, stylists, and personal assistants. Each one of those people has specific jobs but in the end, it all comes down to one thing: selling the Star to the public. So who’s selling you? And if you don’t have an entourage to do it for you, how do you do it yourself?

Working With a Booking Agent For the busy, established performer, a booking agent can be an angel from heaven. For a percentage of the booking fees, usually between 15–20%, the booking agent makes contacts, follows up on leads, and secures bookings for the performer. The booking agent handles all the client contact and paperwork. How do you find a booking agent? There are a couple of ways.

Working with an Established Agency An agency like Loyd Artists handles artists who have years of experience, established reputations, and a loyal following. Loyd Artists has created a niche market for themselves in booking children’s artists.

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They are such a specialized agency with an established artist roster that they no longer consider adding new artists to their list. Often, it is more difficult to find a booking agent willing to take on the single children’s performer than it is to book yourself in a prestigious venue! So how do you find these agents? One way is to attend booking conferences. In the exhibit hall of these conferences, you will see rows and rows of agents peddling their artists. While they are not looking to be solicited by an artist during exhibition hours (they are there to sell), you can approach them and ask for an appointment. Look at who is on their roster. Are the artists they represent similar to you? Pick up their brochures and study them. Do your homework. Research the company and find out as much as you can about them. If you are able to contact any of the artists who work with the agency, find out how the agency works. Does the agency’s work style reflect your work ethic? Are you comfortable giving up control of your bookings? Will they require exclusivity? These are all issues you should address before committing to a booking agency. There are pros and cons to being represented by a booking agency. You benefit from their years of experience and their slew of contacts. On the other hand, you are not the only artist they represent. Consider the following factors carefully when making your decision.

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“The vast majority of nationally known tellers are self-represented and will be to their dying day, whether they like it or not. Most of those with agents are either married to them or related by blood. In each case that I can call to mind, the spouse or sibling is enormously suited to the job, and highly motivated to boot. So, the rest of us need to take a good look at our finances and extended family members, and unless there's someone there who's both capable and willing, we would be well advised to bite the bullet and sharpen our own business skills.” Milbre Burch, Kind Crone Productions

Hiring Your Own Booking Agent/Manager The other option is to hire your own booking agent/manager. I know several artists who have hired their own booking agent. In this scenario, you hire someone on an agreed upon fee (salary and/or commission) and train them to be your personal manager. They take a commission on your bookings and handle client contact, scheduling, and paperwork. The more you work, the more they earn, so your manager will likely be a hustler, following up on leads and pulling gigs in. One of the great benefits of hiring your own booking agent is that he/she works only for you. You will, however, have to cover all of their costs if he/she is traveling with you to a gig or to a conference.

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Booking Yourself If hiring a booking agent is not an option for you at this point, you can always delegate the work … to yourself. The great advantage to booking yourself is that you have control over your bookings and contact with the client. If you are a “people person” like me, you enjoy interacting with others and enjoy the contact you have with your clients. The key to booking yourself is to be very organized and to follow up in a timely manner. If you are booking yourself, Jeri Goldstein’s award-winning book, How To Be Your Own Booking Agent, is a must-have resource guide for your personal bookshelf.

Hiring an assistant You may get to the point where the day-to-day grind of office work is taking up more of your time than you anticipated. As an artist entrepreneur, it is challenging to balance both the creative and the business sides of your work. You may want to consider hiring an assistant to help you with the office management and paperwork side of your business. There are many ways to obtain office help. You may consider: • • • • • • • •

Family members Friends Fans A virtual assistant College students looking for an internship High school students Staffing services Small Business Development Center

Working with Family, Friends, and Fans Donna Washington, a highly successful storyteller, author, and recording artist has a terrific office manager/booking agent in-house, her husband, Dave. Donald Davis works with his wife, Merle. Bill Harley works with his wife, Debbie. I know a children’s musician who hired his biggest fan. She became his assistant and moved into the duties of a full-time booking manager. Do you have a family member, friend, or fan that can help relieve you of clierical duties, especially while you are on the road?

The Virtues of a Virtual Assistant Several years ago, Susan O’Halloran pointed me to the virtues of a virtual assistant. A virtual assistant is an independent contractor providing administrative or technical assistance to clients. They work from their own offices and conduct business mostly through telephone and Internet transactions. Virtual assistants charge by the hour or by the project. If you’re in the market for a virtual assistant, check out the International Virtual Assistants Association at www.ivaa.org.

College Interns and High School Students Hiring a college intern may also be an option. Brian Fox Ellis, another successful storyteller, has long worked with college interns. Brian says, “Imagine hiring a highly skilled, tech savvy, marketing staff 227


that you only have to pay $8.00/hour and they can spell! Almost every town is blessed with a wealth of untapped talent looking for a dynamic job where they can hone their career skills in a position that is fun and creative. You will find this rich resource at your local college career development center.” High school students can also be an asset to your office. The advantages of hiring a high school student include the ability to train them exactly the way you want, flexibility with working hours, and a relatively inexpensive wage. A motivated high school student can certainly help with filing, shipping orders, and other clerical duties.

Staffing Services I often worked “temp” jobs in the legal field while building my storytelling career. You can work with a staffing service that can provide you with someone in a “temp-to-perm” position. This is like leasing a car before buying it. You can test out their skills and interoffice interaction before committing to a full-time position.

Small Business Development Center According to the Small Business Development Center’s website, the SBDC “provides management assistance to current and prospective small business owners. SBDCs offer one-stop assistance to individuals and small businesses by providing a wide variety of information and guidance in central and easily accessible branch locations.” Contact the SBDC for assistance and advice with regard to your office needs at www.sba.gov. Here is a list of duties an assistant can help you with: • • • • • • • • • • • • • • • •

Prepare and send out confirmation packets Prepare and send out press kits Send out invoices Contact prospective clients Manage contact databases Mail correspondence and packages Retrieve mail from the post office Prepare mass mailings Internet and print research Make travel arrangements Book and CD order fulfillment Proofread newsletters Respond to e-mails as needed Record expenses Update and maintain performance calendar Other clerical duties as needed

If you do hire an office assistant, it is very helpful to have an “Office Procedures Manual.” I created one for my assistant and it works very well. In addition, I purchased a PDA for my assistant so that 228



she could keep “in sync” with me and my schedule. A competent assistant is a great asset, streamlining your workload and allowing you more time to create and run a business.

The Role of Marketing and PR Marketing and public relations (PR) play an important role in your career development. Marketing is selling to a specific market. PR is about getting good media coverage and dealing with your public image. Marketing and PR are two very different roles though many people incorrectly interchange the two terms. To sell storytelling, you will need to employ effective marketing techniques and utilize the media to your advantage. See Chapter 10 “Defining Your Market,” Chapter 13 “Extending Your Visibility,” and Chapter 17 “Making the Headlines.”

Testimonials Third-person testimonials are the words of high praise that come from satisfied clients, audience members, and the media. Testimonials are a great way to pepper your promotional materials and demonstrate your credibility as an artist. People care about what others think. So how do you get those testimonials and recommendations? Ask! Give out evaluations so that you can have feedback regarding your show(s). Favorable reviews from clients and audience members make great testimonials. If an enthusiastic audience member gushes about your show, request their name and ask permission to use their quote in your promotional materials or website. See the sample evaluation form at the end of this chapter. Letters of recommendations and thank you notes are also a great source of third-person testimonials. If a review or article has appeared in print media, comb it for “quotable quotes.” Include those testimonials on all your promotional materials. Impressive quotes should be prominent and visible. On the front of her brochure, Storyteller Regi Carpenter has a quote from Parents’ Choice, “…rich, warm, energetic, magnetic, and engaging.” On the front of one of my promotional postcards is a quote from AudioFile Magazine, “Dianne de Las Casas narrates with a clear and sincere voice. Refrains, songs, and sound effects embellish her storytelling.” What others say about you will help sell you to potential presenters and audiences.

Word-of-Mouth Don’t underestimate the power of word-of-mouth referrals. How many times have you tried a new restaurant because a friend recommended it? For me, word-of-mouth is a very important part of my business development. I cultivate and continually renew relationships with my clients. When they like my work, I ask them to share information with others. If I find out that a teacher client of mine is attending an association meeting or a district meeting, I give her extras of my cards and ask her to pass them out for me. I always ask presenters how they heard of me. Many times, I find out it is by word-of-mouth. Often, people will hire you sight unseen if they receive a glowing word-of-mouth from a trusted source.

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Finding an Audience Sometimes, no matter what you and your client do to sell your show, you will be faced with a small to nonexistent audience. I once performed in a rural parish of Louisiana for a library summer reading program. The event was held off-site, at a community center. Two people showed up, a child and her parent. My summer reading show was designed for audience participation with large groups. My client was embarrassed and told me that my show was competing against Vacation Bible School (why she scheduled me against VBS, I don’t know). I performed a very personal show for those two people and they enjoyed it. At another library, I was hired to present a Halloween show in the middle of the day, midweek. The librarian forgot to send out publicity to the local daycares. I had no audience. A well-known, national storyteller was performing at my local library. I was excited to see this teller. I arrived at the library early to get a good seat. To my surprise, only one other person showed up. After the teller began performing, slowly, the audience grew. It happens. Storytelling is a less familiar form of entertainment than puppetry, magic, music, and dance. There will be times when, no matter how hard you “shake the bushes,” you will be in the same situation. Other times, you may be performing in a space where you are competing for attention with bands or other attractions. To find an audience, I use an attention getting rhythm instrument and begin singing. This happens to me every year at the New Orleans Jazz and Heritage Festival, an outdoor festival. I have to attract attention when I begin a storytelling session.

Who’s Selling You? Getting presenters to hire you is only half the challenge. Finding a receptive audience is the other challenge. If you are not a household name, you will have to work hard to sell storytelling. The more you perform and spread the word about storytelling, the more opportunities you will have. Sell storytelling and storytelling will sell you.

Stories for Sale!

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Recommended Reading Goldstein, Jeri. How to Be Your Own Booking Agent, 2nd Revised Edition. New Music Times, Inc. (2004).

Recommended Websites The International Virtual Assistants Association www.ivaa.org The Small Business Development Center www.sbdc.gov

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Sample Evaluation Form Thank you for giving Storyteller Dianne de Las Casas the opportunity to participate in your program. The following is an evaluation form. Your comments and suggestions will allow me to create the best possible programming to better serve your needs and interests. Your expertise and opinion are valuable and I would appreciate your taking the time to fill out this form in its entirety. Thank you! Contact Person/Title: ______________________________________________________ Organization: ____________________________________________________________ Date of Program(s): _______________________________________________________ Title of Program: _________________________________________________________ What aspects of the program did you like best? __________________________________ _______________________________________________________________________ What aspects of the program needed improvement? ______________________________ _______________________________________________________________________ Suggestions for future programs? _____________________________________________ _______________________________________________________________________ Comments: _____________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ Would you ask Storyteller Dianne de Las Casas to participate in a future program? Yes No Why or why not? _________________________________________________________ Permission to use your quote? Yes No

Signature ___________________________________ Date: ______________________

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Chapter 21

On the Road Again

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“Long years ago, in the early ages of the world...” (Hungarian)

In this chapter… ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³

Organizing a Tour Block Booking Making Contacts Keeping Road Costs Down Maintaining Balance While on the Road Confirming Travel Plans Traveling by Vehicle Auto Care Traveling by Air Travel Checklist Packing the Performer’s Bag On the Road Again Jeannine Pasini Beekman’s Top 10 Tricks for Touring Sanely

³ Resources

For the professional storyteller, touring seems to come with the job. Although life on the road can be challenging, the results are often worth the effort. You see new places, meet interesting people, increase your fan base, and expand your performance area.

Organizing a Tour For small tours (one to two weeks), give yourself three to six months for planning. For larger, extended tours (one month or more), six to twelve months is a better time frame. When organizing your own tour, there is much to accomplish. Venues must be contacted, schedules arranged, promo materials sent out, and a publicity campaign should be implemented.

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Block Booking Let’s say you live in Chicago and a festival in California contacts you for a booking. You can use that gig as an “anchor booking.” That booking will cover the majority of your travel costs. Using the California gig as an anchor, begin contacting venues in that geographical area. Since most of your travel costs are covered (airfare), you may be able to offer a lower price (be sure to pad in the cost of extra nights of hotel and rental car, if necessary) as an incentive for venues to hire you. You may also want to offer your client a discount on their booking if they succeed in helping secure another booking for you. Block booking, a scenario in which one or more clients book you in several venues, is beneficial to both the artist and the presenter. The artist receives more shows with less effort, and the presenters receive a discount on the fee for guaranteeing a number of shows.

Attending Booking Conferences for Block Booking Opportunities At the International Performing Arts for Youth conference in 2004, I attended a workshop on Touring for Artists. It was presented by Susan Murphy (IPAY former President) of Green Thumb Theater, and Cheryl Hansen of Kids Entertainment. If you are interested in securing national touring opportunities, attending booking conferences is a must. You can read more about showcasing and exhibiting at these conferences in Chapter 18 “Seeing is Hiring.” Susan and Cheryl provided information on the following booking conferences: WAA—Western Arts Alliance This booking conference covers the territory of eight states in the western United States. Most of the conference attendees are from California, the most populated of those eight states. Participating in social activities at this conference is important to building relationships with presenters. Showcases are juried and happen concurrently. Arts Midwest The Arts Midwest covers a 15-state area. Dubbed by Cheryl as the “super mall of conferences,” Arts Midwest offers 15- to 20-minute juried showcase slots that are well attended. The presenters at this conference tend to be business-like and professional. The Midwest is willing to spend money on the arts. PAE—Performing Arts Exchange PAE covers the southern region of the United States. The presenters tend to be from smaller venues. Showcases are juried and happen concurrently. PAE is the only booking conference that offers residency showcases. APAP—Association of Performing Arts Presenters APAP occurs in New York in January. You must be a member of APAP to showcase and exhibit. This conference focuses on finalizing bookings, not discovering talent. Cheryl and Susan advise artists not to attend APAP until you are well known.

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IPAY—International Performing Arts for Youth Showcase is completely focused on young audiences. Juried, nonconcurrent showcases are full length, allowing presenters to view a work in its entirety. In addition, 10–20 minute olio (see page 316 for an explanation of “olio”) showcase spots are available. Susan and Cheryl also advise that once you begin attending, showcasing, and exhibiting at these conferences, you should do so consistently. Cheryl says, “It takes about 2–3 years to establish yourself and it’s all about relationship building.” Learn the conference etiquette and guidelines and follow them. Advance mailings are critical to the success of your showcase and/or booth. Obtain the advance attendee list and send out a mailing before the conference, inviting people to attend your showcase and/or visit your booth. Tours are best booked in the fall, if possible, to capitalize on the fact that fewer artists are performing and touring at that time (less competition).

Making Contacts Joining listservs and discussion groups, as well as maintaining memberships in organizations, are ways to make valuable contacts and connections. When I toured in the Philippines, I organized the entire tour myself. Through e-mail, I contacted the superintendent of schools, the leader of the local storytelling guild, and other organizations. Some of these were contacts I made through listservs. Hooray for the Internet! I performed in schools, the largest mall in the Philippines, and Museo Pambata, the Philippines’ only children’s museum. I also presented a workshop for the storytelling guild and one for Scholastic Books. When booking an international tour, give yourself ample time to make contacts and arrangements. Six months to a year is a good time frame.

Keeping Road Costs Down If you are not adverse to gambling, casinos and casino hotels can be a great source of discounted food and lodging. On my way back from a long drive in northern Louisiana, I was so tired I had to stop and stay overnight in Natchez, Mississippi, which is just across the river from Louisiana. On a whim, I decided to stop at the Isle of Capri Casino Hotel. When I inquired about a room, the desk clerk told me about a special the casino was having for Louisiana residents. Buy a full tank of gas in Louisiana, present the receipt and driver’s license to the casino, and receive a voucher for a dinner buffet, up to $15 reimbursement for the gas, and a free night’s stay at the hotel. Needless to say, I was flabbergasted. I drove across the bridge back to Louisiana, filled up my tank, and cashed in at the casino. I received $15 in cash, dinner, and a free hotel room for the night. Not only did I save money, but they put money in my pocket. You can’t beat that!

Hotel/Airline Rewards If you do a lot of traveling, it is worthwhile to sign up for airline frequent flyer rewards and hotel rewards programs. With enough airline miles, you can earn upgrades to First or Business Class and even free airfare. Many of the hotel rewards programs partner with other businesses, including airlines, and you can earn discounts for car rentals and more, as well as points toward free hotel stays. Airlines and hotels reward customers for loyalty and you can benefit from their programs. If you belong to a travel club such as AAA, ask your hotel if they honor travel club discounts. 235


When I am hired for a show, my clients arrange and prepay for my lodging. Since they are more knowledgeable about their local area, I trust them to put me up in decent lodging; 95% of the time, this works. There was a time when a client housed me in a run-down motel infested with bugs (bugs on the rug, on the bed, in the bed). It was horrible, but that was an exception to the rule. I now ask for national chain hotels/motels if available. If I have to arrange for lodging on my own, I ask for their recommendation. After all, I don’t want to stay at a motel in a dodgy part of town. Making reservations ahead of time is always less expensive than driving up to a motel and asking for a room for that night. Check the Internet for deals and even call the motel directly—sometimes they run specials and are less expensive than booking through their national reservation line.

Meals Meals can be one of the biggest costs of life on the road. If you are by yourself, consider having an appetizer and a side salad for a meal. If you are dining with someone else, consider splitting a meal. When my oldest daughter tours with me in the summer, we split meals. Most restaurants give you more than you can eat and you end up taking the rest to go. While we are on the road, we usually can’t take the food to go because we often don’t have a refrigerator in our room. We agree on an entrée and split it. Not only is it economical, but we don’t end up wasting food. Check local papers and visitor’s bureaus for coupons. Many restaurants like to entice new customers with “buy one entrée, get one free” incentives or a discount on your entire bill. Many national chain restaurants have e-newsletters. You can sign up for their newsletters through their websites and receive coupons by e-mail. Quiznos, a toasted submarine sandwich restaurant, is one example.

Maintaining Balance While on the Road Traveling at some point or another is inevitable. It may be a day trip in the car or an extended trip where you have to fly. Here are a few tips to help you along the way.

Visitor’s Information When you are on the road, be courteous and mindful of other people’s customs, even in your own backyard. Try to find out as much as you can about the area you are visiting. A quick trip to the Visitor’s Bureau will provide you with information on the area, local restaurants, sites to see, discount coupons, and free maps. In addition, the local tourist professional will be able to point you to places of interest as well as provide you with “insider’s” information on local fare that is inexpensive and delicious. Don’t be afraid to ask questions and explore your environment. If you are traveling abroad, check with the U.S. Department of State for travel precautions or warnings. Besides consulting your usual travel books, you may also contact the consulate office of the country you are visiting for information about customs, places to visit, and other pertinent information. Many consulate offices have brochures and information on must visit locations in their country. The Internet is also a great place to conduct initial research. Don’t forget your travel agent, who is knowledgeable about places of interest, etc. For a great list of places to eat around the world check out Rachael Ray’s section, “$40 a Day,” on the Food Network website, www.foodnetwork. com. 236


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Keeping in Touch with Home Keep in touch with loved ones and friends at home as much as possible. Remember that although you are busy, they will appreciate that you took time out of your schedule to update them, and let them know you are okay. Sending postcards is a great way to keep in touch with friends. They’re quick and easy and don’t cost much. E-mail is great to keep in touch; however, people have a tendency to want to respond. To keep e-mail manageable while you are on the road, limit your use to business matters only.

Photo Journals

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“Being on the road is difficult unless you learn to enjoy it. Explore the areas where you visit, make new friends, take care of yourself, and do what it takes to keep it a joy. Bring home with you—photos of loved ones, a favorite cup, your own pillow.” Dan Keding, Professional Storyteller

Travel Journals Travel journals are also a great way to allow friends, family, and even clients and fans to experience your trip. Travel journals can be uploaded to your website, sent to people via your monthly e-mail newsletter, or posted online via a daily or weekly blog. The Act!vated Storytellers, a touring family of tellers, spends 100% of their time on the road. The Goza family covers territory from coast to coast, performing in 42 states and Washington, D.C. Never staying in one place for more than two weeks, they bring their “activated” shows to thousands of kids in libraries and schools year round. Kimberly Goza, the mother in the family, maintains the group’s website and posts their travel journal on their website. Balancing family and life on the road as performers poses a challenge, but the Gozas handle it in stride. Kimberly comments, “Performing is just one of the things we do as a family. How do people who work separate jobs maintain being a family?”

By Phone Another great way to keep in touch with family is by cell phone. With nationwide plans and many companies advertising free, in-network cell-to-cell calls, having a cell phone is not only more affordable, but it comes in handy on the road. You can also purchase calling cards that make calls home less expensive. If you frequently travel internationally, you may want to look into buying an international plan for your cell phone or purchase a phone that has one built-in (such as some Blackberry models). You can also buy an “unlocked” cell phone, which means that the phone is not tied to one wireless carrier. It allows you to purchase a SIM (memory) card from another country and use it in your phone. For example, I use AT&T as my wireless service in the United States for my unlocked PDA smart 237


phone. In Canada, I can purchase a SIM card from Rogers, a Canadian wireless carrier. There are also companies such as OneSimCard.com that offer an international SIM card. Other companies such as CellularAbroad.com, offer rental and purchase options of international cell phones. Check their prices so that you know exactly how much incoming/outgoing calls and text messaging will cost. Still another option is to purchase a prepaid cell phone in the country in which you are traveling. I did this in the Philippines to be able to keep in touch with my clients there. With this option, I was unable to use the phone to make international phone calls home. To keep in touch with my family, I used instant messaging on the computer.

Pacing Yourself It is easy to burn out while on the road. While staying in motels/hotels can be a welcome break from the routine of home, after a while it too can become routine. Road food may not be as nourishing and your rigorous schedule may not permit you the time you usually take for your self-care routines. While on the road, your immune system can wear down. Take extra care of yourself when you are away from home. Give yourself time between gigs so that you don’t have to rush from one performance to the other. As artists, our first tendency is to try to get the maximum benefit out of the tour as possible, but try not to squeeze in too much at once. If you are tired, it will show and your audience will sense it.

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“Eating well on the road is a challenge. Like everything when traveling, preparation is the key. Don’t be shy about making requests, asking what will be served when, where the closest healthy food grocery store might be, how you get there, and so on. I always bring healthy food when I travel so I have something in a pinch. When I get a schedule from my host, I search for where I will insert exercise. If need be, I let my host know when I will be working out so they don’t schedule something in that ‘free spot.’ Riding in planes and other people’s cars, hauling luggage, sleeping in hotel beds all take their toll. Working out during tour leaves me with a strong and flexible body I can use for self-expression on stage. Nurturing yourself on the road and guarding rest and self-care time are not selfish acts. You can’t give to others when you’re running on empty.” Susan O’Halloran, Stories for Possibilities

When I toured in the Philippines, I underestimated the traffic situation. I had one show at one end of Manila at 10:00 a.m. and another show at the opposite end of Manila at 3:00 p.m. While I was warned about the traffic, I thought I had plenty of time between gigs to eat and run an errand. I was wrong. I was stuck in traffic forever and ended up 45 minutes late to my second show. I have never been that late! Because the “world plan” on my cell phone did not work, I was unable to call my client. I was so embarrassed. When I walked into the room, the entire room of 300 university students gave 238


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me a standing ovation just because I finally made it! There was no time for “centering” or collecting myself. The microphone was thrust into my hand and I was on. Fortunately, in Filipino culture, it is customary to begin events late. They teased me about arriving on “Filipino time.” I worked hard to erase my tardiness from their minds by giving a stellar performance. But I will never be able to erase that incident from my mind! Lesson learned.

Health Concerns If you are flying, take the various time zones into consideration. Even one or two hours can make a big difference to your body. If traveling internationally, be aware of jet lag. Pressurized air inside cabins can cause dehydration. Drink enough water to stay hydrated. Become familiar with your medical insurance policy. Are you covered out-of-state? Are you covered when traveling internationally? What is your insurance’s policy when it comes to out-ofnetwork coverage? God forbid you should need to use your medical insurance on the road, but if you do, it’s good to know what to expect.

When in Rome…

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Confirming Travel Plans When you are touring out of town, confirm with your clients at least 10 days before your scheduled event. Ask for detailed directions. Although online mapping services are more accurate than they used to be (I like Mapquest.com) and a GPS (Global Positioning System) is a fantastic aid, we all have stories of driving into the middle of nowhere following an Internet map. It is in moments like these that cell phones come in handy! If you do use Internet directions, verify the directions with your client. Ask the estimated drive time. Leave early enough to give yourself room to get lost, to stop for gas and food, and to encounter traffic and weather conditions. It is much better to arrive two hours early than one hour late. Many airlines now offer online check-in. This is a great time saver because you can print your boarding pass; you no longer have to wait in line to check-in at the airline desk. Twenty-four hours before departure, confirm that your flight is still on schedule. Alternatively, if you e-ticketed, many 239


airlines now have self check-in. You can log onto an onsite computer that checks you in and prints your boarding pass. Arrive at the airport two hours before departure to clear security checks. If you are traveling internationally, arrive three hours before departure.

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Hand Wipes—Keeps the hands clean when water is not readily available for hand washing. Hand Sanitizer—Keeps hands germ-free. Good to use especially if you have to use public restrooms. Hand Lotion—Constant hand washing and traveling can make hands pretty dry. Keep lotion handy. Tissues—Keep some pocket packs or a travel box handy. Napkins—We all eat at fast food restaurants from time to time and grab more than enough napkins. Save the extras and put them in the glove compartment. Paper Towels—A roll under the seat can come in handy, especially when you’ve run out of napkins and you just dropped your Big Mac in your lap. Bottled Water—Keep refreshed and hydrated. Water can also save the day when you least expect it. I stepped in a fresh pile of dog doo on my way to a gig. My bottle of water helped rinse it off my shoe—ugh! Maps—Some handy maps to keep in your vehicle at all time: a U.S. road atlas, a map of your state, and local maps. You may even want to consider investing in a GPS (Global Positioning System) computer system with turn-by-turn directions. Driver’s Phone Books—Yes, they make driver’s editions of the Yellow Pages. Cell Phone—A cell phone with a nationwide plan is a good investment if you are a consummate traveler. Be aware that many states now outlaw talking on the cell phone in a moving vehicle unless you have an ear piece. DC/AC Inverter—One travel accessory I discovered and absolutely love is the inverter. It converts the DC power of your cigarette lighter to AC power. I power up my laptop, charge my PDA, and charge my cell phone. Snacks—Oranges and apples are hearty fruits that can provide a healthy pick-me-up. Granola bars, nuts, and sunflower seeds are also easy to pack and great energy boosters. Pillow and Blanket—Some day trips turn into overnight trips. If you are short on space but want to bring along the familiar scent of home, consider taking just your pillow case to place on a hotel pillow.


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Medication and Vitamins—Keep vital medication and vitamins in your carry-on overnight bag. If you are traveling abroad, bring any over-the-counter medications you may need and may not have access to overseas: motion sickness medicine; cough syrup and cough drops; allergy and cold medication; antidiarrhea medicine; pain relief medication; first aid antibiotic ointment; cortisone ointment (for skin rashes including heat rash); sun block; and bandages. Federal Aviation regulations now require that all liquids/gels must fit in a one quart zip bag. This includes your medication. Identification—If you are traveling overseas, pack the proper documentation including your Driver’s License, Passport, Visa, and any other paperwork you may need to clear immigration. Make a copy of your identification and store it in another bag. Traveler’s Checks—Carry a small amount of cash and traveler’s checks that are widely recognized. Emergency Contact Info—Keep emergency contact information in a place easy to locate. Provide several numbers of people to contact. If you have medical issues, it’s a good idea to invest in a medical bracelet. Gum—Chewing gum helps to relieve the pressure on the ear drums. Phone Card—Phone cards are a great way to keep long distance costs down. Read the fine print to find out the calling area and applicable surcharges. For Ladies—Essential make-up and toiletries. For Gentlemen—Essential toiletries.


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Dr. Bronner’s Magic Soap—A friend turned me on to this incredible soap that has 18 different uses including toothpaste, shampoo, detergent, body wash, etc. I like the all-in-one peppermint soap that leaves a tingly, zesty feeling. Dr. Bronner’s eliminates the need for six different products and is great for international travel. Reading Material—Airplane magazines can get boring after a while. This is a good time to catch up on professional journals, trade magazines, and books. Portable Music Player, DVD Player, Handheld Game—Listening to your favorite music, watching a good movie, or playing a fun game makes long trips more enjoyable. Day Timer Organizer or PDA—Keep your calendar, address book, contact lists, to do list, etc. with you (I keep my life in mine, so I guard it with my life). My PDA has Microsoft Word. With an addition of a portable keyboard, it becomes a mini computer that is more conducive for use on the small table trays in airplanes. What’s really cool is that it fits compactly in my purse. Laptop—You can make the most of your airtime by catching up on some work. For longer domestic and international trips, you can do some substantial work. If you are in the mood for leisure, many laptops play DVDs and CDs. Don’t forget your headphones. Airplane Adapters—Some airlines have plug-ins for electronic equipment. I purchased the adapter for my PDA so that I can charge and power it up without using battery power. This is especially helpful on long international flights. Pack Smart—Remember airport security is at an all-time high so don’t inadvertently pack items that could potentially get you into trouble. Pack razors, sewing scissors and scissors, tweezers, and screwdrivers (I keep an all purpose screwdriver with different attachments for emergency repairs to my sound equipment, etc.) in the suitcase that you are checking in. If you have the need for medication that uses needles (i.e., Insulin or an Epi pen), call ahead and find out the airline policy for hand carrying your medical supplies. Most airlines allow diabetics to carry their medication and needles on board, provided the medication is in the prescription box it came in.

“When traveling by air, I wear earplugs, not only to reduce the discomfort of ear popping, but to prevent long conversations with neighbors on a noisy airplane. If someone next to me is chatty, I’ll talk for a minute or two, then nicely say, ‘I need to put in my earplugs now, so I won’t be able to hear you. Enjoy your flight.’ This way, I can rest my voice—and review my tour schedule and stories without interruption.” Leeny del Seamonds, Master Story PerformerTM

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Itinerary—Leave your itinerary and contact information with your family or other important people. It’s for their peace of mind as well as your own safety. Children—If you are leaving your children with a caretaker, provide a copy of your child’s medical card in the event of an emergency and have an emergency care permission drafted. Mail—Put the mail on hold for long trips out of town. Newspaper—Put a stop on your newspaper delivery. Listservs—Temporarily unsubscribe or set your listservs to digest. E-mail—Set your e-mail to auto-respond to let clients know that you are temporarily out of the office. Answering Machine—For safety reasons (i.e. burglary), do NOT leave a message that you are out of town. House-sitting—Ask a trusted neighbor or friend to check on your residence while you are away. Pets—Leave your pet with family or friends who love pets or find a reputable pet boarding place. A/C and Heat—Turn your air conditioning or heating off if you will be away long. Laptop and Portable Printer—If you are inclined to work while you are away, bring all the accessories for your computer equipment. If you are traveling internationally, be sure to bring all the right adaptors with you. Check voltages and electrical currents. Paying Bills—Plan for when you are away so that the bills don’t pile up. An easy way to handle this is to arrange for automatic payment of your bills with your bank. Banking—Find out from your bank if you are able to conduct your banking away from home. Most banks now have ATM and online banking. Office Supplies—I call my briefcase “Office on the Go.” I carry a portable stapler, pens, paper, stationery, and an expandable file with tabbed dividers to organize and file paperwork. Day Runner or PDA—Calendar, Address Book, Contact Lists, etc. Address Labels—Bring preprinted address labels for your thank you notes or for postcards to family and friends. Souvenirs—If you plan on buying souvenirs that will take up space in your suitcase, pack an extra duffle bag that you can check in at the airport or stowaway under a seat in the car. Promo Materials—Bring a box of business cards, brochures, and extra sets of promo materials. Filling Product Orders—If you will be away for an extended period of time, arrange for someone to fill your product (book and CD) orders. Handling Bookings—If you do not have an assistant and travel frequently, you may want to consider converting to a paperless booking system where your clients can book you completely online. You can either e-mail all the necessary paperwork or have it downloadable from your website.


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Packing the Performer’s Bag • • • • • • • • • • • • • • •

Extra batteries Extra cables Replacement parts Tools—Screwdriver with various attachments for emergency repairs Safety pins Sewing kit for impromptu costume repairs Tape—Masking, scotch, and duct tape (various situations require various taped remedies). Use masking tape to “rope off ” your performing area. Sign with your name plainly visible at the back of a large room Room temperature water Extension cord (15 ft. or longer) Adapters (especially three prong adapter for antiquated schools with two prong outlets) Power strip Booking form, confirmation letter, or contract with all venue information or store the information on your PDA Ready-made introduction card for presenters who don’t know what to say about you or your show Megaphone in the event sound system fails (just kidding)

Protecting Your Equipment on the Road Extremes of temperature, both cold and heat, are detrimental to musical instruments and CDs. Always bring them inside when you are between gigs. A friend of mine camouflages her equipment in the back of her van by covering everything up with a dark blanket. In addition, her windows are tinted. This is a deterrent to would-be thieves as they do not know what is underneath. Always lock your vehicle or have someone stand with the equipment when loading or unloading. If you have instruments, consider purchasing instrument insurance to protect you against loss, theft, or damage.

Flying with Equipment The more compact your show, the better. I always like to travel with my own sound system. Unfortunately, this is not always possible. When I travel overseas, it is not feasible to carry my 53 lb. sound system. Apart from its weight, there are voltage and portability considerations. In this situation, I rely on explicit communication with my client on my sound needs. Although I prefer a wireless headset, I am flexible and can work with hardwire, lavaliere, and wireless hand microphones. You can look into the possibility of renting equipment while on the road. In addition to factoring the rental fee into your tour budget, consider that you may not be familiar with the equipment and that you are responsible for it.

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If you must fly with your own equipment, be sure that, once packed, its weight meets airline requirements. Currently, most domestic airlines allow two 50 lbs. pieces of luggage per person while international flights allow two 70 lbs. pieces of luggage per person. Anything over the allowed amount will incur additional charges. The overweight fees are significant. When my mom and I departed from Singapore, our overweight charges totaled $327. (Thank goodness I could talk our way out of the fee!) If you are checking in equipment, try to book a nonstop flight, as there is less likely chance that your luggage will be lost (no transporting to another plane). If you are a storyteller and musician, you may want to travel with your own instrument(s). In this case, invest in the most durable, travel-worthy instrument case you can buy. Again, renting instruments is a possibility. Just know that the instrument will likely sound different from your own and if you have a signature sound, you may not want to risk playing on borrowed sound.

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“I hope you won’t fail to be pleased by my tale. For a potful of butter, I tell you another.” (Russian)

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Jeannine Pasini Beekman’s Top 10 Tricks for Touring Sanely 10. When driving, get explicit travel directions. Internet maps don’t always cut it. If you can spare time, check out interesting sites or pause to read the “hysterical” markers. Pick up fresh local provisions from the roadside truck farm. 9. Have a bag permanently packed with all your necessities. Include things of comfort (candles, Discman, photos of loved ones) as well as “office” supplies (pens, thank you note cards, and stamps). 8. To counteract environmental changes that wreak havoc on your voice, include lozenges such as Thayer’s Slippery Elm, Pine Brothers Glycerin, or Allenberry Red Current. Echinacea can help ward off a host of ills. Over-the-counter antihistamine Tavist does not dry out throat or vocal folds. 7. Put on your “manager” hat when necessary. Even the most gregarious among us reaches a point where “So—how’d you get into this?” for the zillionth time can turn us homicidal. A polite “I need to rest and compose myself so that I can be fully present for my performance” works like a charm. Ask for what you need. 6. If you have a spiritual practice and/or exercise regimen, don’t neglect it. Same goes for your favorite ways to goof off. Take your journal, prayer books, drawing materials, walking shoes and just do it. Give yourself permission to crank up the AC, strip down to your scanties and watch the Sci-Fi Channel, Bravo, or the end of Psycho. After a full schedule of performing, we deserve it. Resist the urge to “catch up” with CNN or C-Span. The bad news will still be there when you get home. 5. Cultivate the “Lady MacBeth Syndrome.” No one wants to give up the delight of all those hugs, handshakes and pats on the back, but be scrupulous in washing your hands. Keep a small bottle of Purell stashed for those gigs where you can’t get to the restroom often enough. 4. We cannot drink too much room temperature water. The recommended 64 oz. a day isn't enough—we lose too much in perspiration. As my voice teacher so eloquently said, “Pee pale.” Be specific in your fluid requests to sponsors. To some, “ample drinking water” means a little styrofoam coffee cup. Tell them what kind of water and how many gallons. Include this in your service agreement. 3. Keep a little bottle of lavender essential oil close at hand. It works wonders. A couple whiffs will dispel an awful headache. A couple drops can disinfect blisters, scrapes and stings. If you’re prone to “bugs,” place a few drops on a tissue and wipe it over the mattress or bottom sheet. Ten drops in a small spray bottle of water can be spritzed in the hotel’s/motel’s heating/AC vents to help neutralize mold and smoke odor, and freshen the room. 2. Take your own pillow. If driving, throw in your big one. If flying, find a baby pillow. Sleep on it a couple of nights before leaving so that it smells “right.” And the #1 Trick for Touring Sanely— BREATHE. Develop the habit of taking long, deep cleansing breaths as a way to counteract stress and re-energize yourself. Breath is life and for many of us our professional life is spent in unfamiliar surroundings. So take a good deep one and enjoy the journey. Good luck. And I’ll see you down the road.

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Recommended Websites GetSigned.com Tons of articles geared for the indie artist! Written by experts in the biz, there are articles, information, and resources for the performing artist on selling CDs, legal issues, recording, finding an agent and more. www.getsigned.com GoTour.com GoTour is a website with great resources for touring indie artists. You can check out profiles on the touring climate of the state you are visiting, find gig listings, search presenting organizations and more. The best thing about it is the fact that it’s free. www.gotour.org PerformingBiz.com This is the website of Jeri Goldstein, author of the musician’s and performing artist’s bible, How to Be Your Own Booking Agent. In her articles section, you will find a bevy of useful articles relevant to the touring artist. As a former booking agent, her clients included Grammy winners Kathy Fink and, Marcy Marxer, and Trout Fishing in America. www.performingbiz.com U.S. Department of State Find out information on travel emergencies, warning and precautions plus get tips on traveling abroad. www.state.gov

Booking Conferences APAP—Association of Performing Arts Presenters www.artspresenters.org Arts Midwest www.artsmidwest.org IPAY—International Performing Arts for Youth www.ipayweb.org PAE—Performing Arts Exchange www.southarts.org WAA—Western Arts Alliance www.westarts.org

International Cell Phone Services CellularAbroad.com This company offers rental and purchase options of international cell phones. OneSimCard.com They offer an international SIM card that can be used in any GSM enabled mobile phone. www.onesimcard.com 248

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“This is what the Old Ones told me when I was a child...” (Traditional Cherokee opening and closing)


Sculpting Your Artistry Studying With Masters Merging Storytelling with Other Arts Creating Collaborations Storytelling Improv Theater with the Brothers Grinn Where to Go for Professional Development Honing Your Craft Spice Up Your Storytelling Stew with a Second Language

³ Resources

When you work in the corporate world in a “9 to 5” career, there is a “ladder” to the top. You start in one position, learn the ropes, and move up, getting promoted to a better position that challenges your skill level and ability. Once you master that position, you receive another promotion. Along the way, you take some classes, attend seminars and conferences, and study under the tutelage of a mentor. Over the years, you develop your career and continually get better at what you do. However, you are an artist and don’t adhere to the standards of the corporate world. You make your own hours, hustle your own jobs, and mostly work alone. So, how do you get better at what you do? How do you hone your art and build your career? This chapter discusses ways to improve your artistry, as well as how to manage your creative process and turn it into success.

Sculpting Your Artistry One of the things I love about Rodin’s sculpture, “Thinking Man,” is not so much his attention to detail as his attention to the entire sculpture. As artists, we should approach our work like Rodin, looking at the “big picture.” A client once said to me, “Dianne, you have grown so much as an artist.”

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I took this as a great compliment because it’s true. I have grown as an artist and it is apparent in my work. Like a sculptor, I have been shaping my career, molding it to adjust and grow with me.

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“We must always change, renew, rejuvenate ourselves; otherwise we harden.” Johann Wolfgang von Goethe, German author

Saving a Piece for Later When a potter puts his work on the wheel, he strives for a work of beauty. But sometimes, the clay doesn’t form as planned, or things just go awry and the work collapses. A good potter doesn’t simply throw his clay away because it didn’t come out the way he wanted it to; he recycles, using the clay again and beginning the work anew. Robert D. San Souci, children’s author, once told me, “I never throw my writing away.” He keeps old manuscripts, stories, and pieces of his writing in a box that he stores away. Just because it didn’t work out once doesn’t mean it can’t be used again. As storytellers, we are artists, molding and shaping our work as we go. Have you ever written a song or created a piece that just didn’t seem to fit into any of your programs? It happens to all of us. It’s part of the creative process. When creating pieces for a new program or performance, look at the entire canvas rather than just the spot you are painting. What doesn’t work for you now could become part of a masterpiece later.

Changing Direction I was once hired to perform a summer reading program at a library for a very good client. She helped me get my start in storytelling and I respected her tremendously. What she thought about my program mattered. When the kids began filling the room, I looked around and saw only toddlers and preschoolers. My summer reading program was designed for all age groups and performing it for “itty bitties” would not have worked. Nevertheless, I plowed through the first story and saw that it wasn’t working the way it usually did. In the middle of my program, I stopped. I changed direction and sat on the floor with the kids, doing interactive preschool stories, hand games and fingerplays. It was not what I had been contracted for, but it was what my audience needed. Still, I was a little worried about what she would say to me after the program. In fact, she complimented my ability to recognize the need for change and loved the end result. Sometimes, where we are isn’t exactly where we need to be. As an artist, it is your job to recognize when you need to change direction.

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“When you are live in front of an audience, if you are willing to acknowledge the information, you get word by word, line by line feedback. A lot of performers don’t notice that information.” Kendall Haven, Professional Storyteller and Author

Accepting Failures and Mistakes Thomas Edison was awarded 1,093 patents in his lifetime. Were all those patents for successful inventions? Of course not. We all know about the light bulb, the phonograph, and the motion picture camera. They are all inventions that have profoundly affected our lives. But there are those inventions that Edison discarded. In 1899, he formed the Edison Portland Cement Co. and was obsessed with the idea of creating everything out of cement, including pianos and houses. At the time, cement was too expensive and the concept never really took off. Edison accepted his failure and moved on (if only he could see what we accomplish with concrete now). Like Edison, we experience extreme successes and we also have failures. Accepting our limitations and moving on allows us to continue the cycle of growth. In Western society, failure is the bad “F” word. No one likes to admit defeat. But failure is a natural part of life’s cycle. It happens every day in nature. Most seeds that are planted grow and flourish, but there are duds that never see the light of day. Nature synthesizes these failures and uses them to continue the growth process. So should we. Failures and mistakes allow us to realize our strengths and capitalize upon them. In my mid-twenties, I worked for lawyers. I decided I needed a career change and found a job as a job recruiter at a career placement agency. The environment was different and I did not have the ability to process information without the use of computers. I wasn’t very good at placing temporaries in positions. In fact, I was bad at it. I tried, without success, for over a month. Finally, the owner of the agency called me into her office. She and I both recognized that I was not suited for the job. She offered me a position in a different section of her company but I decided to accept my failure and move on. That failure put a fire in my belly to pursue my true passion—storytelling. I began focusing on my storytelling career and found great success in that path.

Improving the Work One of the ways we sculpt our artistry is by finding ways to improve our work. “Practice makes perfect,” our mothers would always say. Isn’t it funny how mothers seem to know everything? As performers, our form of practice is rehearsal. Rehearsals allow us to work through difficult spots and polish our work. General Henri Frederic Amiel, a Swiss educator and philosopher, said, “He who asks of life nothing but the improvement of his own nature… is less liable than anyone else to miss and waste life.” In other words, self-improvement allows us to see and do more.

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Refinement Refinement occurs over a period of time. Refinement can occur even with the polished work of a veteran performer. As time progresses, we get to know ourselves better and become better acquainted with our craft. We tweak here and there, make minor adjustments, and refine our overall work. Sometimes, refinement is just the natural process of evolution. The more you perform, the better you become. When I was a little girl, my mom took up cake decorating. When she first began, squeezing out delicate rose petals from an overstuffed frosting bag was near impossible. She rotated the small round platform and squeezed the frosting out of the bag onto the small flat circle but no matter how hard she tried, the petals came out too fat, too thin, or the entire rose would just collapse. But after a while, she experienced small successes. Her creations looked more and more like real roses until, through the art of practice and the natural process of refinement, she could create a rose with her eyes closed and it would come out perfectly.

Documentation Documentation of your work as an artist is important. For a painter or sculptor, the work itself becomes the documentation. For a singer, musician, or storyteller, a recording suffices as documentation of the work. For an author, the manuscript or book is the documentation. Other ways to document your work as a performing artist is to video record, take photographs, take notes about your performances, and collect reviews and clippings from print media. Keeping an up-to-date portfolio will help you see the progression of your work as an artist.

Satisfaction There is nothing wrong with giving yourself a pat on the back for a job well done. You have worked hard and produced a final product that audiences enjoy. It’s time to enjoy the fruits of your own labor. Accept praise graciously and be secure in the knowledge that you are doing your work as an artist when you impress your audiences and clients and make other people happy.

Moving on to the Next Work There is no time to rest on your laurels. Success is an endless quest. In order to keep growing and improving, we must continually challenge ourselves, stretch our imagination muscles, and pursue new works of creativity. Johann Wolfgang von Goethe said, “The man who is born with a talent which he was meant to use finds his greatest happiness in using it.” So use your creative talent and do what you love. Keep yourself pliable, molding and shaping your art, and continue to sculpt your artistry.

Studying with Masters Crafting your art takes time, dedication, commitment, the ability to learn from your mistakes as well as a willingness to learn from the excellence of master craftsmen. This story comes from the book The World According to Mister Rogers—Important Things to Remember. A young apprentice applied to a master carpenter for a job. The older man asked him, “Do you know your trade?” “Yes, sir!” the young man replied proudly. “Have you ever made a mistake?” the older man inquired. “No, sir!” the young man answered, feeling certain he would get the job.

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“Then there’s no way I’m going to hire you,” said the master carpenter, “because when you make one, you won’t know how to fix it.”

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When I looked up the definition of “master,” I was surprised to find such a long entry. To be a “master” means many things. One of the definitions is, according to the The American Heritage Dictionary, “One who has control over something.” Another definition is “A workman qualified to teach apprentices and carry on his craft independently.” Master as a verb is defined as “To make oneself a master of an art, craft or science.” So, for our purposes, the definition of a “master” is “an artist who has control of his career, has mastered his art (excellence), and is qualified to teach it to others.”

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“Learn from the excellence of others.” Steveanna Roose, Story Artist and Consultant

Master Classes Taking classes from a master can greatly enhance your career. In addition to the benefit of learning from a great teacher, if you study under the tutelage of someone who is highly respected in your art discipline, it demonstrates your commitment to your craft. Also, the addition of the credential to your résumé can possibly open doors and offer new opportunities. Betsy Braud, a jazz musician known as the Jazz Nurse, studied under the tutelage of legendary virtuoso jazz clarinetist, Alvin Batiste. He pioneered the use of clarinet in jazz and is a sought-after performer and educator, earning his Masters degree in clarinet performance. Betsy’s knowledge of her craft is due, in great part, to the excellence of her teacher. In addition, her association with the great Alvin Batiste earns her respect and causes people to pay attention. Eth-Noh-Tec, the tandem-telling team of Nancy Wang and Robert Kikuchi-Yngojo, offers a threeday summer storytelling institute the third weekend in June. Each summer, storytellers of all levels come to San Francisco to experience the Eth-Noh-Tec creative process. There are many artists who give master classes in their artistic discipline. Attending conferences are also a great way to study with masters where classes, seminars, and workshops are taught. See the list of conferences in the Resource section of this chapter. Kenny Endo, a Taiko drum master, began early training in western drums and percussion for performance with jazz, fusion, and classical artists. He began working first with Kinnara Taiko of Los Angeles, and then with the San Francisco Taiko Dojo. In 1980, he went to Japan to further his study of Taiko drumming for 10 years. He studied and performed with masters in the Sukeroku, Suwa, Gojinjo, and Chichibu styles of group drumming. As a result, Endo is the first non-Japanese national to ever receive a ‘natori’ (stage name) in Hogaku Hayashi (Japanese classical drumming). He is known as Mochizuki Tajiro in the classical Hogaku world. Endo has performed extensively throughout the United States and Japan, as well as internationally. As artistic director of the Taiko Center of the Pacific in Hawaii, he now offers master classes to other Taiko artists. 253


Personal Coaching Doug Lipman is known as the Storytelling Coach. Indeed, his classes and workshops are some of the most sought after in the storytelling world. He travels nationwide, coaching storytellers and “coaching coaches,” training other storytellers to become coaches. Master storyteller Jay O’Callahan wrote the foreword for Doug’s book The Storytelling Coach. In it, Jay says, “…underlying it all is Doug’s awareness that good coaching can bring out the beauty and power of every human being.” Professional athletes are coached. Many companies hire consultants to “coach” their employees. Could your career be improved with the help of a supportive coach? I provide coaching services to artists on business and marketing. A good coach not only lends their expertise and offers advice; they serve as your personal cheerleader.

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“Every storyteller I know can benefit from coaching and feedback on material. Beginning storytellers and experienced storytellers both need ‘story midwives’ to help give birth to new material. If you can't find a coach or ‘story buddy’ for feedback, you will need to perform a story over and over again to hone it slowly with a live audience.” Kevin Strauss, Professional Storyteller

Apprenticeship Up until the late nineteenth century, the most popular way to learn a craft was to work as an apprentice. Apprenticeship is when one trades time working for the master craftsman in exchange for the master's knowledge, supervision, and experience gained while working. Elizabeth Ellis, a Circle of Excellence storyteller, offers a storytelling apprenticeship from time to time. Eth-Noh-Tec also offers storytelling apprenticeships. In exchange for the storyteller’s work or services, the storyteller apprentice is personally coached and instructed, and learns from seeing the storytelling master in action. It is a great opportunity for a storyteller to improve their craft and really learn the art of storytelling from a veteran. If you are interested in studying with a master artist in your artistic discipline, look for grants that support studying with masters. The National Endowment for the Arts, the National Endowment for the Humanities, and many state and local arts agencies provide grant opportunities, including funds for professional development with a master. Studying and learning with a master is a great gift that you, as an artist, can give yourself. A good teacher will oversee your work and allow you to grow as an artist. Once you yourself become a master, be sure to pass along what you know by teaching others. Learn from the excellence of others, learn to give generously, and you will prosper as a storyteller.

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“I think the most useful thing you can do is go out and watch other storytellers. Go to all the guild meetings and story swaps you can. Pay attention to the ways that tellers use their bodies and voices to engage their audience, and even notice what annoys you! Good craft is intentional!” Joanne Piazzi, Professional Storyteller

Merging Storytelling with Other Arts Is there only one way to tell a story? Not in my opinion! I have seen stimulating and breathtaking work when storytelling is merged with other artistic disciplines. Tales and Scales, a nationally touring group, has created a niche with their unique musictelling® style. Leeny del Seamonds created Cello Tales with Gideon Freudmann, combining lyrical storytelling with soft cello melodies. With Betsy Braud the Jazz Nurse, I created World Fiesta, which combines storytelling with a full jazz band. For five years, I toured with my group, Story Ballet Magic, which combined storytelling with classical ballet en pointe in full productions of classic fairytales. Portland Taiko, a Japanese Taiko drumming troupe, and Eth-Noh-Tec combine the energizing beat of the drums with powerful rhythm of storytelling. Many storytellers combine storytelling and music, which adds vibrant dimension to the stories. Joe Wos combines storytelling with live cartoon illustration. Don’t be afraid to explore collaborations of storytelling with other arts. It’s another way to grow as an artist and hone your craft.

Creating Collaborations Whether you want to explore tandem telling (telling with two or more) or whether you want to merge storytelling with another artistic discipline, it’s good to set the foundation for a good working relationship. Beautiful and groundbreaking work comes out of collaborations, but you do have to establish rules and guidelines before jumping in.

Get to Know Your Fellow Collaborator What makes good collaborations work is a solid relationship. You build good relationships by getting to know whomever you are working with. Showing genuine interest in your partner(s) is a good start for a mutually beneficial, positive collaboration.

Decide Who is in Charge This is often the biggest contention in collaborations. Some projects require a single leader. Others can benefit from multiple leaders. If you and your partner(s) agree to mutually lead the project, break down the leadership roles into individually assigned tasks. It is very easy to step on someone’s toes. Knowing your duties and boundaries up front will help eliminate a lot of tension.

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Storytelling Improv Theater with The Brothers Grinn The Brothers Grinn have been touring across the country since 1995 with their unique brand of storytelling improv theater. Original songs and stories are improvised in front of a live audience with no predetermined script. Created with suggestions from the audience, each show is interactive and no two shows are ever alike. Founder and Artistic Director, Stuart Nager, started the company with the idea to combine storytelling and improv theater, creating a new genre of performance art. Stuart says, “In October of 1994, I was performing with a group, ready to do an adult improv show but we found ourselves in front of an audience of kids. That’s where the idea for the Brothers Grinn began.” Sparse use of props and a huge heaping of imagination feed the audience, who help create the “Stone Soup” shows. Throwing in a “little bit of this and a little bit of that,” the Brothers Grinn tell stories shaped out of the audience’s suggestions. Everyone becomes a part of the creative process. Stuart bills Brothers Grinn as “family entertainment.” He says that their performances are just as much for the grown-ups as they are for the kids. Stuart firmly believes that “Grown-ups need creativity, imagination, and laughter.” At the end of our interview, I asked Stuart for an example. “What’s your favorite food?” he asks. Without hesitating, I answer, “Chocolate.” “Everybody loves chocolate,” Stuart replies. “And your favorite color?” “Red,” I say smiling. “What is your favorite animal?” That threw me off. I give him my childhood companion, “A poodle.” He launches into a story, speaking with a full, rich pirate voice. “Once there was a fair maiden named Dianne, sailing upon a giant chocolate ship to the Island of the Red Poodles…” And so the story began. As did my giggles and grinns.

Set Expectations Up Front Each person working on the collaborative project should know his/her role in the artistic arena as well as the business arena. Clearly define those roles.

Work Out the Details Collaborations can be very complex and detail-oriented. Work out the bugs and finalize the working relationships.

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Get It on Paper Collaborations can also be sticky propositions at times. Do not rely on oral agreements. People forget what they promised, expectations can be misunderstood, and details can be miscommunicated. Take avid notes at your meetings. Then work up an agreement to be signed by all involved, even if you are family. This helps prevent a world of chaos.

Allow Flexibility Everyone will bring a different strength to the table. Capitalize on those strengths. Realize that new ventures will often grow in directions you never expected. Be flexible enough to embrace change and handle growth.

Work Out Grievances Grievances are bound to come up. Create a Grievance Policy. Sit down and talk about where the problem is and how to fix it. Don’t let your feelings bottle up. As soon as you have an issue, deal with it. Allowing yourself to stew will result in a regrettable confrontation or explosion.

Praise Your Partners When things are working out right, let everyone know what a great job they are doing. Praise the partnership or the teamwork. A pat on the back is always nice.

Where to Go for Professional Development

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“It is necessary to try to surpass oneself always; this occupation ought to last as long as life.” Christina, Swedish Queen (1626–1689)

The National Storytelling Conference Sponsored by the National Storytelling Network (NSN), the national organization for storytellers in the United States, the National Storytelling Conference is an annual conference that rotates to different locations around the country. Learn from the masters and take professional development courses including the art and craft of storytelling, the practical application of storytelling, and the business and marketing of storytelling. Storytellers from the United States and other countries converge in one place for five days of sharing and learning. If you are interested in a particular aspect

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of storytelling, there are several special interest groups available: Healing Story Alliance (HSA), Storytelling in Organizations, Storytelling in Higher Education, Producers & Organizers, and Youth & Educators (YES). The Oracle Awards are presented annually at the National Storytelling Conference. These awards honor storytellers who exemplify service and leadership, excellence, and a lifetime of achievement.

The National Storytelling Festival Held on the first full weekend of October every year in Jonesborough, Tennessee, the National Storytelling Festival is the largest storytelling festival in the United States. Co-owned by the International Storytelling Center and the National Storytelling Network, the festival features the best of the best: established and emerging tellers sharing stories, entertaining thousands of story lovers.

The International Storytelling Center Built in the quaint, historic town of Jonesborough, Tennessee, the International Storytelling Center is an affiliate of the Smithsonian Institute. The Center includes a 200-year-old country inn, a 14,000square-foot education building, a visitor’s welcome and information area, a retail shop, and storytelling exhibits. In addition, visitors can experience daily live storytelling between June and November, and a series of storytelling workshops and seminars.

Storytelling Festivals, Conferences, Retreats, and College Courses Storytelling festivals, conferences, retreats, and college courses can be found around the world. The largest collection of links on the web belongs to Tim Sheppard, who maintains The Storytelling FAQ (Frequently Asked Questions). Tim is a fantastic teller from England and he has taken considerable care in providing a comprehensive annotated list. His knowledge is astounding and I personally thank him for putting together this incredible storytelling resource available for the world to access. www.timsheppard.co.uk/story/

Local and Regional Storytelling Guilds Many storytelling guilds and organizations host story swaps, conferences, festivals, and professional development workshops. Visit the NSN’s website, www.storynet.org, for information on contacting local and regional guilds.

Honing Your Craft Honing your craft, getting better and polishing what you do, takes time. Just as stories stretch and grow over time, so do we as artists. Embrace change and you will evolve into the artist you want to be.

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Spice Up Your Storytelling Stew with a second language

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Ingredients 1 delicious story 2 languages Spice to taste

About the Recipe The tales we share from around the world create a sabroso—delicious—stew that brings us all to the table as we celebrate each unique taste. Stories reveal the customs and traditions, the geography, the food, and the flavor of the land.

Directions for Blending Two Languages in a Story Spice up the tale by including individual words or phrases in the second language. For example: “Buenos Días” for “Good Morning” or “Señor Gato” for “Mr. Cat.” “Once upon a time, there were three björn: Papa Björn, Mama Björn and Baby Björn.” (Björn is bear in Swedish.) Illustrate portions in context. One character says, “Está lloviendo fuerte.” While another replies, “What do you mean it’s raining hard?” Or “¿No te dije mil veces?” “Yes, yes. You’ve told me a thousand times!” You can tell the story completely in one language and then again in the other. Reserve this technique for short pieces like poems or nursery rhymes. For example: Tortillitas para Mamá. Tortillitas para Papá. Las quemaditas para Mamá. Las bonitas para Papá.

Little tortillas for Mama. Little tortillas for Papa. The burned ones for Mama. The pretty ones for Papa.

Another method is mixing the languages, explaining and translating as you go. For example: “Había una vez… Once upon a time…” or “¡Gato malo! ¿Cómo hiciste tal cosa? Bad cat! How could you do such a thing?” Know the correct pronunciations. Be aware of idioms—“hitting the road” does not mean beating on the pavement! Keep in mind that words and phrases can have different meanings within the same language. “Pop,” depending on locale, means father, a loud sound, or a carbonated beverage. You do not have to translate everything. Know your audience—you may want the story very spicy or just slightly zesty. Good cooks start with a basic recipe and add their own special touches, “los ingredientes,” that make it their own. With experience and a little trial-anderror, you can create your own gourmet dish. Serve generous portions. ¡Salud!

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Other Storytelling Resources International Storytelling Center www.storytellingcenter.com Tim Sheppard’s Storytelling FAQ www.timsheppard.co.uk/story/faq.html

Professional Development Conferences Children’s Music Children’s Music Network Conference www.cmnonline.org Children’s Writing Society of Children’s Book Writers & Illustrators (SCBWI)Conference www.scbwi.org Puppetry www.puppeteers.org Storytelling National Storytelling Conference www.storynet.org

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Chapter 23

Storytelling in Education

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“Long ago when I was just a new teacher. . .”

In this chapter… ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³

The Benefits of Storytelling in Education Reasons for Storytelling in Schools Standards-Based Storytelling Gardner’s Theory of Multiple Intelligences Brain-Based Learning Creative School Shows Creating a Study Guide Preparing Schools for Your Visit The Teaching Artist’s Creed Artist Residencies Lesson Plan Template Assessment and Evaluation Impacting Teachers Storytelling in Education Resources Sample Assembly Preparation Sheet Sample Audience Etiquette Sample “Jambalaya” Educator’s Guide Sample Curriculum Guide for Dianne de Las Casas’ Storytelling Programs

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There are many ways storytelling can have an impact in education. Of course, we immediately think of performing in schools. But there is also the artist residency, in which a storyteller works handson with students for an extended period of time, teaching storytelling techniques as well as teacher training, in which teachers are trained to apply storytelling in their classrooms. When creating school shows, residencies, and teacher training, it is necessary to become knowledgeable about standardsbased learning and curriculum-friendly programming.

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“Imagination is more important than knowledge.” Albert Einstein

The Benefits of Storytelling in Education Storytelling builds reading comprehension, vocabulary, concentration, language development, and oral communication skills. The relationship between storytelling and reading is addressed in Tales as Tools: The Power of Storytelling in the Classroom, saying, “Word recognition is higher too because once children hear a story, they can quickly recognize the words in a text.” In her article “Storytelling: Its Wide-Ranging Impact in the Classroom,” Nola Kortner Aiex writes: “In reading, for example, a sense of story can help children to predict and know what to expect, and to read with more awareness of cause and effect, sequence, and other story factors related to comprehension.” In a 1986 research paper presented to the Mid-South Education Research Association, Yvetta George and Barbara Schaer reported that “storytelling and dramatization were significantly more effective in facilitating recall of prose content than was television. These findings indicate that storytelling is a viable method for stimulating children’s imaginations, ultimately leading to a higher cognitive level in student responses.”

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“Education as simply a way of storing facts isn’t significant. Instead, we need to teach kids how to tell a story.” George Lucas, Film Maker and Creator of Star Wars

In “Storytelling for Literacy,” a paper presented at the annual meeting of the Michigan Reading Association, Sheila Dailey Carroll suggests that the continuing rise of illiteracy is due to the decrease of simple forms of communication including conversation, stories, songs, and rhymes. Carroll states

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“I believe it is this early exposure to story, song and the give and take of conversation that predicts whether a child will be a successful reader. Storytelling is language in context.” Therefore, oral communication precedes literacy. This is a strong argument for storytelling in the schools.

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“Storytelling is the world’s oldest, best teaching method. It can be used to teach anything and everything all across the curriculum with real success.” Barbara Lipke, Professional Storyteller and Author

Research conducted by James S. Catterall at University of California–Los Angeles (UCLA) found that • • •

Arts education makes a tremendous impact on the developmental growth of every child. A high level of participation in the arts makes a significant difference to students from low income backgrounds. Sustained involvement in particular art forms, music and theater, has a high correlation with success in mathematics and reading.

Research performed by Dr. Shirley Brice of Stanford University shows “at-risk students who are actively engaged in arts learning and arts productions improve their self-esteem and confidence, assume leadership roles and improve their overall school performance.” A quality arts education (this includes storytelling) can help students develop the four Cs: • • •

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Cognition—The arts expand our knowledge and contribute to intellectual comprehension. Culture—The arts help us understand people, their traditions, and culture. Communication—The arts enable us to send and receive messages in a variety of media that are their own form of literacy. The arts use sights, sounds, and movement to convey meaning beyond the power of words. Creativity—The arts teach the skills associated with imagination, invention, and innovation. Creativity cultivated through the arts is linked to the processes of scientific discovery and skills in the business world.

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Reasons for Storytelling in Schools

Why Tell Stories in Schools? Storytelling… • • • • • • • • •

Demonstrates the importance of literature and the role books play in our lives. Introduces folklore, literature, and world cultures. Aids students in developing effective ways of discussing literature. Helps students appreciate the beauty and rhythm of language. Develops students’ listening skills, critical thinking and problem-solving abilities. Challenges students’ view of the world and offers them different perspectives. Assists them in evaluating the messages and effects of mass communication. Allows students to distinguish detail while understanding the “whole picture.” Predisposes students to reading, thus promoting literacy.

Why Encourage Kids to Tell? Storytelling… • • • • • • •

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Supports students in developing their talents for creative and imaginative expression. Lets them clearly express their ideas and concerns. Helps students develop communication skills and self-confidence. Permits productive individual and group participation. Promotes conflict evaluation and the opportunity for creative solution. Encourages respect amongst peers as they each present their stories. Allows students to adapt their form of expression for various audiences.

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“In the same way that a math teacher puts addition and multiplication on the board for our kids to learn, if we want our children to think creatively, it has to be encouraged and modeled. Let kids see performances that are the result of the creative process in operation.” Kendall Haven, Professional Storyteller and Author

Standards-Based Storytelling With the implementation of the No Child Left Behind Act, schools are accountable for student performance in the classroom. Students are expected to meet certain educational standards and benchmarks, which are measured in testing and evaluation. What this means for storytelling and the 264



arts is that administrators and teachers have to justify every program they bring in, whether it is an assembly program or a residency. As a storyteller, you will need to become familiar with your state’s standards and benchmarks, which can be obtained from your state’s Department of Education. You can also access any state’s standards online at www.education-world.com/standards/state/index.shtml.

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The National Standards for Arts Education outline what every K–12 student should know and be able to do in the arts. The standards were developed by the Consortium of National Arts Educations Associations in 1994. The standards are grouped by grades and by art disciplines: music, dance, theater, and visual arts. Storytelling is categorized under “theater.” Many states have revised their standards to align with The National Standards for Arts Education. A full listing of the standards can be found on the Kennedy Center ArtsEdge website. The standards can be isolated by arts subject and grade levels.

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“We seldom have to convince educators that storytelling is a great tool for them in the classroom. What we do have to convince them of is that they have the time to fit it in amongst all the mandated tests, rigid curriculum, etc.” Dan Keding, Professional Storyteller

If you are working in arts-in-education, it is a good idea to know how your programs and residencies correlate with state and national standards in education. The easiest way to do this is to print out a list of the standards and read them. Highlight the standards that best match with your show or residency. When creating study guides or lesson plans, list those standards. You may also want to receive arts-in-education training. Check with your state arts council to find out what type of artsin-education training is available. There are institutes available all over the country. In Mississippi, the Whole Schools Summer Institute is nationally recognized for their excellence in arts-in-education instruction. The Kennedy Center also offers arts-in-education instruction, through Kennedy Center partnerships in various states. Grant funds may be available for arts-in-education training.

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Working in the schools requires a dedication and commitment to arts-in-education. Arm yourself with knowledge and learn the buzz topics in education and arts-in-education. Keep abreast of current trends, legislation, and news. Become an arts-in-education advocate.

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“As a professional educator we do ourselves and our profession a great service if we keep up on the current trends in education, read professional journals and submit research based academic articles, study changes in state standards and testing, and attend workshops on literacy development. This effort affirms the importance of storytelling as a part of the core curriculum.” Brian Fox Ellis, Fox Tales International 265


Gardner’s Theory of Multiple Intelligences When working in education, you will probably hear about multiple intelligences. In 1983, Howard Gardner, a professor of Cognition and Education at the Harvard Graduate School of Education developed a new theory of intelligence that has been incorporated into many school curricula. In his Theory of Multiple Intelligences, Gardner suggests that students have varied learning styles that include various intelligences. The original seven intelligences Gardner defines are: Logical-Mathematical Intelligence—The ability to use reason, logic and numbers. Linguistic Intelligence—The ability to use words and language. Spatial Intelligence—The ability to perceive visual mental images. Musical Intelligence—The ability to recognize, produce, and appreciate music. Bodily-Kinesthetic Intelligence—The ability to control one’s own body movements. Intrapersonal Intelligence—The ability to understand one’s own feelings and motivations. Interpersonal Intelligence—The ability to interpret and relate to the feelings of others. In 1999, Gardner made an addition to the original list. His eighth addition is “naturalist intelligence,” the ability to recognize and categorize objects of nature. Gardner and his colleagues have also considered adding existential intelligence, spiritual intelligence, and moral intelligence, though the last of these is widely debated. Gardner’s intelligences are separated from each other, although he claims that the seven intelligences rarely operate independently. Instead, individuals use the intelligences simultaneously and the intelligences complement one another. In her article, “Telling and Crafting Stories for Young Listeners” in the May/June 2003 issue of Storytelling Magazine, Jeannine Pasini Beekman states, “Howard Gardner’s groundbreaking work on multiple intelligences can provide many clues for developing stories that ‘tell well’ with young children. If we keep these in mind while using our own imaginations, we are much more likely to connect with the largest number of listeners possible.”

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“Some stories need only the spoken or written word. Others can be told wordlessly via illustration, mime, dance, or music. While stories can take a variety of forms, people too have different abilities for expressing and receiving them. Some individuals are easily engaged by words alone. Melody or rhythm can assist others in taking in a story. And many others benefit from actually seeing the action of the story, or being actively involved. In our craft as storytellers, why not strive to engage the broadest audience possible?” Jackson Gillman, Stand-up Chameleon



Brain-based Learning Brain-based learning is a learning theory that has grown out of the field of neuroscience. This learning theory is based on the structure of the brain and how people learn. The 12 core principles of brainbased learning state that: • • • • • • • • • • • •

The brain processes several activities at once, like tasting and smelling. Learning engages the whole physiology. The search for meaning is innate. The search for meaning comes through patterning. Emotions are critical to patterning. The brain processes wholes and parts simultaneously. Learning involves both focused attention and peripheral perception. Learning involves both conscious and unconscious processes. We have two types of memory: spatial and rote. We understand best when facts are embedded in natural, spatial memory. Learning is enhanced by challenge and inhibited by threat. Each brain is unique.

In their book Storytelling in Emergent Literacy, Susan Trostle Brand and Jeanne Donato state: “Storytelling combines the cognitive language skills in the logic hemisphere of the brain with the creative image process in the gestalt side of the brain to engage the listener in a whole-brain experience.”

Creative School Shows

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Educational, entertaining, and creative school shows are in demand by educators across the globe. A busy school performer is a children’s artist who has “done their homework” and goes that extra step to earn “extra credit.” For information on developing a show, see Chapter 5 “Performing Stories.”

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“To me, the only reason to get up on a stage is because you have something to say. But that’s only half of it. We work so hard on what we have to say that, sometimes, we forget to think about how it is being received. The letters of introduction to a school, the handouts I leave behind for the teachers, the relationship of what I’m presenting to their current units or teaching standards—all of it—has to be in their language or the points I’m making ultimately fall into empty space.” Susan O’Halloran, Stories for Possibilities

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Creating a Study Guide Creating a thorough study guide to accompany each of your shows demonstrates your commitment to storytelling in education. A well-developed study guide assists teachers and administrators in preparing students for your visit. It gives teachers ideas on how to facilitate student comprehension of your show’s educational content. Here is a basic template for a study guide.

About the Artist A brief bio should include information about your experience, your accomplishments, and perhaps notable venues relating to arts-in-education.

About the Program Information about your program can include the theme, grade levels, content, and length of your program. You may want to include a brief history of the subject you are presenting. For instance, if your show title is “Shakespeare Shakes ’Em Up,” a short history of William Shakespeare would be appropriate. If you are presenting particular stories or songs, or using special instruments, you may want to include information about them.

Curriculum Connections How does your program correlate with curriculum content? A story that features a culture’s particular custom could have a strong social studies connection. Perhaps your Roman myth can correlate with constellations, thus connecting to science. Do you have a story that connects with math? There are innumerable ways to connect stories with the curriculum. If you think about it long enough, you may find that program connects with all the core curricula!

Extension Activities Extension activities are mini lesson plans that allow teachers to continue teaching the content of your program. In creating extension activities for my study guides, I try to correlate each extension activity with a curriculum area. For instance, in my “Jambalaya” program, I tell a story about the Pirate Jean Lafitte, who hid treasure all over Louisiana. My extension activity is a lesson in cartography, where students create treasure maps. The curriculum connection is social studies (geography).

Standards/Benchmarks Many teachers now have to justify everything they teach in their classroom with educational standards and benchmarks. Under each extension activity, list which benchmarks the activity meets. Every state has standards—check with your state’s department of education for a list of standards and benchmarks in each curriculum area. You can also locate standards for your state online at www.education-world. com/standards/state/index.shtml. National content standards for the arts have been developed by the Kennedy Center. Visit http://artsedge.kennedy-center.org/teach/standards.cfm for information.

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Resources Lead teachers to great resources in print, audio, video, and on the Internet. Here, list books, audio CDs, videos, and websites. If teachers want to further explore on their own, they have the resources to do so. Study guides should be simple and easy to read. If the study guide is included in your confirmation packet, it should be reproducible. Another way to make your study guide available is to have it downloadable from your website. A good study guide will have longevity and will enable teachers to extend the educational content of your program in the classroom. The Kennedy Center develops study guides called “Cue Sheets,” for all their performances and artists in the schools. The study guides are comprehensive, well-developed guides that enable teachers to integrate the program contents in their classrooms. To see study guides prepared by the Kennedy Center visit www.3rdwaveweb.com/pwtv/ classroom.html#print

Preparing Schools for Your Visit The simplest way to prepare schools for your visit is to be organized and send them a confirmation packet. The confirmation packet will include your cover letter, invoice and/or contract, flyers, media release, study guide, and an assembly preparation sheet. The “Assembly Preparation Sheet” contains step-by-step instructions on what to do with the packet contents as well as outlines your expectations and needs. See the sample at the end of this chapter. Another element I like to include in my school confirmation packet is the “Audience Etiquette” sheet. To prepare students for a live performance, I ask that the teachers read it aloud to their class. See the sample at the end of this chapter.

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The Teaching Artist’s Creed By Dianne de Las Casas

I BELIEVE • • •

In the power of the arts to change a child’s life. That every child is special, possessing unique gifts and talents. That every child’s gifts can be cultivated and developed to its full potential.

I WILL STRIVE • • •

To enrich the lives of my students through artistic exploration of the world. To encourage their individual creativity, utilizing their unique gifts and talents. To inspire my students by teaching them to trust their own creative power.

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Artist Residencies As a teaching artist, your teaching success depends greatly upon the support system you have created within your school. Whether you are an artist in residence for a limited amount of time or a teaching artist on staff, collaborating and creating meaningful partnerships with your fellow teachers and school administrators is crucial to your program’s success.

Meeting with Your Planning Team To ensure a successful residency, it is helpful to establish a planning team. Your school liaison, a school administrator (preferably the principal), and a teacher should be part of your planning team. If parents are to be involved in the residency (PTA paying part of the costs), a PTA representative should also be present. In your meeting(s) with the planning team establish the following: • • • • • • • • • • • • • •

Core group (What grades are the residency for?) Curriculum areas to be touched upon in residency Amount of students you are teaching at a time Objectives of the residency How the objectives will be accomplished Whether the residency will begin with an artist performance Whether the residency will end with a student activity—performance, art gallery, publication of student’s work Whether the parents and/or community will be invited to the student activity Types of student activities and/or lesson plans the artist will employ in the residency Length of residency Supplies and materials needed for the residency (art supplies, paper, copies, etc.) Whether a teacher in-service will be offered Scheduling and logistics (Will you be stationery and will students come to you? Or do you have to travel from class to class?) Payment schedule

Teacher In-Service When I plan a residency, I like to include a teacher in-service or workshop before I begin the residency. This helps to establish a connection with the teachers with whom you will be working. In my in-service, I explain what my residency objectives are and I have the teachers break into groups. I also perform some of the same activities I do in the residency with the students. My workshops are fun, upbeat, and help to establish a “community” atmosphere. In this way, the teachers become my allies, and I assure them that I am there to help them enrich the students’ educational experience.

Each Teacher is Important Treat each teacher as your partner in your classroom environment. After all, she knows each child, has established a classroom culture, and can offer assistance and support during your lessons. Rather than asking the teacher to merely pass out papers, actively involve the teacher in activities and regularly solicit feedback. The teacher will feel like she is a part of the process rather than just a side facilitator. 270



Learn the Classroom Culture Each classroom has a culture. That culture is determined by the socio-economic and cultural make-up of the class, individual student personalities, and the teacher’s teaching philosophies and methods. This classroom culture will influence the way the children respond to your instruction. Make careful observations, take notes on each class, and be flexible in your lesson planning. Sometimes Lesson Plan A may have to be adjusted to the temperament of the class that day or to the current situation. Sometimes Lesson Plan A has to be completely thrown out and Lesson Plan B has to be implemented. Always bring Plan B.

Customizing Your Lesson Plans When you meet with school administration or teachers to begin your residency planning, be prepared to offer a residency customized to their particular needs. The school may have a specific area of curriculum they are interested in emphasizing, or certain teachers may have distinctive needs. Establishing an open line of communication at this early stage of planning is crucial. More than half of your work is in the planning of the residency. Be sure what you are offering is what the school is expecting.

Making Magic in a Minute As a teaching artist in someone else’s classroom, you are expected to “make magic in a minute,” as so eloquently stated by Nancy Prince, a theater educator for Rusk Middle School in Nacogdoches, Texas. When you first step into the classroom, the students do not know you because you haven’t had the opportunity to establish a relationship with them. Break the ice with trust-building stories. Share a personal story about you when you were their age. Share failures, successes, and lessons learned. When they know you on a personal level, they are more likely to respond positively to you and become active partners in the classroom.

Praise Success Success comes in all sizes. For example, Team 1 finished their activity and they quietly put away their supplies without being reminded; the class listened to your instructions without any disruption; Kenny leaned over and began helping Alicia with an activity. These are all examples of beautiful successes that should be praised both personally and publicly, in oral and written form. An atmosphere of success is built upon the confidence of your students. Praise boosts their confidence level. Children thrive with praise.

Follow-up Activities As part of your residency, a teacher study guide with follow-up activities and resources including web links should be included. This demonstrates your attention to detail and your concern that the students retain the knowledge long after the residency is over.

Evaluation Once you have completed the residency, it is helpful to meet with your planning team once more to evaluate the success of the program. Solicit feedback from the classroom teachers. Identify strengths and areas that need improvement so that you can incorporate them into your next residency. 271


Expressing Thanks When I finish with an artist residency, I place a personal thank you note, along with a small goody (Chocolate works wonders!), in each teacher’s mailbox. I want them to know I share my success with them and I thank them for having me in their classroom. Being a teacher is hard work—most teachers put in more hours than they are paid for, pay for their own classroom supplies out-of-pocket, and have to balance valuable classroom time with other activities that take away from their instruction time. I appreciate what teachers go through and I want them to know it. A simple “Thank you” goes a long way. I also make sure to thank the principal, the administration, and the staff that helped facilitate my visit.

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If you are working with students through an artist residency, you will be in the classroom for extended periods of time. Each class should be taught from a lesson plan. Delineating your teaching methods via a lesson plan will allow you to focus your work and teach the material thoroughly. The following is a typical template for a lesson plan: • • • •

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LESSON TITLE—The title of your lesson plan. SUBJECT ADDRESSED—List the subject(s) addressed in your lesson. LESSON OBJECTIVES—What are the goals of your lesson plan? STANDARDS/BENCHMARKS—List the educational standards or benchmarks that your lesson plan meets. (If you are working in your home state, check the state’s department of education website. If you are working nationally, correlate your lesson plans to national standards in the core curriculum.) MATERIALS—Include a detailed list of materials that you and the students will need. LESSON STEPS—Outline the task progression, step-by-step. EXTENSION ACTIVITIES—What are other activities the students could perform that would extend the lesson? Extension activities could be suggestions for activities outside of the classroom. ASSESSMENT—Suggest assessment tools. If you are using rubrics, provide the rubric template. RESOURCES—List books, articles, websites, videotapes, audio materials, etc.

Assessment and Evaluation Educational dollars are stretched to their absolute limit, arts funding has drastically decreased, and educators are being held accountable for student successes. Teaching artists are entering the classroom under a watchful eye because school administrators have to justify their spending dollars with tangible evidence of success. So how do teaching artists measure success? Can the arts be measured? One way to address this issue is through assessment and evaluation. Most people use the words “assessment” and “evaluation” interchangeably. In reality, they have two distinctly different definitions. Susan Koff, Ed.D., a dancer-turned-teaching-artist from Baton Rouge, Louisiana, offers the following definitions: 272


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Assessment—The process of observing and accumulating evidence of an individual student’s progress in learning. Evaluation—Making judgments about the effectiveness of teaching for learning on the basis of evidence collected during the assessment phase.

Susan states, “Assessment and evaluation are not synonymous. Assessment is used for student progress while evaluation is used to examine program and curriculum content.” According to Susan, the functions and forms of evaluation are: • • • • •

To diagnose To revise curricula To compare To anticipate educational needs To determine if objectives have been achieved

Utilizing the data collected from student assessment, teaching artists along with their educator partners, can undertake meaningful evaluations of the artist’s program. This information can help measure the success of the program and provide the hard data administrators and grant evaluators are looking for to justify such programs in the schools. In addition, teaching artists can use evaluation to refine and adjust their programs for maximum fulfillment of their educational and creative objectives. When you are undertaking assessment in the classroom, Susan makes the following suggestions: • • • • •

Establish goals and objectives Determine learning experiences Choose evidence that goals have been met Choose instruments to measure evidence Report evidence

Assessment tools include: • • • • • • • • • • • • • •

Achievement tests Observations Written tests Quizzes Homework Worksheets Journals Papers Projects Student self-ratings Performance Audio recordings Videotaping Rubrics 273


According to a study by Zemelman, Daniels, & Hyde (1998), learning is most effective when it is: • • • • • •

Student-centered—The students’ interests and concerns are taken into consideration in lesson planning. Experiential—Students learn more by “doing.” Authentic—Students have the ability to understand and learn on deep levels. Expressive—Students are able to express their thoughts and opinions and provide feedback. Reflective—Students are given time to reflect upon their experiences and consider what they have just learned. Collaborative—Cooperative social relationships contribute to meaningful learning.

The assessment method that best integrates the above learning practices is authentic assessment. Authentic assessment emphasizes high-level thinking and more complex learning. Authentic assessment allows teachers to move from the role of the adversary into the role of the ally and collaborator. Rather than placing emphasis on the end product, task processes as well as problem solving are emphasized. In traditional assessment, such as test taking, the end result is the assessment. Authentic assessment moves from testing of knowledge to assessing students’ deeper understanding of the material through student-centered lesson plans, experiential activities, expressive and reflective activities such as journaling and student assessments, and projects that involve group collaboration. Each step of the assessment process is measured through rubrics. A rubric is a “rule” or a scoring guide organized by categories with descriptors and levels of mastery. The following is a simplest rubric template: 3 Mastery

2 Competence

1 Needs-Practice

• Descriptor

• Descriptor

•

Descriptor

• Descriptor

• Descriptor

•

Descriptor

• Descriptor

• Descriptor

•

Descriptor

Susan recommends the following rubric guidelines: • • •

Provide a level of exemplary work or performance beyond basic expectations. Keep it specific, accurate, observable, and simple. If you find yourself with too much information, make it two rubrics. Have an even number of category levels to eliminate “fence sitting.”

For example, for a visual artist, a task that might be measured by a rubric could be drawing a tree. With the help of the students for levels of mastery and the descriptors, the rubric might look like this:

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3 Master

2 Apprentice

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Draws a tree and includes fine details such as veining on leaves and bark texture

•

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Places the tree in a rich • environment full of details such as by a river or in a field


1 Beginner

Draws the shape of a tree and includes branches, leaves, and trunk

•

Draws the shape of a tree

Places the tree in an environment delineating the sky and earth

•

Places the tree in a simple environment

Allowing students to collaborate in the rubric creation allows them ownership of the assessment and gives them a greater incentive to achieve. Because they are providing the criteria, it allows them a deeper understanding of the subject. Rubrics should be simple and easy to understand. Four-part and five-part rubrics are also effective. Five-part rubrics most closely resemble the traditional grading system of A, B, C, D, F. A five-part rubric could be categorized this way: • • • • •

Distinguished—A Proficient—B Competent—C Apprentice—D Novice—F

What child wouldn’t rather be called “Novice” instead of being told, “You have an F?” The letter “F” has the stigma of failure associated with it. When allowing students to create levels of mastery, suggest language that is within their developmental range. For example, if you are working with kindergarteners who don’t have the vocabulary to understand “Novice” and “Apprentice,” use stars or happy faces—one star, two stars, three stars, etc. Avoid words like “good” and “bad” as they also carry a stigma of punishment with them. While authentic assessment takes a lot of preparation and is time-consuming and involved, the end result is a fantastic blend of confident students and success in the classroom. Assessment and evaluation serve as valuable tools for both educators and teaching artists.

Impacting Teachers Many schools and school districts are searching for quality arts-in-education training programs for their teachers. Teacher in-services, instructional workshops, and keynoting at educational conferences are all possibilities for showcasing storytelling in education. If you have developed a fantastic program 275


that showcases storytelling in a unique way (i.e., students as storytellers, students as historians, etc.), you may want to consider sharing your teaching techniques with teachers. According to the Kennedy Center, instructing teachers in your art has a greater impact than just instructing students. For example, your storytelling residency may affect students in the fourth and fifth grade, numbering approximately 240 students (8 classes 30 students). If you had 30 teachers in a workshop and they taught 30 students each, your impact is 900 students (30 teachers 30 students). That’s just for one year. If the teachers continued with the methods you shared, they would be impacting students with storytelling year after year! While you may feel that sharing your teaching methods will make you obsolete, quite the opposite effect takes place. As you become more well known as an instructor, a greater demand for your services is created. Just ask the husband and wife team of Bobby and Sherry Norfolk. Authors of the book, The Moral of the Story, the Norfolks travel nationally, offering staff development courses for educators.

Storytelling in Education

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“Then three apples fell from heaven. One for the teller, one for the listener, and one for the one who took it to heart.” (Armenian)

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As you can see, there are many ways to make a difference with storytelling in education. From performances to residencies to teacher training, there are infinite possibilities to impact children through storytelling.

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RESOURCES

Recommended Reading Baltuck, Naomi. Crazy Gibberish and Other Story Hour Stretches. Linnet Books (1993). ———. Storytime Stretchers: Tongue Twisters, Choruses, Games and Charades. August House (2007). Bauer, Caroline Feller. New Handbook for Storytellers. ALA Editions (1995).

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Brand, Susan Trostle, and Jeanne M. Donato. Storytelling in Emergent Literacy: Fostering Multiple Intelligences. DelMar Thompson Learning (2001). Bronner, Simon. American Children’s Folklore: A Book of Rhymes, Games, Jokes, Stories, Secret Languages, Beliefs and Camp Legends. August House (1988). Collins, Rives, and Pamela Cooper. The Power of Story—Teaching Through Storytelling. Gorsuch Scarisbrick Publishers (1997). de Las Casas, Dianne. Handmade Tales: Stories to Make and Take. Libraries Unlimited (2008). ———. Kamishibai Story Theater: The Art of Picture Telling. Teacher Ideas Press (2006). ———. Story Fest: Crafting Story Theater Scripts. Teacher Ideas Press (2005). de Vos, Gail. Storytelling for Young Adults: A Guide to Tales for Teens. Libraries Unlimited (2003). Egan, Kieran. Teaching as Storytelling: An Alternative Approach to Teaching and Curriculum in the Elementary School. The University of Chicago Press (1986). Fujita, Hiroko, and Fran Stallings. Stories to Play With: Kids’ Tales Told with Puppets, Paper, Toys, and Imagination. August House (1993). Gillard, Marni. Story Teller Story Teacher. Stenhouse Publishers (1996). Gordh, Bill. Stories in Action: Interactive Tales and Learning Activities to Promote Early Literacy. Libraries Unlimited (2006). Griffin, Barbara Budge. Students as Storytellers: The Long and the Short of Learning a Story. Griffin McKay Publications (1995). Hamilton, Martha, and Mitch Weiss. Children Tell Stories: Teaching and Using Storytelling in the Classroom Second Edition (with DVD). Richard C. Owen Publishers, Inc. (2005). ———. Stories in My Pocket: Tales Kids Can Tell. Fulcum Publishing (1996). Harrison, Annette. Easy-to-Tell Stories for Young Children. National Storytelling Press (1992). Haven, Kendall. Story Proof: The Science Behind the Startling Power of Story. Libraries Unlimited (2007). ———. Super Simple Storytelling: A Can-Do Guide for Every Classroom, Every Day. Teacher Ideas Press (2000). ———. Write Right! Creative Writing Using Storytelling Techniques. Teacher Ideas Press (1999). Huff, Mary Jo. Storytelling with Puppets, Props & Playful Tales. Monday Morning Books (1998). Irving, Jan. Stories, Time and Again: A Program Guide for Schools and Libraries. Libraries Unlimited (2005). ———. Story Celebrations: A Program Guide for School and Libraries. Libraries Unlimited (2008). Kinghorn, Harriet R., and Mary Helen Pelton. Every Child a Storyteller—A Handbook of Ideas. Teachers Ideas Press (1991). 277


Lipman, Doug. Storytelling Games: Creative Activities for Language, Communication, and Composition across the Curriculum. Oryx Press (1995). MacDonald, Margaret Read. Celebrate the World: Twenty Multicultural Folktales. H.W. Wilson (1994). ———. Earth Care: World Folktales to Talk About. Linnet Books (1999). ———. Peace Tales: World Folktales to Talk About. Linnet Books (1992). ———. Shake-It-Up Tales!: Stories to Sing, Dance, Drum, and Act Out. August House (2000). ———. The Storyteller’s Sourcebook: A Subject, Title, and Motif Index to Folklore Collections for Children. Neal-Shuman/Gale Research (1982). ———. The Storyteller’s Start-Up Book: Finding Learning, Performing, and Using Folktales: Including Twelve Tellable Tales. August House (1993). ———. Tell the World: Storytelling Across Language Barriers. (2008). ———. Twenty Tellable Tales: Audience Participation Folktales for the Beginning Storyteller. H.W. Wilson (1991). MacDonald, Margaret Read, and Brian Sturm. The Storyteller’s Sourcebook, 1983–1999. Gale Research (2001). Maguire, Jack. Creative Storytelling: Choosing, Inventing, and Sharing Tales for Children. McGraw-Hill (1985). National Storytelling Association. Tales as Tools. The National Storytelling Press (1994). Norfolk, Bobby and Sherry. The Moral of the Story: Folktales for Character Development. August House (1999). Norfolk, Sherry, Jane Stenson, and Diane Williams. The Storytelling Classroom: Applications Across the Curriculum. Libraries Unlimited (2006). Pearmain, Elisa. Once Upon a Time... Storytelling to Teach Character and Prevent Bullying. Character Development Group (2006). Pellowski, Anne. Drawing Tales from Around the World and a Sampling of European Handkerchief Stories. Libraries Unlimited (2005). Shaw, Darla. Retelling Strategies to Improve Comprehension: Effective Hands-on Strategies for Fiction and Nonfiction that Help Students Remember and Understand What They Read. Scholastic (2005). Sima, Judy, and Kevin Cordi. Raising Voices: Creating Youth Storytelling Groups and Troupes. Libraries Unlimited (2003). Sobol, Joseph Daniel. The House Between Earth and Sky: Harvesting New American Folktales. Libraries Unlimited (2005). Stotter, Ruth. About Story: Writings on Stories and Storytelling 1980–1994. Stotter Press (1996). ———. More About Story: Writings on Stories and Storytelling 1995–2001. Speaking Out Press (2002). 278



Strauss, Kevin. Tales with Tails: Storytelling the Wonders of the Natural World. Libraries Unlimited (2006).

Recommended Websites Americans for the Arts Americans for the Arts supports the arts and culture through private and public resource development and arts advocacy. Keep up with the latest arts-in-education legislation by signing up for their e-newsletter. www.americansforthearts.org The Art of Storytelling with Children Podcast by Eric Wolf Each week, Eric Wolf interviews storytellers from around the world who have made a significant contribution to the art of storytelling. Past podcasts can be accessed through the site’s archives. www.storytellingwithchildren.com The Arts Education Partnership The Arts Education Partnership (AEP) is a national coalition of arts, education, business, philanthropic, and government organizations that promote the role of the arts in the learning. The Partnership includes over 140 organizations that are national in scope and impact. www.aep-arts.org Council of Chief State School Officers The Council of Chief State School Officers (CCSSO) is a nonpartisan, nationwide, nonprofit organization of public officials who head departments of elementary and secondary education in the states, the District of Columbia, the Department of Defense Education Activity, and five U.S. extrastate jurisdictions. Through CCSSO, you can access each state’s department of education. www.ccsso.org The Kennedy Center ArtsEdge Website Access national standards for the arts, arts education resources, and more. http://artsedge.kennedy-center.org/ National Association for the Education of Young Children (NAEYC) NAEYC focuses on the quality of educational and developmental services for all children from birth through age eight. Founded in 1926, they have over 100,000 members and are the largest national organization dedicated to young children. Their periodical, Young Children, is an excellent source of information on the issues of early childhood education. www.naeyc.org National Council for Teachers of English Position on Storytelling; Teaching Storytelling www.ncte.org/about/over/positions/category/curr/107637.htm Scholastic Storytelling Workshop Featuring nationally recognized storyteller Gerald Fierst, Scholastic sponsors a storytelling web workshop for teachers. Take it—it’s fun! http://teacher.scholastic.com/writewit/storyteller/index.htm

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The Story Biz Handbook X X X X X X X X X X X X X X X X X X X X X X Story Arts by Heather Forest Heather Forest’s website is crammed with lesson plans, resources, and activities to incorporate storytelling into the curriculum. www.storyarts.org The Story Connection by Dianne de Las Casas Visit my website for stories, storytelling games, story theater scripts, and downloadable study guides. www.storyconnection.net Storytelling in Schools Kate Dudding and Jackie Baldwin created an incredible resource for tellers who work in schools. Print out the 46 page booklet that contains qualitative studies and innovative projects. In addition, you can download a free brochure that contains position statements on storytelling from national organizations. The website is a treasure trove of information. http://www.storytellinginschools.org Turner South: Learning Through Storytelling This fantastic website encourages teachers to use storytelling in the classroom. Included are national standards that storytelling meets. www.turnerlearning.com/turnersouth/storytelling/index.html

Journals and Periodicals Scholastic’s Instructor Magazine Instructor focuses on topics for K–8 teachers. There are articles, lesson plans, and resources aplenty in this excellent publication. http://teacher.scholastic.com/products/instructor/ The Teaching Artist Journal This quarterly journal features articles and information on arts education as it relates to teaching artists. Edited by Eric Booth, the journal features such notable contributors as Karen Ericksen, a nationally known teaching artist and trainer, and Barbara Sheppard from the Education Department of the Kennedy Center. www.erlbaum.com

Lesson Plan Resources Annenberg/CPB Learner.org This website provides a lesson plan form. The lesson builder is available as a downloadable, printable PDF form. Learner.org provides a solid structure for a well-thought lesson plan. www.learner.org/channel/workshops/conversations/lessonbuilder/template.html Kennedy Center ArtsEdge Lesson Plans The Kennedy Center has an extensive archive of arts-integrated lesson plans. http://artsedge.kennedy-center.org/content/2164/ Teach, Learn Communicate This website features a lesson plan template. You simply fill in the information online, save and print. You may even choose to post the lesson plan. If you post the lesson plan, the ALFY site may choose to publish it. www.alfy.com/teachers/teach/lesson_builder/index.asp 280

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Sample ASSEMBLY PREPARATION SHEET TO: Assembly Coordinator FROM: Storyteller Dianne de Las Casas RE: Preparation for the Storytelling Assembly Program Enclosed are flyers that you can display, a media release, and a study guide that may be copied for distribution to the teachers (one-time copy permission). Please use these materials to prepare for the assembly as indicated below. Flyers: Please display the flyers in prominent places around the school (office, lunch room, hallway bulletin boards). Media Release: This information may be used verbatim or in an edited version for the school newsletter or newspaper, bulletin, or other media. Study Guides: Classroom discussion of the subject matter in the program will greatly facilitate student comprehension of the educational content of this program. Please provide a copy of the study guide to each of the classroom teachers whose students will attend the program. The study guide is two-sided. Study guides may also be downloaded from www. storyconnection.net. CD Order Form: Enclosed is a CD order form for my award-winning storytelling CDs, Jambalaya—Stories with Louisiana Flavor, World Fiesta—Celebrations in Story and Song, and Jump, Jiggle & Jam—A Rhythmic Romp Through Story Land. If you offer the CDs for sale to your students, your school will receive 20% of the sales ($3/CD). To participate in this activity, make copies of the enclosed order form (two-sided) and send it home with your students. Collect the order forms and proceeds, and email me the total number of CDs needed (including names of students with autograph requests). I will bring the CDs with me on the day of my performance. Assembly Set-up: Please have the performance area clear of any activity at least 30 minutes prior to my scheduled start time. I will set-up for the assembly and perform a sound check during this time. Assembly Start Time: Please ensure that the students are seated and settled in advance of the scheduled start time so that the assembly may begin on time to allow for a full program. Due to a tight schedule, I must end the program 45 minutes after the scheduled start time. Introduction: I ask that the assembly coordinator or other designated person introduce me. At the time of the performance, I will provide a ready-made introduction card for this purpose. Schools Bells: Please have school bells turned off in the performance facility during the assembly if your system allows. Seating Arrangement: Typically, I require a 10' 10' performance area. If I perform on the floor, the first row of students should be seated on the floor with their legs folded, flat on their bottoms (no chairs please) behind the taped line on the floor. The youngest students should be in the first row; the oldest students seated in the back rows. Please provide a center aisle where I may easily access the audience and for safety reasons. Please arrange for chairs to be set up for teachers along the outside aisles next to their class and ask teachers to refrain from correcting papers, reading, and talking during the performance. They are role-modeling audience etiquette for the children. Please avoid sitting students on bleachers except where floor seating is impossible. Please Provide: Assistance to help me unload and transport my equipment to and from the performance area, an extension cord if the nearest outlet is more than 15' away, and a bottle of room temperature spring water. Payment: As stated in the Service Agreement and/or Service Invoice, payment is due before or on the day of the performance. If payment was not mailed prior to the performance, please arrange to have payment ready on the performance date. Checks should be made payable to Dianne de Las Casas. Your cooperation with these requests is greatly appreciated and will help to ensure a safe and enjoyable performance for both the performer and the audience. I look forward to performing at your school. Thank you. (Thank you, David Heflick, Author of How to Make Money Performing in Schools, for providing the example from which this form was adapted.) From The Story Biz Handbook: How to Manage Your Storytelling Career from the Desk to the Stage by Dianne de Las Casas. Westport, CT: Libraries Unlimited. Copyright © 2008.

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Sample Audience Etiquette (Audience Manners)

When you see a live performance, there are certain guidelines that people generally follow. Audience manners are a way of showing the performers and the people around you that you are considerate. It’s not like watching TV where you can talk during the show and the performers don’t notice. In a live performance, the performers can see and hear you. When you display nice audience manners, everyone enjoys the show. ± No eating or drinking during the show ± No talking during the performance ± No throwing of objects, horseplay, or fidgeting with things ± No playing video games ± Turn off pagers, phones, and watch alarms ± Pay attention to the show—do not lay down, lean on your friends, or sleep ± Clap at the end of each story and at the end of the performance ± Watch your teachers, parents, and the grown-ups around you. They are role models and will demonstrate how to behave during a performance.

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Sample “Jambalaya” Educator’s Guide About the Storyteller Dianne de Las Casas is an author and award-winning storyteller who tours internationally presenting programs, teacher training, workshops and artist residencies. Her performances, dubbed “traditional folklore gone fun” and “revved-up storytelling” are full of energetic audience participation. Her multi-award winning CDs include Jambalaya—Stories with Louisiana Flavor, World Fiesta— Celebrations in Story and Song, and Jump, Jiggle & Jam—A Rhythmic Romp Through Story Land. Dianne’s books include Story Fest: Crafting Story Theater Scripts; Kamishibai Story Theater: The Art of Picture Telling; Handmade Tales: Stories to Make and Take; Tangram Tales: Story Theater Using the Ancient Chinese Puzzle, The Story Biz Handbook, and Scared Silly: 25 Tales to Tickle and Thrill. Visit her website at www.storyconnection.net and subscribe to Story Connection Express, an educational e-zine for parents and teachers. Louisiana Fast Facts What’s in a Name? French Explorer Rene’-Robert Cavelier, Sieur de La Salle, named Louisiana in honor of King Louis XIV. He claimed the land for France in 1682. Statehood: Louisiana officially became the 18th state on April 30, 1812. State Capital: Baton Rouge became Louisiana’s state capital in 1849. Originally, Nouvelle Orleans (New Orleans) was the state’s capital. State Bird: The Eastern Brown Pelican, Louisiana’s state bird, is a large bird that lives near bodies of water. Their big bills are made for scooping up fish and they can eat several pounds a day. State Flower: The Magnolia, which blossoms on an evergreen tree, is a large white, fragrant flower. Famous Indigenous Animals (animals that live in LA): Alligator, Black Bear, Catahoula Leopard Dog, Crawfish, Egret, Mosquitoes, Pelican. The Journey Home Settlers from France moved to the new world and made their home in Acadia, which is now part of eastern Canada extending from present-day Quebec to eastern Maine and Nova Scotia. In the mid-1700s, the Acadians were exiled when the British forced them to leave by ship. The Acadians or Cajuns as they are now called, made their home in Louisiana, where they were free to practice their religion and speak French. Today, the Cajun heritage is an important influence in Louisiana music, food, and culture. Extension Activity—Mapping the Journey Curriculum Area: Social Studies (Geography) After showing the students where the Acadians traveled from on a large map, have the students recreate their own map of North America, highlighting Acadia and Louisiana, and mapping the journey. Privateer or Pirate? Jean Lafitte is one of Louisiana’s most celebrated notorious men of power. A Frenchman, he became known as a shrewd business man trading everything from spices and silks to slaves. His bounty was ill-gained, however, as he and his men often marauded ships to steal their goods. Still, Lafitte became rich and controlled the waters of the Gulf. In 1813, Louisiana’s governor offered a handsome reward for his capture, hoping to stop Lafitte’s raiding. The British wanted Lafitte to help them capture New Orleans for Great Britain, offering him $30,000. Instead, Lafitte warned the U.S. and Jean Lafitte helped General Andrew Jackson win the Battle of New Orleans on January 8, 1815. Lafitte, first an outlaw, became a war hero. Extension Activity—Treasure Hunting: A Lesson in Cartography Curriculum Area: Social Studies (Geography) Legend has it that Jean Lafitte hid much of his treasure all over Louisiana, along the coast, in the bayous, and in backyards. Who knows where Lafitte’s loot is hidden? It could be in your own backyard. Have the students draw a treasure map using your classroom as the land. Draw common mapping symbols on the board and explain their meaning. For fun, use “X marks the spot.” Where is the treasure hidden? Have students locate each other’s treasure. Brer Rabbit - Louisiana Lore Over 125 years ago, a folklorist named Alcee’ Fortier, collected West-African tales of Compair Lapin and Compair Bouki. at Laura Plantation. He began collecting these stories as a teenager. In 1894, when he was president of the American Folklore Society, he published the stories in French entitling them “Louisiana Folktales.” One year later, Fortier’s friend and colleague, Joel Chandler Harris, published Brer Rabbit stories in English. He heard them from former slaves in Georgia and the Carolinas. The commercial success of Tales of Uncle Remus overshadowed Fortier’s collection of Compair Lapin stories. People can’t help but love Brer Rabbit that rascally rabbit who is always getting into trouble. From The Story Biz Handbook: How to Manage Your Storytelling Career from the Desk to the Stage by Dianne de Las Casas. Westport, CT: Libraries Unlimited. Copyright © 2008.

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Extension Activity—Reading Rabbits Curriculum Area: Language Arts Read stories from Why Lapin’s Ears Are Long by Sharon Arms Doucet. What are the characteristics of a trickster? Why would Lapin be considered a trickster? Have the students do a summary of their favorite Lapin story on a rabbit ear. Hang the rabbit ears around the classroom. Home-grown in Louisiana Louisiana is rich! Rich in crops of all kinds. Louisiana farmers grow all kinds of crops that make an appearance in our local grocery stores and grocery stores around the country. Well-known Louisiana crops include corn, cotton, peaches, pecans, rice, soy beans, satsumas, strawberries, sugar cane, and sweet potatoes. Extension Activity: This Spud’s For You Curriculum Area: Science Sweet potatoes are great for making bread, cake, pie, and even soup! How does a sweet potato grow? Conduct a science experiment with your students and track the growth of a sweet potato. Bring a sweet potato to class and cut off the bottom. Submerge half of the sweet potato in water. How long does it take to sprout roots? When the sweet potato has ample roots, plant it in a large container and grow a sweet potato plant. Create a growth chart. The Wild Waters of Louisiana Swamps, rivers, wetlands, marshes, tributaries, and bayous. Louisiana is surrounded by water everywhere! Louisiana is a watery state. These waters are home to some of the fiercest animals (alligators) to some of the tastiest fish and crustaceans (fried catfish and crawfish). Extension Activity: Swamp Punch Curriculum Area: Math Mix three parts Kiwi Strawberry Kool-Aid to one part orange juice. How many people will be drinking your swamp punch? You will need to figure out how much Kool-Aid and pineapple juice to mix to make enough to serve your group. It’s a mathematical challenge. Vocabulary Compair Bouki—In Cajun French folklore, “Compair” means “Brother.” Bouki is a hyena or wolf who is often tricked by Lapin Compair Lapin—“Lapin” is French for “Rabbit.” He is always playing tricks on his friends. What do the following words mean? Look them up in the Dictionary. crops

notorious

crustacean

settlers

folklorist

tributaries

marauded

trickster

Website Resources State of Louisiana Official Website: http://www.state.la.us/ State Library of Louisiana: http://www.state.lib.la.us/ Louisiana Department of Education: http://www.doe.state.la.us/lde/index.html Louisiana Folklife—Louisiana Voices: http://www.louisianafolklife.org/ Louisiana Division of the Arts: http://www.crt.state.la.us/arts/ Books Ancelet, Barry Jean. Cajun and Creole Folktales, University Press of Mississippi (1994). Lindahl, Carl, Maida Owens, and C. Reneé Harvison. Swapping Stories—Folktales from Louisiana, University Press of Mississippi (1998). Reneaux, J. J. Cajun Folktales, August House (1992). Saucier, Corinne. Folk Tales from French Louisiana, Claitor’s Publishing Division (1999). Saxon, Lylel, Edward Dreyer, and Robert Tallant. Gumbo Ya-Ya, Pelican Publishing Company (1998).

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Sample Curriculum Guide for Dianne de Las Casas’ Storytelling Programs Grade Level:

K–8

Duration:

45 minute program

Curriculum Areas:

English Language Arts

Social Studies

Arts

Character Education & Citizenship

Summary:

A program of storytelling from regions around the world designed to expose children to a variety of cultures using creative movement, drama, audience participation, and humor.

Audience Size:

up to 300

Educational Objectives

(based on the Louisiana Education Content Standards that may be found on the Louisiana Department of Education’s website at http://www.lcct.doe.state.la.us). The following curriculum skills (over 30 curriculum skills) are advanced:

English Language Arts • Give and follow directions/procedures (K-4, 5-8) (ELA-4-E2, ELA-4-M2) • Tell or retell stories in sequence (K-4) (ELA-4-E3) • Speak and listen for a variety of audiences and purposes (K-4, 5-8) (ELA-4-E4, ELA-4-M4) • Use comprehension strategies (e.g., sequencing, predicting, drawing conclusions, comparing and contrasting, making inferences, determining main ideas) in contexts (K-4, 5-8) (ELA-7-E1, ELA-7- M1) • Problem solve by using reasoning skills, life experiences, and available information (K-4, 5-8) (ELA-7-E2, ELA7-M2) • Recognize an author’s purpose and point of view (K-4, 5-8) (ELA-7-E3, ELA-7-M3) • Distinguish fact from opinion, skim and scan for facts, determine cause and effect, generate inquiry, and make connections with real-life situations (K-4, 5-8) (ELA-7-E4, ELA-7-M4) Social Studies • Identify and compare the cultural characteristics of different regions and people (K-4) (G-1C-E4) • Demonstrate an understanding of the concepts of time and chronology (K-4) (H-1A-E1) • Recognize that people in different times and places view the world differently (K-4) (H-1A-E2) • Identify and use primary and secondary historical sources to learn about the past (K-4) (H-1A-E3) • Relate the history of the local community and compare it to other communities of long ago (K-4) (H-1B-E2) • Recognize how folklore and other cultural elements have contribute to our local, state, and national heritage (K-4) (H-1C-E4) • Identify the characteristics and historical development of selected societies throughout the world (K-4) (H-1DE1)


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Arts (Theater Arts) Creative Expression • Explore and identify various emotions in interpersonal settings (K-4) (CE-1Th-E1) • Interact in group situations and demonstrate differentiations of roles through experimentation and role playing (K-4) (CE-1Th-E2) • Identify and exhibit physical and emotional dimensions of characterization through experimentation and role playing (K-4) (CE-1Th-E3) • Explore self-expression and various emotions individually and in groups (5-8) (CE-1Th-M1) • Understand role playing in single and interpersonal relationships (5-8) (CE-1Th-M2) Aesthetic Perception • Recognize and discuss sensory experiences and motivations for emotions (K-4, 5-8) (AP-2Th-E1, AP-2ThM1) • Imitate and respond to ideas, feelings, behaviors, roles, and life experiences (K-4) (AP-2Th-E2) • Explore actions that express thoughts, feelings, and characters (K-4) (AP-2Th-E3) • Imitate sounds, sound combinations, and nonverbal communication to express mood, feelings, and emotions (K-4) (AP-2Th-E4) • Understand the basics of interaction, listening, and responding while developing audience etiquette (K-4) (AP2Th-E5) • Understand individual and group roles through the exploration of theatrical methods (5-8) (AP-2Th-M2) • Explore and understand expression, action, reaction, movement, and space in the dramatic process (5-8) (AP2Th-M3) • Understand voice mechanism in representing self, role, scene, dialogue, and character (5-8) (AP-2Th-M4) Historical and Cultural Perception • Recognize and discuss the differences in various cultures (K-4) (HP-3Th-E1) • Recognize and identify characters and their relationships through simple performances (K-4) (HP-3Th-E2) • Recognize and identify various feelings exhibited by characters through simple performances (K-4) (HP-3ThE3) • Recognize and identify universal themes reflected in various cultures (K-4) (HP-3Th-E6) • Express and compare personal reactions to historical and cultural productions (5-8) (HP-3Th-M5) • Identify and discuss ways in which theme has been developed in various cultures (5-8) (HP-3Th-M6) Critical Analysis • Express personal feelings about scripts and performances (K-4) (CA-4Th-E2) • Identify differences between media representation, reality, and role playing (K-4) (CA-4Th-E3) • Demonstrate appropriate behavior during a performance (K-4, 5-8) (CA-4Th-E4, CA-4Th-M4) • Recognize, identify, and use theater arts as a medium for illustrating social issues (K-4) (CA-4Th-E5) • Identify levels and dimensions of characterization (5-8) (CA-4Th-M3) • Relate social meanings inherent in performances to societal issues (5-8) (CA-4Th-M5) Four of the five Louisiana Content Standards Foundations Skills are advanced including: • • • •

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Chapter 24

Storytelling in Libraries

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“Once upon a time, in the long long ago, and in a time before that...” (Scandanavia)


The Storytelling-Reading Connection Hands-on Storytelling Summer Reading in the Public Libraries Library Events Creating Library Programs Resources

My journey into storytelling began in the library. Not as a librarian but as a reader. During my upper elementary years, my family lived in Spain. My dad was in the Navy and I went to the elementary school on base. With no access to American television, I entertained myself by reading. My visits to the library found me nose deep in books from the 398.2 section. I loved folk and fairy tales. Fast forward to my early 20s. I found myself back in the 398.2 section. As a way to improve my writing for children, I began volunteering at my local library, doing Saturday story times. A whole new world opened up for me. I honed my skills as a storyteller and learned new ways to present stories: flannel board, puppetry, cut-and-tell, draw-and-tell, even spin-and-tell! I found children’s librarians to be some of the most creative people I’ve ever met. I have several friends who are children’s librarians. Each week, they present brand new programs for library story times as well as outreach in the schools. They often have to put a program together very quickly for visiting school groups. In the summer, every day each week is filled with story times and library programs. And all of this is done for a worthy purpose—to promote reading.

The Storytelling-Reading Connection Storytelling has a vibrant role in library storytime programming. It is an important part of introducing children to oral traditions and the development of imaginations. Esme’ Raji Codell, Author of How 287


to Get Your Child to Love Reading, says, “Stimulating imagination to the nth degree, storytelling also creates a love of narrative that can translate into a lifelong love of books.” There is a direct correlation between storytelling and reading. In her paper, “Storytelling for Literacy,” Sheila Dailey Carroll says, “Adults who are low-reading or non-reading classically have not been ‘storied’ as children.” In a paper presented at the International Reading Association World Congress on Reading, Eve Marlo and Julie Bullard state, “The child who is consistently exposed to an oral tradition of stories gains skills that prepare him/her for reading … telling stories is a successful way to encourage literacy.” Reading is Fundamental (RIF), a national organization that promotes reading, offers a video titled, “Storytelling: A Pathway to Literacy.” RIF states, “Storytelling is a critical tool for encouraging a love of reading … storytelling can support children’s language and literacy development.” Prime Time Family Reading® Time, a national program developed in Louisiana, is a six or eight week reading, discussion, and storytelling program held at public libraries. A university scholar (who functions as a discussion leader) and storyteller conduct weekly book discussions and storytelling sessions based on award-winning children’s books. Oneal Isaac, a Prime Time Coordinator, says, “Prime Time trains parents and children to bond around the act of reading and learning together. The role of the storyteller is very important in bringing the story to life and motivating families to check out books. The storytelling component is very important in exposing families to the beauty of language and literature.”

Hands-On Storytelling Watch a storytelling children’s librarian in action. While many children’s librarians read aloud, there are those who also incorporate storytelling in their story times. Their storytelling repertoire may include songs, fingerplays, rhymes, puppets, flannel boards, draw-and-tell, fold-and-tell, cut-and-tell, magnet boards, string stories, and much more. In an article titled “Thoughts on Traditional Literature and Storytelling in Libraries,” Janice Del Negro, a professional storyteller and librarian, says, “We select books and tell stories in libraries for many reasons: to build bridges between childhood and adulthood, between language and reading, between one culture and another. In the tradition of the library professionals who have gone before us, we tell stories to keep the art of library storytelling alive.”

Summer Reading in the Public Libraries A great way to become involved in storytelling at your public library is to create a program for Summer Reading. Every year, thousands of libraries across the United States participate in the Summer Reading Program (SRP). It is designed to entice children to visit the library and read during summer vacation. Often, schools and libraries partner to build reading lists and promote recommended titles. Libraries may create programs to target various age groups including preschool children, elementaryage children, and teenagers. States usually create statewide themes to promote summer reading. To find out the summer reading theme in your state, contact your state library. Some states opt to create their own SRP 288


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theme statewide while others join a multistate consortium and participate in a stock theme. Hiring storytellers to promote summer reading is very popular. You will have a marketing advantage if you create your show to correlate with the SRP theme. Another advantage to developing a new program for summer reading is that, by the end of the summer, you will have a polished show ready to market to other venues. In 1999, Louisiana’s summer reading theme was “Let the Good Books Roll.” I created a new program that eventually became “Jambalaya,” the most requested program in my repertoire. Massachusetts Storyteller Karen Chace says, “It pays to have a repertoire that can broaden your appeal and offer libraries various options for programming ideas.” For instance, Massachusetts’ 2005 Summer Reading Program theme was “Going Places.” Because Karen had a well-developed repertoire of themed shows, she was able to offer programs that filled each hiring library’s individual needs. The SRP theme was general and many of the libraries interpreted it differently, hiring Karen to present her “Book A Trip Around the World” and “Tales with Scales (fish tales)” programs. Have fun with the summer reading theme. Many libraries go all out in decorating their branches to correlate with the theme. Each summer, not only do I develop a new show, but I also create a new costume, backdrop, and props. The theme for Louisiana’s 2005 summer reading program was “Splash into Reading.” I responded by creating “Aloha Tales,” a program of Hawaiian stories and Hula dancing (I lived in Hawaii as a child and danced Hula professionally). My show includes authentic Hawaiian costumes, Hula implements, and teaching Hula dance to the audience. Karen Chace likes to provide the children with themed goodies such as pencils and other novelties. Like Karen, I also like giveaways. One summer reading theme was “Zip into the Future,” a spacethemed program. I developed a show and built a star backdrop with a rocket blasting off. At the end, the children were given Starburst candy and a stamp on their “Galaxy Tour” ticket. Summer reading programs really give you a chance to exercise your imagination and develop whimsical, fun programs.

Library Events

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Create programs to tie into various library events such as National Library Week (in April), National Children’s Book Week (in November), and National TV Turn-off Week (in November). Often, libraries will hire performers to promote reading and the library.

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Creating Library Programs Library children’s programs attract a varied audience. While the program may have been marketed for elementary age children, you may also have adults and young children in attendance as older children 289


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are often accompanied by their younger siblings. You never know what kind of a crowd you will see at a library show so be prepared with a vast and flexible repertoire. You will need program material that is simple enough for younger children, and engaging enough for older children and adults. It’s a tall order, but your storytelling must be able to accommodate a diverse crowd.

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Recommended Reading Baltuck, Naomi. Apples from Heaven: Multicultural Folk Tales About Stories and Storytellers. Linnet Books (1995). ———. Crazy Gibberish and Other Story Hour Stretches. Linnet Books (1993). ———. Storytime Stretchers: Tongue Twisters, Choruses, Games and Charades. August House (2007). Bauer, Caroline Feller. New Handbook for Storytellers. ALA Editions (1995). de Las Casas, Dianne. Handmade Tales: Stories to Make and Take. Libraries Unlimited (2008). DeSpain, Pleasant. Thirty-Three Multicultural Tales to Tell. August House (1997). de Vos, Gail. Storytelling for Young Adults: A Guide to Tales for Teens. Libraries Unlimited (2003). Forest, Heather. Wonder Tales from Around the World. August House (1998). Fujita, Hiroko, and Fran Stallings. Stories to Play With: Kids’ Tales Told with Puppets, Paper, Toys, and Imagination. August House (1999). Greene, Ellin. Storytelling: Art and Technique. 3rd Edition. Libraries Unlimited (1996).

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Haven, Kendall, and Mary Gay Ducy. Crash Course in Storytelling. Libraries Unlimited (2006). Holt, David, and Bill Mooney. More Ready-To-Tell Tales from Around the World. August House (2000). ———. Ready-To-Tell Tales: Sure-Fire Stories from America’s Favorite Storytellers. August House (1994). Huff, Mary Jo. Storytelling with Puppets, Props & Playful Tales. Monday Morning Books (1998). Irving, Jan. Stories, Time and Again: A Program Guide for Schools and Libraries. Libraries Unlimited (2005). ———. Story Celebrations: A Program Guide for School and Libraries. Libraries Unlimited (2008). Livo, Norma, Teresa Miller, and Anne Pellowski. Joining In: An Anthology of Audience Participation Stories and How to Tell Them. Yellow Moon Press (1988). MacDonald, Margaret Read. Shake-It-Up Tales!: Stories to Sing, Dance, Drum, and Act Out. August House (2000). ———. The Storyteller’s Sourcebook: A Subject, Title, and Motif Index to Folklore Collections for Children. Gale Research (1982). ———. The Storyteller’s Start-Up Book: Finding Learning, Performing, and Using Folktales: Including Twelve Tellable Tales. August House (1993). ———. Tell the World: Storytelling Across Language Barriers. (2008). ———. Twenty Tellable Tales: Audience Participation Folktales for the Beginning Storyteller. H.W. Wilson (1991). MacDonald, Margaret Read, and Brian Sturm. The Storyteller’s Sourcebook, 1983–1999. Gale Research (2001). Maguire, Jack. Creative Storytelling: Choosing, Inventing, and Sharing Tales for Children. McGraw-Hill (1985). Pellowski, Anne. Drawing Tales from Around the World and a Sampling of European Handkerchief Stories. Libraries Unlimited (2005).

Recommended Websites American Library Association The American Library Association is the oldest and largest library association in the world, with more than 64,000 members. Its mission is to promote the highest quality library and information services and public access to information. ALA publishes Booklist, a highly regarded professional journal that reviews books and other media. Its division for children’s librarians, ALSC (Association for Library Service to Children), sponsors many awards including ALSC Notable Recordings, the Newberry, and the Caldecott Awards. ALA also has a division for school librarians, AASL (American Association of School Librarians). www.ala.org 291


International Reading Association (IRA) The International Reading Association is the world’s leading organization of literacy professionals. Their goal is teaching the world to read. www.reading.org Prime Time Family Reading Time Prime Time focuses on getting families to read together. It teaches parents the art of reading a book and encourages the use of the public library. www.leh.org/html/primetime.html Reading is Fundamental (RIF) RIF is the nation’s largest and oldest organization dedicated to children’s literacy. They support programs and provide materials geared to creating lifelong readers. www.rif.org

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Chapter 25

Recording and Promoting an Audio

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“In a certain kingdom, in a certain land, in a little village, there lived...” (Russian)

In this chapter… ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³ ³

Recording Live v. Studio Choosing the Recording Studio Recording the Audio Working with the Artist and Graphic Artist Sending the CD to the Manufacturing Company Replication v. Duplication Proofing When the Shipment Arrives Setting Up Accounting and Managing Your Inventory Into the Hands of Your Fans! Sell Your CDs Online Put Your Recordings in Stores Place Your CDs in Catalogs Have a CD Release Party Back of the Room Sales Autographing and Meet-and-Greet Tips Send Out Press Releases Send Out Postcards Advertising Your CD Submit Your CD for Awards Submit Your CD for Reviews

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Receive Radio Airplay Offer Extras Resources Audio Recordings Awards and Review Chart Sample CD Layout

Recording a storytelling audio is one of the most exciting ventures for a professional storyteller. The sales of audio stories are booming! In addition to documenting your work, a storytelling audio can provide you with additional revenue, supplementing your performance income. It also gives you another way to connect with your fans beyond the stage. Recording is a big step. To create a quality recording, you should be confident in your storytelling skills and have a seasoned repertoire of stories from which to choose. While many people still use cassette players, they are slowly being phased out. Therefore, my references to storytelling audios will be to CDs. In addition to CDs, there is digital distribution via the Internet, online downloading, and Podcasting. These are recent technologies that storytellers will have to explore as online music and spoken word recordings are exposed to the digital age.

Recording Live v. Studio There are two choices to make when recording a storytelling audio: (1) record live or (2) record in the studio. If you are a performer who thrives on the rapport you have with a live audience, you may want to consider recording live. With a live recording, you can capture the audience’s reaction and their participation in your program. The disadvantage is that recording live is riskier because anything can happen and you have less control over the environment. Rose Anne St. Romain recorded her CD, Once Upon a Shoe, with a live audience. The recording truly captured Rose Anne’s onstage magic and Once Upon a Shoe won a NAPPA Gold Award. I opted to record all of my CDs, Jambalaya, World Fiesta, and Jump, Jiggle & Jam in a studio. The studio allowed me a more controlled environment and allowed me to take my time with the recording. Because the reaction of a live audience is lost, I chose to enhance both of my CDs with music and sound effects. While I may one day choose to record live, I enjoy the flexibility studio recording gives. Like me, Linda Gorham recorded her CD, Common Sense … and Uncommon Fun, in the studio. Her voice is warm and rich and the recording sounds as if she is sitting right next to you telling her stories. Common Sense … and Uncommon Fun won four national awards including Parents’ Choice and NAPPA.

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“The studio is a completely different medium from a live audience. Don't waste your studio time with material that’s not well-formed and solidly in your repertoire. Once it's recorded, it’s out there forever. You don’t want to listen to something down the road and wince at how much better it could have been if you’d just let the material mature another year or two.” Judith Black, Professional Storyteller

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- Recording and Promoting an Audio

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Whether you choose to record live or in a studio, today’s digital technology allows you to adjust sound quality, vocals, effects, and music tracks. Finding a good recording engineer and producer is the key to creating a top-notch storytelling audio.

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“When I’m recording in a studio, I ask a few friends to come and sit in front of me so that I am telling the story to someone. It changes the tone of my voice when I’m communicating with and picking up on the energy of real people.” Susan O’Halloran, Stories for Possibilities

Choosing the Recording Studio •

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Research and tour recording studios. What type of equipment do they use? Do they record digitally? Can they edit your material and master your CD or would you have to outsource that for an additional fee? How do they bill time—do you pay a flat rate or are you charged by the hour? Will you need intros (musical introduction) and outros (musical endings) for your stories, or music within your stories? Find out who holds the copyrights on original music. If you need music composed, do you retain the rights to the music or is it licensed to you for use? As a recording artist, you will probably want all rights to any material on your CD. Be sure that your studio is providing work for hire. Check the chemistry between you and the recording engineer. Remember, you will be working with your engineer throughout your entire recording project. You want someone who will listen to what you want, yet add their own creative genius to your project. Become familiar with the equipment. Step into the sound booth. Check out the microphone. Can you see your engineer? Does the recording environment feel comfortable? Check the studio’s availability. Recording an audio should not be a rushed project. You want to put your best work out there. Be sure to allot enough time to complete your project. Provide your engineer with a rough recording (on a home recorder) so he can get an idea of what you have in mind for your project. If you have samples of work from other people that you like and derive inspiration from, provide those as well. Check on the payment arrangements. Are you required to provide a deposit? Will you be billed at the end of the project or do you pay at the end of each session? Ask for a written estimate and promotional materials from the studio before you leave. This will help you to make your decision once you are home and have time to think.

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Recording the Audio •

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Rehearse meticulously. Going into the studio unprepared is like flushing money down the toilet. Your material should be polished and ready to record, not in the development or experimental stage. You don’t want to waste precious recording time preparing and adjusting your work. Don’t try to do too much at once. Pace yourself and schedule your recording time in blocks. If you try to accomplish too much in a short amount of time, your audio may suffer as a result of being too rushed or too tired. Bring your outline or story/song list with you. Recording in a studio is not like performing live. There is no immediate audience feedback and you cannot adjust your material on the fly. Having an outline or list helps you focus and stay on track. Bring whatever you need to keep your voice and body in good working condition. If you know that your blood sugar drops at 2:00 p.m., you should be prepared for that. Recording for hours on end can also take a lot out of your voice. Arm yourself with plenty of water, herbal tea, Throat Coat tea, ginger lozenges, or whatever you use to nurse your vocals and keep your voice healthy. Getting it right is more important than getting it done right away. If you are recording a piece and things just aren’t clicking, move on to the next piece. Perhaps you just need to take a breather from that particular piece. Remember, once the CD is manufactured and sold, it is forever. Take your time in creating a quality recording of which you will always be proud. Analyze rough cuts at home. Listen to them on a couple different CD players (every CD player has a different sound quality). Listen for sound quality, white noise, plosives (popping Ps and Bs) and sibilance (hissing Ss), heavy breaths, and mouth clicks. If possible, try listening on a CD player that has counters so that you can write down where your recording needs adjustment or editing. Doing this meticulous editing at home, will save you valuable studio time. With my second CD, my engineer and I did on-spot editing after each story. It helped but I still needed to take the CD home and listen to it for further editing possibilities. Listen to the entire rough cut before mastering the CD. Take a couple of days to really listen to your CD when you are finished recording. Ask friends and family to listen with an open ear. You may need to make last minute adjustments and you want to be sure that your recording is exactly how you want it before you have it mastered. Create two masters. You will need one master for yourself—to be kept in a safe, climatecontrolled, fire-safe environment. The other master will be for your replicating company.

The late J. J. Reneaux shared the following tips with me: • • • • • • 296

Make sure your engineer has experience with spoken word recordings. If possible, work with a producer. Don’t try to save money in the studio. Instead, cut costs by thoroughly planning and rehearsing. Record spoken word tracks separately from other sound tracks to prevent “bleeding.” Good chemistry with the engineer is very important. Be choosy! Save money by asking about block time and special rates.

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“When I’m recording in a studio, I always like to ask an organized friend to come with me to mark comments about each ‘take’ and to listen for grammatical errors and other mistakes. On the script or outline of my story, my friend marks where I stopped, as well as the beginning and end points of the section I’m redoing. Then she makes a corresponding comment on a separate sheet for each take. For example, ‘Stop #3/Take 1—stumbled but good energy.’ ‘Take 2—rushed.’ ‘Take 3—the best!’ The sound engineer will also track takes but not in so much detail. He is busy with many more things. Don’t rely on your engineer to be your director.” Susan O’Halloran, Stories for Possibilities

Working with the Artist and Graphic Artist The artwork is a very important part of the CD. People make their buying decisions based on the look of the CD cover. Consider your target market. If you are creating a recording for kids, the artwork should reflect that. Consider branding yourself by placing your image on your CD cover. It gives listeners instant identification with the artist. You and your graphic artist will work together to create the layout of the CD artwork. When the artwork is completed, have your artist and/or graphic artist provide you with a digital file. Your CD design should contain the following:

Front of CD • • • •

Artwork and/or photo Artist’s name and/or logo Album title and subtitle If you are reprinting and have won awards, consider printing the award seal(s) on your CD cover (you will need to pay licensing fees for this).

CD Insert (a/k/a liner notes) • • • •

Artist’s name Introduction or welcome note (optional) Artist’s bio (optional, but I recommend a short bio) Credits ± Recording information—studio and engineer ± Producer’s name or production company name (even if self-produced) ± Players (credit musicians who played on your CD) ± Courtesy credits if another artist performs on your CD 297


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± Photo credits (if you are using a professional photograph, do you have photographer’s permission and have you paid the photographer licensing fees?) ± Mastering engineer and company ± Artist/Graphic designer’s credit ± Manufacturer’s information Song info (writer, copyright, publishing info (BMI/Ascap, etc.)) Lyrics (optional, but recommended—can also be provided on your website to save printing costs. You can also provide lyrics on your CD if you are producing an enhanced CD, which combines sound and data.) Story sources (optional, but recommended) Acknowledgements (optional but nice to say thank you to the people who helped you make it happen)

Tray Card (back of CD) • • • • •

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Artist’s name and/or logo Album title and subtitle Track titles with times UPC (Uniform Product Code a/k/a barcode) Many CD manufacturing companies will provide a UPC for your CD. Check to see if additional fees apply. ISBN (International Standard Business Number)—recommended if selling to bookstores and libraries. Purchasing a block of ISBN numbers is a substantial investment but once you own them, you can place them on your CDs and books. Copyright notice Contact information Release number (usually on spine) My release number for my first CD is SCP-01, which stands for Story Connection Productions 01 (first release) Quotes (optional but if someone Influential and Famous previewed your CD, include a quote from them)

CD Face • • • • • •

Artist’s name and/or logo Artwork Album title and subtitles Copyright and publishing info Contact information Track titles and times (optional, but DJs need this information if you are looking for radio airplay. It also helps listeners identify the CD when it is separated from its case. I make sure that my CD by itself can stand alone in promoting me; on the CD, you will always find my photo and contact information).

If you want your CD to be a “best-selling” CD, it has to be able to visually compete with the “big boys.” Could your CD’s cover compete with the professional graphics of say, a Disney CD? My 298



Jambalaya CD was reviewed by Georgia Family Magazine, right next to the Lizzie McGuire Total Party! CD (a Disney production) and Paddington Bear’s Musical Adventures CD. Image is everything. Invest in a professional photographer and graphic designer to produce the best quality design.

Sending the CD to the Manufacturing Company Be sure to obtain the exact specifications the CD manufacturing company requires. Provide artwork on CD (some companies allow you to send it electronically now). I also like to provide a printed copy of the artwork so they can see how it is supposed to look. I had my CD artwork printed on a laser color machine as a sample for the CD manufacturing company. • •

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Provide a master of the recording Choose container ± Jewel case (choose color for the inside tray—black or clear. If clear, you will need to provide artwork) ± Cardboard case, etc. ± Cardboard sleeve Type of insert (2 page, 4 page, 6 page, etc.) ± Color on one side (4/1) ± Color on both sides (4/4) CD Face ± CMYK four-color processing (highly recommended) ± One color ± Two colors ± White or silver base (white is recommended for four color silk screening) Provide the replication company with their requested forms. Fill out forms completely. Ask for turnaround time. Plan accordingly. There is nothing worse than planning a CD release party and not having your CDs on time. Budget for a 5–10% overrun. Sometimes, manufacturing companies over run the CDs. You will be provided with the extra CDs and charged accordingly. Find out shipping charges. Shipping charges can run several hundred dollars. 1,000 CDs are very heavy. Don’t get caught by surprise. Ask them to ship via FedEx ground or UPS ground and obtain a tracking number. Find out what their policy is on goods damaged by shipping. Will the CDs be insured? What is their return policy?

Replication v. Duplication Know the difference between replication and duplication. With replication (or pressing), the audio data is physically pressed into the polycarbonate as the disc is manufactured (usually from a glass master). Your artwork is screen printed onto the CD face itself.

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With duplication (or burning), your data is written to blank recordable discs using high speed CD/DVD writers, similar to the ones found in your personal computer. With duplication, your artwork is usually printed on adhesive CD labels that are placed on the CD face. Cost and time turn-around are the two biggest factors in choosing replication v. duplication. If you want to produce a small number of CDs for a specific purpose, you may want to consider duplication. The per-unit price is higher but the turn-around can be faster. For larger projects, replication is the best choice. If you are producing a CD that you would like to sell mainstream, I recommend replication. It is the method the mainstream music industry prefers. Replication is the most professional looking of the two methods.

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Always ask for a proof. This is the most important part of your manufacturing process. If you sign off on a proof, you are liable for any mistakes, even if it’s the manufacturing company’s error, because you have released them from liability. Compare the proof from the manufacturing company with the printed artwork from your artist. Check for: ± Spelling and punctuation ± Names are listed and spelled correctly ± Fonts are correct ± Images are correct and properly positioned ± Song or story order is correct ± Track order matches lyric order inside liner notes or tray card ± Times—Check and double-check times and be sure they are listed correctly. I have a permanent time mistake on the first run of my Jambalaya CD: it reads 7:64 instead of 7:46. ± Shifting text ± Contact information listed properly—address, phone, e-mail, website ± Panels are in the proper order ± Everything is correct on the spine

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Jump up and down and shout with joy, then tear open a CD to admire your creative genius. Check every box to make sure there are no cracked or damaged CDs. If any CDs were damaged in shipment, notify the manufacturing company so that they can file a claim with the shipping company. Count all the CDs to ensure that you were sent the right amount of inventory. Set a price list and create inventory lists so that when you begin selling your CDs, you can keep track of inventory.


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Register your CD with the U.S. Copyright Office as a sound recording. The cost is minimal and will provide you with legal protection against copyright infringement. Forms are downloadable from the website, www.copyright.gov, as Adobe files.

Setting Up Accounting and Managing Your Inventory Now that your CD is done and in your hands, it’s time to set up a proper accounting system that can generate invoices and track your sales. I use Microsoft Money Small Business, which has a feature that allows me to include book and audio inventory. The amounts of the CDs are entered as soon as they are received. I subtract the amount allotted for promotional purposes. I like to designate 200 copies of 1,000 as promotional copies. On promotional copies of your CDs, you will need to mark them so they cannot be resold. Take the tray card out of the back of the jewel case and hole-punch through the bar code or, alternatively, draw a heavy black line through the bar code with an indelible marker. Now let’s get down to business and get your work in the hands of your fans!

Into the Hands of Your Fans!

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Breathe a sigh of relief. Your recording is done. Woo-hoo! All that loving labor in the recording studio or recording your material live has paid off—it’s finished, mastered, packaged, and ready to sell. Now you have 1,000 CDs (or more) sitting in boxes in the middle of your living room, garage, or extra room. Of course, you recorded the CDs to sell them but how do you get started? You’re feeling a little overwhelmed at the prospect of yet another job added to your already slammed schedule. Here are a few tips to help you market and sell your recordings.

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“A CD is not only a way to make money, but it is also an art form in and of itself. Put out quality, artistic CDs, and they do more than make money; they represent you as an artist.” Dan Keding, Professional Storyteller

Sell Your CDs Online Set up accounts with Amazon.com, CDBaby.com and Bathtubmusic.com. Although Amazon.com takes 60%, millions of people will go to Amazon first before anywhere else. There is prestige in listing with Amazon. CDBaby was started by Derek Sivers and he is a musician. He looks out for indie artists. CDBaby.com is easy to sign up with. There is a one-time $35 processing fee and they ask for five CDs to begin. CDBaby pays every Monday so checks regularly arrive in the mail when you sell on CDBaby. Like CDBaby, BathTubMusic is artist-friendly. They take a small percentage and do not charge a processing fee.

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Set up a store on your own website so that you can offer your CD for sale. Don’t forget shipping and handling. And don’t forget to offer sound clips. That can make the difference between a visitor and a customer.

Digital Downloads With the proliferation of portable music players such as MP3 Players and iPods, people are dowloading music from the Internet more than ever. Music tracks usually sell for $.99 a track for a 3–5 minute song. Stories are usually longer but unfortunately, most digital download sites do not take this in consideration when setting their prices. My Jump, Jiggle & Jam CD, which retails for $15.99 has 8 tracks on it, varying in length. As a digital download, they sell for $.99/each no matter how short or long the stories are. I receive a percentage of that price so my profit is much smaller. On the other hand, with digital downloads, there is no product to handle and no shipping costs. The stories go directly from the Internet to the consumer. I am a member of CDBaby. They handle my online digital distribution through distribution outlets such as iTones. When songs are downloaded, CDBaby handles the sales and direct deposits my percentage into my bank account. It’s convenient and trouble-free. Ultimately, I may reach a wider audience through digital downloads. Another avenue is to offer digital downloads straight from your own website. Customers can download your stories directly from your site. The upside of this arrangement is that you can set the fee for your downloads. Odds Bodkin operates this way and offers his stories as MP3 digital downloads directly from his website at www.oddsbodkin.com. When offering downloadable tracks from your website, be mindful when setting fees. You don’t want the story tracks on your website to be more expensive than another site offering the same stories. You need to give people a reason to stop and shop at your website. iTales is a company that offers digital downloads of storytelling tracks. Registering is simple and MP3 tracks are easily uploaded from your computer to their site. What I like about iTales is that you set the fee for each track. You receive a 40% commission if your story is downloaded. Storyteller and author Donna Washington says, “iTales is a great service.” All of Donna’s stories are available for download on iTales.

Put Your Recordings in Stores Make a list of stores in your area you would like to carry your recordings. Contact the stores and ask them to carry your recording. Many stores will ask to carry on consignment—that means they carry your recordings and pay you when it is sold. With consignment sales, you can negotiate a better price for youself because the merchant is not paying you in advance for the CDs; 15–30% of the retail price for the merchant is typical for consignments. When retailers purchase inventory from you outright, 40–50% off retail is the common discount. At 40%, a $15 CD will cost the retailer $9. I went into a toy store when I was touring out of town. I ventured inside with no intention of marketing my CDs; I just wanted to buy a gift for my then 3-year-old daughter. I ended up conversing with the storeowner and began talking about my “awardwinning” CD (I couldn’t help myself ). She was so excited about my CD that she bought 8 copies. 302



I left the store with a check in hand. I set my retail price higher than I offer stageside and on my website. This allows me a bigger profit. When selling to retailers, my CD retail price is $15.99, instead of $15.

Place Your CDs in Catalogs Research catalogs that might carry your CD. Look beyond the usual outlets. If you have a CD of fish stories, you may “net” sales in a fisherman’s catalog (everyone needs a gift for their child). The answer is always no unless you ask. Surf the Web and find some catalogs that might be interested, and then make some phone calls. There are many catalogs that distribute to library and education markets. Have a short pitch ready for when the person answers the phone. You will need to know some catalog lingo if your CD is accepted. You will need a return policy (the conditions for which you will accept returns) and an overstock policy (if you will accept returns when they overstock your product). In addition, you will need to establish a retail price (the price you sell to the general consumer). Establish a price slightly higher than what you offer direct to your customers so that your customers can always buy your CD cheaper from you. You will also be asked to provide the catalog with a purchase discount, typically 40% to 50% of the retail price. Catalogs will also ask for terms of payment (when you expect to be paid). Net 30 is common (that gives them 30 calendar days to pay from receipt of the invoice). You may also be asked if you accept purchase orders (they send you a P.O. number and you send the CDs with an invoice). Don’t forget to add the price of shipping and handling when you are invoicing. Getting great reviews in ALA Booklist, School Library Journal, Publisher’s Weekly, and AudioFile Magazine are the key to having catalogs come knocking at your door. Distributors pay attention to these industry magazines because their customers, libraries and schools, read these magazines. If your CD receives a stellar review in any of these magazines, catalogs will likely contact you to establish an account and carry your CD. My CDs are carried by Follett Audio Visual, Book Wholesalers Inc., Book House Inc., and The AV Cafe. These catalogs asked to set up accounts with me because of the reviews my CDs received in national publications.

Have a CD Release Party I had a couple of CD release parties when my first CD was released; a holiday release party for friends, family, and SUPER clients, and a public CD release party at the children's museum. Provide snacks (mention food in your invitation) and people will come. Since my first CD is titled “Jambalaya,” naturally, I served jambalaya. I asked a famous manufacturer of packaged Cajun foods to donate the jambalaya and they did! I also had crafts for the kids and an art contest. Some fans drove two hours to attend my CD release party. The museum gave me a 650 head count, many of whom attended my shows and bought my CD. In addition, my name was advertised all over the museum, in the museum’s newsletter and in the local paper. They called my CD release party “Jambalaya Day” at the museum.

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Alert the media. Send invitations to clients and fans. Solicit donations of food and prizes from local businesses. Decorate the space to create a festive feeling. Have a mailing list for people to sign. Give away a prize basket. If your CD is for kids, provide craft activities that coordinate with your party’s theme. Autograph CDs. Enlist volunteers to help you coordinate the event.

Back of the Room Sales Set up an eye-catching table display with your CDs for sale after every show. Don’t be shy about announcing your CDs at the end of your program. If you stay quiet, so will your CDs because no one will hear them. Remember, fans want to continue their enjoyment of your stories and they can do that by taking a CD home! How many times have you been to an event where you purchase the $10 program (Disney on Ice!) or a t-shirt? It is not egotistical to offer your CDs for sale. People love souvenirs and will purchase them to remember an enjoyable event. •

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Bring a friend to assist you when possible. If you have an assistant with you to help handle CD sales, she can manage the money and open the CDs, readying them for your autograph. When you have a long line of people waiting for your autograph, it helps tremendously. Purchase an inexpensive CD opener from your local music store or bookstore. That shrinkwrap is not easy to open! Provide a ready-made receipt. If you are selling to schools and libraries, educators and librarians will need a receipt. Create a simple receipt that has your name, contact information, CD title(s), and blanks for the date, the quantity, and the total amount paid. You can leave the receipts blank and have your customers fill them out (like airport taxi drivers do when you ask for a receipt). This will save time. Carry adequate change. Pricing your CD a whole number simplifies banking. Selling CDs for $15.45 does not make sense. Carry at least $50—Two $10s, four $5s, and ten $1 bills. If you are selling CDs for $15, you can change those $1 bills into two $5 bills. Accept credit cards. Accepting credit cards greatly enhances your chance for sales. If you are a member of CDBaby.com, they offer you the use of a credit card machine for afterperformance sales. The machine is $30 and comes complete with all the necessary receipts and paperwork. Offer a special—“Buy three and get a five dollar discount. Makes great gifts!!” This will encourage bulk buying. I always offer 20% off to teachers (they frequently spend their own money to supply their classrooms) so my CDs are $12 instead of $15 for them. Create an eye-catching display and put CDs within easy reach of the customers. Elevate your CD display so your customers don’t have to stoop to look at it. CDs laying flat on a table are hard to look at and don’t receive as much attention. You can accomplish this by


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gift-wrapping a tall box with cloth, hot-gluing it together. Or use those beautiful, sturdy gift boxes that come out around the holidays—gold, silver, and star themes are generic. Weight the box down with a bag of dry beans so it isn’t blown over by the wind. Bring your own tablecloth and have two display signs. One with your CD prices and one with your photo and logo. Merchandising and “window dressing” can make a big difference. If you are performing outside, be aware of the wind. Be sure that your displays can stand up to gusts of wind. Small beanbags can help anchor down those clear plastic display signs. Bring bags. People need to put their purchases in one, especially if they buy in bulk or you have multiple titles for sale. Give every customer an order form. They can pass it on to a friend. Don’t forget information about your shows. Have a mailing list sign-up sheet at the table. Strongly encourage people to sign up for your mailing list.

Autographing and Meet-and-Greet Tips

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When autographing, have a prepared “line” that correlates to the theme of your CD. For example, my autograph line for my Jambalaya CD is “Stories spice up your life so cook up a tasty tale!” Having a prepared line will help to move the line along so you don’t have to think about what to say. People love personalized autographs, so ask for their name and spelling. If you are anticipating a huge turnout, prepare an autograph sheet with numbered blanks for people to print their names. When they get to you, you will have a sheet with the correct spelling of each autographee’s name. Be sure to smile and exchange pleasantries with your fans. Ask them what their favorite story or song was, compliment them, talk to them. They remember those things. Keep your show face on. Even if you are “whooped” from a two-hour nonstop set, you were late coming in, or you only had two hours of sleep, don’t let it show. You can crash in your hotel room or at home later. After you autograph the CD, thank your fan by name. It will mean the world to them.

Send out Press Releases You should create a list of local, statewide, and national media outlets where you can send your press releases. Here are a couple of links for FREE press release distribution. www.prweb.com and www.freepress-release.com. Read more about generating publicity in Chapter 17 “Making the Headlines.”

Send Out Postcards Advertising Your CD Full-color postcards are affordable now. I purchase mine from www.vistaprint.com My graphic artist designs them and Vistaprint prints them. Consider creating 51/2" 81/2" postcards, rather than the standard size postcard, for more impact.

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Submit Your CD for Awards There are all types of national awards available for recorded media (Parents’ Choice, iParenting Media, NAPPA, etc.). For awards, your release date or “street” date (the date it officially hits the streets) is important. This will determine which award cycle you fall into. Be warned that submitting your CD for awards is not cheap. There are fees involved—anywhere from $60 to $250. If you win an award, most of the awarding organizations will offer stickers for purchase, in addition to licensing. If you want to use their logo or image on your product or promo materials, you need to pay for the licensing rights. Winning an award gives you national credibility and sets you and your recording apart. You will forever be “award-winning.” Being an award winner also generates sales and media attention. See the awards/reviews chart pages 309–311.

Submit Your CD for Reviews Most reviewers (ALSC Notable Recordings, ALA Booklist, AudioFile Magazine, School Library Journal, Publisher’s Weekly, etc.) require a review copy of your CD upon release. Reviews do not require a fee, usually just a copy or two of your product. The American Library Association publishes Booklist, a publication that features reviews of books and audio recordings. Sue Ellen Beauregard, Media Editor for Booklist, advises, “Submit your recording as soon as it is released.” Robin Whitten, founder of AudioFile Magazine, says that in addition to reviewing audio books, AudioFile also reviews spoken word, text-based narratives, and storytelling audios. Robin says, “Reviewers look for the following criteria: • • • • •

Are the character voices and the narrative captivating? How does the narrative performance come across? Does the audio reflect character? Is the dialect or dialogue clear? Is the context of the story understandable?”

Robin says, “AudioFile likes receiving titles from lesser known companies and individuals. AudioFile reviewers delight in finding that ‘hidden gem.’ ”

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“As a reviewer of audio products, I look for recordings that combine interesting stories with tellers who have the ability to bring them alive. Due to the absence of the visual dimension of a live performance, the teller needs to rely heavily on voice modulation, pacing, characterizations (including unique voices), sound effects (musical accompaniment is a plus), and a positive energy level in order to produce a product that brings the stories right out of the CD player and into the living room of the listener.” Naomi Leithold, reviewer for Chicago Parent Magazine and ALA Booklist



Receiving great reviews in national publications such as Booklist, School Library Journal, and Publisher’s Weekly can lead to sales and catalog placements. It is also a great boost to your career, giving you more credibility as a performer.

Receive Radio Airplay The truth is, mainstream radio generally does not play storytelling audios. So how do you receive airplay? Many college campuses play recordings from alternative and independent recording artists. This includes storytelling and spoken word. You can research the Internet for college campuses that play indie recordings. Also consider your local radio for the blind. They are hungry for material. If you have produced a storytelling audio for children, the best source for a radio airplay list is kidsmusicplanet.com. The list is maintained by children’s musician, Monty Harper, and contains listings for radio stations across the country that play indie children’s recordings, including storytelling. The listings include the D.J., the contact person, and the contact information. I have had great success with this list and Jambalaya has been played on radio stations across the United States. Ask the radio station to provide listeners with CD ordering information. The Indie Bible is a great resource for promoting CDs by independent artists. It contains listings of radio stations and CD reviewers. There are also a plethora of Internet Radio Stations and Podcasts. A Google search of “Internet Radio Stations” will yield many results.

Offer Extras Offer to gift wrap and autograph CDs. It’s the special touch that can make a big difference. There are beautiful, flat paper bags into which CDs can be inserted. The flap can be folded over and sealed with a sticker. Reward customers with a freebie such as a sticker or a tattoo.

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Having product to sell gives you instant credibility and labels you a professional. It also allows you to leave a legacy—a body of work that distinguishes your career as a performer. Yes, it takes an investment of time and money, both of which are always in short supply but it's worth it. Here’s to soaring sales!

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“When the heart overflows, it comes out through the mouth.” (Ethiopian)

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RESOURCES Baker, Bob. Guerrilla Music Marketing Handbook. Spotlight Publications (2004). Rappaport, Diane Sward. How to Make and Sell Your Own Recordings. Prentice-Hall (1999). Stanfield, Jana. Making & Selling Your Own CDs & Cassettes. Writer’s Digest Books (1997). Wimble, David. The Indie Bible. Big Meteor Publishing (2005).

CD Display Stands CD Stands CD Stands is a company that specializes in displays for CDs. Check out their “Knock Down Wood Displays,” which assemble and collapse in a jiffy. www.cdstands.com

CD Manufacturing Companies Disc Makers Disc Makers is another company with a solid reputation. They produce excellent quality CDs and offer services such as enhanced CDs (CDs with digital files such as video, etc.) A friend of mine replicated her enhanced CD through Disc Makers. Not only is her CD an audio sample, it is also a video sample. What an awesome idea! www.discmakers.com Oasis Oasis is a reliable, widely recognized CD replication company used by many indie artists. www.oasiscd.com Omni Disc Omni Disc is a Canadian company. I have used Omni Disc for my CD projects and been very happy. Their quality is fantastic and their prices are rock-bottom. I paid less than $1000 (not including shipping) for 1000 shrink-wrapped CDs in jewel cases with a four panel insert and full color screen on the CD face. They include a free UPC bar code. www.omnidisc.net

Copyright U.S. Copyright Office www.copyright.gov

Digital Download Resources iTales iTales is dedicated to digital downloads of stories for all ages. Registration is simple and free. There is a 40% commission on downloads. www.itales.com

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iTunes Owned by Apple, iTunes is one of the largest sources online for digital downloads of music and spoken word recordings. www.itunes.com

ISBN Numbers Bowker Bowker is the only authorized company to issue ISBN numbers. Libraries use ISBN numbers for cataloguing purposes. www.isbn.org

Radio Airplay Kids Music Planet Children’s Musician Monty Harper generously maintains this free list of radio stations across the country that play children’s recordings, including storytelling. www.kidsmusicplanet.com

UPC Uniform Code Council In order to obtain your own UPC bar codes, you must be a member of the Uniform Code Council. When you become a member, your company will be assigned an identification number for your company's use (company prefix). You will need this number to create your own UPCs. www.uc-council.org

Audio Recordings Awards and Reviews Chart Award/Review

About

Deadline

Submission Requirements

ALA Booklist

Review of audio and other media

As soon as media is released

Fill out form and send one copy of audio

Sue Ellen Beauregard Media Editor Booklist American Library Assn. 50 East Huron Street Chicago, IL 60611 312-944-6780 www.ala.org

ALSC Notable Recording

Review

December 31 of release year

Send form and one copy of audio to each member of committee (form and committee members found on website)

ALSC 50 East Huron Street Chicago, IL 60611 [email protected] www.ala.org/alsc

Send form and one copy of audio to current committee chair

Contact

CD Submissions must be sent to chair and committee members individually (on website)

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Award/Review

About

Deadline


Contact

Audie Award

Award given by the Audio Publishers Association—24 categories including children’s

October 31

Send form (found on website) and eight copies of CD along with entry fee

Laura Skoff, Executive Director Audio Publishers Association 8405 Greensboro Dr. #800 McLean, VA 22102 Voice: (703) 556-7172 Fax: (703) 506-3266 e-mail: [email protected] www.audiopub.org

AudioFile

Review— AudioFile Earphones awards are given to excellent audios upon discretion of reviewer— year-round

As soon as media is released

Send letter and one copy of audio

Robin Whitten, Editor AudioFile 37 Silver Street, POB 109 Portland, ME 04112-0109 207-774-7583 phone 207-775-3744 fax [email protected] www.audiofilemagazine.com

Children’s Music Web

Award for children’s music and storytelling— Reviewed by children

June 1

Send form and six copies of audio

P.J. Swift, Administrator Children’s Music Web Awards 305 Dickens Way Santa Cruz, CA 95064 [email protected] www.childrensmusic.org

Grammy

Award for children’s music and spoken word for children

Must check website for due dates

Must be a member of local NARAS chapter Submission done electronically after registered with Awards division

Recording Academy 3402 Pico Blvd. Santa Monica, CA 90405 310-392-3777 phone 310-392-2306 fax [email protected] www.grammy.com

iParenting Media Awards

Award for children’s media given by iParentingMedia

Quarterly due dates December, March, June, September

Registration is completed entirely online, including payment

iParenting Media Awards One Rotary Center 1560 Sherman Avenue Suite 850 Evanston, IL 60201 880-808-IPMA (4762) phone 310-392-2306 fax [email protected] www.iparentingmediaawards.com

Kids First

Award for chldren’s media

Media reviewed year round

Discount for annual membership Check with website on submission guidelines

Coalition for Quality Children’s Media 112 W. San Francisco St., 305A Santa Fe, NM 87501 505-989-8076 phone 505-986-8477 fax www.kidsfirst.org


Award/Review

About

Deadline



Contact

NAPPA

Award given by National Parenting Publication Awards

July 30

- Two copies of product (three if book) - Two completed copies of form - Must be prepared to submit electronic image of product

United Parenting Publications, Inc. Attn: NAPPA 670 Centre Street Boston, MA 02130 617-522-1515 phone 617-522-1694 fax [email protected] www.parenthood.com

Oppenheim Toy Portfolio

Award given by Oppenheim Toy Portfolio for toys, audios and videos

Accepts submissions year round

- Completed form printable from website - One copy of product - Two identical copies of product

Stephanie Oppenheim Oppenheim Toy Portfolio 40 East 9th Street, Ste. 14M New York, NY 10003 212-598-0502 phone Stephanie@toyportfoliocom www.toyportfolio.com

Parents’ Choice

Award given by Parents’ Choice Foundation

Best to sign up for online newsletter for submission announcements

- Two identical copies of product - Two copies of entry form downloadable from website - Supporting press materials - Digital images—.jpg, .tiff or EPS file (300 dpi)

Parents’ Choice Foundation 201 West Padonia Road Suite 303 Timonium, MD 21093 410-308-3858 phone 410-308-3877 fax [email protected] www.parents-choice.org

School Library Journal

Review

As soon as they are released

- Must be for preschool through 12 grade - Submit letter with information on grade level, running time, copyright and release date, price, and ordering address

Phyllis Levy Mandell Multimedia Review Editor School Library Journal 360 Park Avenue South New York, NY 10010 646-746-6763 phone [email protected]

Storytelling World Award

Award given by Storytelling World magazine for outstanding storytelling resources

As soon as they are released

- Two identical copies of product - One completed entry form available from website

Dr. Flora Joy Storytelling World Awards 108 Oak Grove Blvd. Johnson City, TN 37601 [email protected] www.storytellingworld.com

July 31

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Sample CD Layout

Jambalaya CD—Insert Back and Cover

Jambalaya

CD—Face Label

Jambalaya CD—Insert Inside

Jambalaya CD—Traycard

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Jambalaya CD—Traycard Back


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Storytelling Special Events & Organizations

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“In the olden times when wishing still helped...” (The Frog Prince)


Emceeing Storytelling Events Telling at Special Venues Attending Story Swaps Touring the Storytelling Festival Circuit Organizing Festivals and Other Storytelling Events Beginning a Storytelling Guild Nurturing Storytelling Resources

As a professional storyteller, it is likely that, at some point, you will become involved in a storytelling organization, whether it is telling at a storytelling event, emceeing a storytelling event, or organizing a storytelling event.

Emceeing Storytelling Events The job of the emcee is an important one. The emcee is the glue that holds a program together. Beth Horner, in her article “Tips on Good Emceeing” says, “Depending on the situation, the emcee often wears many hats: artistic director of a set, venue coordinator, stage manager, stagehand, sound and lighting consultant, intro/outro writer, community builder, pitch person, clock watcher, trouble shooter, energy gatherer, caretaker, point person of one-on-one audience feedback (both positive and negative), first aid expert, nerve calmer, cheerleader and dogcatcher! And the emcee must wear each hat with grace and charm!” Based on Beth’s description, the emcee does just about everything!

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Before the Show • • •

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Obtain storyteller’s bios and story selection. Ask the tellers what information they would like the audience to know about their work or their story. Know how to pronounce the teller’s name. My last name, de Las Casas, is a tongue twister for some people, and I always appreciate it when the person introducing me takes extra care to pronounce it correctly. Arrange teller order, being aware of the flow of the program. Obtain emergency contact information of each teller, just in case. Go over housekeeping and announcements. Learn your opening and closing.

At the Site • • • • • • •

Familiarize yourself with your surroundings. Perform a sound check. Introduce yourself to each teller. Introduce the tellers to each other. Provide the tellers with room temperature bottled water. Review the program’s order with the tellers. Remind tellers of their time limit. Do you have a time limit policy?

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Make housekeeping announcements (turn off electronic devices, location of restrooms, etc.) and other announcements at the beginning of the program. Introduce the program; do not read program notes. Do not play favorites. Every storyteller deserves recognition of their work. Avoid playing up personal relationships with tellers. This is not a time to name-drop. Allow the storytellers to shine. Do not upstage them by telling a story or taking up too much stage time. Unless you are a skilled emcee, avoid off-the-cuff remarks about the tellers’ stories. While it is a nice acknowledgement that you were listening, what sounds good to you may sound entirely different to the audience. Early in my career, I produced a storytelling event and served as emcee. When the teller finished her fabulous story that included a song, I thought it would be a good idea to use the song to segue into my introduction of the next teller. As soon as I began singing, I realized it was a mistake. I messed up the song and was so embarrassed. I also lost my focus and gave the next teller a less-than-stellar introduction. The audience would forever remember that teller’s story, but only because of my flubbed version of her song! I apologized profusely to the teller and she was very gracious, but I sure learned my lesson! Watch the audience. Are they restless? Do they need a brief stretch? Monitor the time. Is the program on schedule? Keep tellers on task by giving them visual cues at five minutes, two minutes, and one minute.

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Being an emcee requires a gracious attitude and the ability to make both the tellers and your audience feel at home. If you would like to try your hand at emceeing, you can learn more by taking workshops. Storytellers I know who give workshops on emceeing are Elizabeth Ellis, Susan Klein, Beth Horner, and Leanne Johnson. An emceeing guide, A Guide for Emceeing Storytelling Events, can be purchased online at the National Storytelling Network’s website, storynet.org.

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“This job is harder than telling by a long shot. You must warm up and welcome the audience, introduce each teller with an authentic welcoming and sense of personal knowledge about their work, and clear the audience’s palate between tellers. Emcees deserve an award of their own!” Judith Black, Professional Storyteller

Telling at Special Venues What is a special venue? A special venue is a venue that requires a little more care or extra preparation to ensure your success. Examples of these venues would be outdoor festivals and storytelling olios.

Telling at an Outdoor Festival Telling at an outdoor festival can be challenging. If you are at a festival with music, you may be competing against sound bleeding from other tents. Even if you are telling at an event dedicated solely to storytelling, you will still have the ambient sounds of the outdoors. You may also be dealing 315


with transient audiences; they leave to get food and explore the rest of the festival. When you tell at an outdoor festival, dress comfortably and always use sound amplification. Keep yourself watered and fed, as outdoor telling can be very taxing on the body. Wear sunscreen, even if you are performing in the shade. Several years ago, I performed at the New Orleans Jazz and Heritage Festival on a very hot day in May. It was an all-day event and although I was in a shaded pavilion, there were times when the sun shone directly on me. I didn’t think ahead to wear sun screen. I ended up with a bad sunburn and heatstroke. Lesson learned. Now, I always wear sunscreen and I am diligent about keepiing cool and hydrated. Debra Olson Tolar says, “I was telling at an outdoor arts festival (in the sun—I was promised shade), when I heard commotion behind me. I paused and looked behind me. The organizers told the next act, a band, that it was okay to set up behind me while I was telling. I asked them very nicely to wait until I finished. Later, I politely declined the opportunity to tell at that festival again.” Outdoor venues can present many distractions. It’s up to you to decide how to handle difficult situations.

Telling at a Storytelling Olio What is an olio? The American Heritage Dictionary describes “olio” as a “mixture or medley.” A storytelling olio is exactly that. It is a medley of tellers performing a show. One teller follows another teller on stage. The olio is anchored with an emcee. When telling at an olio, find out who your audience is. This is crucial to story selection. Is there a theme? Often, storytelling events will have themes and want stories to fit within the theme. What is the time limit? There is always a time limit at an olio. In order to fit several tellers on one bill, each teller must be allotted a certain amount of time within which to tell their story. It is crucial to adhere to the time requirements in order to keep the program on track. In addition, going over time is inconsiderate to your audience, the other tellers, and the emcee. The first Commandment of telling at a storytelling olio is, “Thou shalt never go over time.”

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“Folks might forget where you came from. They might forget the name of your tale. But they will never forget if you run 10 minutes over and cause them to have to cut their own work.” Judith Black, Professional Storyteller

Attending Story Swaps Storytelling conferences and festivals have story swaps, an informal gathering of storytellers who share stories. There is usually a swap host who keeps the event flowing smoothly. Tellers are generally “pulled out of a hat.” If you want to tell, you place your name in the hat and tell when your name

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is called. Story swaps are great places to see fellow tellers’ storytelling styles and to derive inspiration for new stories.

Touring the Storytelling Festival Circuit There is no magic to touring the storytelling festival circuit. Why do you see the same names at many of the festivals year after year? The bottom line is that these tellers are well known, they have an established fan base, and they are good at their craft. Storytelling producers have to produce events that generate a profit—at the end of the day, all the festival bills have to be paid. Hiring someone who has delivered outstanding performances in the past is less risky than hiring a rising star. Is that to say that producers are not willing to take a chance on someone new? Of course not. Every producer dreams of discovering the next Donald Davis or Odds Bodkin. If you are interested in headlining at storytelling festivals, you must start small. Perform at local and regional festivals, gradually working your way up. Build your promo kit, your story repertoire, and your fan base. In addition, nearly all festival circuit tellers have products to sell—books and audios. Having merchandise gives a teller more credibility. Selling a teller’s products also allows the festival to generate more income as they take a percentage of the sales. Though most producers will not hire storytellers they haven’t personally seen perform, it doesn’t hurt to circulate your promo information and demo video. A list of storytelling festivals may be found on my website at www.storyconnection.net in the links section.

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Chris King, a producer for the OOPS (Ohio Order for the Preservation of Storytelling) Annual Spring Conference states, “We look for tellers that are well known. It helps if they have products to sell because we take a commission. And, of course, how good they are!”

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“You’re not just hired to perform at a festival. Make yourself available to the public, talk to audience members, staff members, volunteers, committee members, let them know you appreciate what they do and don’t hide out in the green room or at your hotel. No one likes a prima donna.” Dan Keding, Professional Storyteller

Organizing Festivals and Other Storytelling Events Planning a storytelling festival or other storytelling event such as Tellabration! requires vision, time, manpower, community support, and determination. In the NSN Producer’s Guide, Jim May, who founded the Illinois Storytelling Festival, states, “I see a festival of this type as a community building resource, a place for people to come together, reconnect, become inspired, enjoy and also bring artistic energy and creativity to the challenges of living in our time.”

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There are many elements to consider: • • •

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What is your artistic vision for the festival? Why do you want to start a festival? This vision will become the backbone of your festival. Where will the festival be held? You may want to consider starting out small and using a community center or a school as your festival setting. Is there access for the disabled? What is your festival budget? An overall budget will help keep expenses on track. Your expenses will possibly include administrative fees, marketing, office supplies, equipment rental, food, insurance, site rental, performance fees, travel, lodging, and personnel fees (electrician, sound, interpreters, security). How will you secure funding for your festival? Sustaining a festival of any kind requires cash flow to pay festival expenses. The Chamber of Commerce, local businesses, the mayor’s office, and the Visitor’s and Tourist Bureau are all places that provide, or can at least point you to, funding sources. You can also generate funds by writing grants. What is your timeline? When do you propose to have your festival? You should allow yourself ample time for planning. Who is your festival team? While one person can probably get a festival off the ground, it is better to operate with a team. The duties can be divided and each member of the team can contribute valuable ideas and contacts for the event. What is your marketing and publicity plan? How will you get the word out about the event? You will need to produce brochures/flyers, public service announcements, and press releases. Information will need to be disseminated throughout the community. You may need to make television and radio appearances and take out ads in local publications. How will you design your event? How many stages will you have? You will need a site layout or blueprint. Will you sell food and products at the event? If so, who will man the booths? Is a vending license required? Will you utilize volunteers? If so, where will you find them? You may want to contact service fraternities and sororities at college campuses, senior centers, and other organizations. Who will be your headliners? Headliners draw a crowd. Headlining tellers should be established, well-known veterans or rising stars who have truly created a “buzz.”

The above list is by no means a comprehensive one. There is so much to consider when organizing a storytelling event. The National Storytelling Network has a Producer’s SIG (Special Interest Group). The Producer’s Guide, a how-to guide for planning a storytelling festival or event, may be purchased from NSN’s SIG, Producers and Organizers (PRO SIG), at www.organizersig.org/guide.shtml/.

Tellabration! According to the Tellabration! website, “Tellabration! is a worldwide benefit evening of storytelling. It creates a network of storytelling enthusiasts bonded together in spirit at the same time and on the same weekend. Tellabration! originator J. G. Pinkerton envisioned this international event as a means of building community support for storytelling. In 1988, the event was launched by the Connecticut Storytelling Center in six locations across the state. A great success, Tellabration! extended to several 318



other states the following year, and then in 1990, expanded nationwide under the umbrella of the National Storytelling Network.”

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Today Tellabration! is celebrated around the world. It is traditionally held on the Saturday night before Thanksgiving although the event can occur at any time that weekend. If you are interested in starting a Tellabration! in your area, you can register your event online at the Tellabration! website at www.tellabration.org. Anyone can produce a Tellabration! event: storytelling organizations and centers, schools, libraries, colleges, museums, performing-arts centers, story-swap groups, story enthusiasts, and others. NSN publicizes Tellabration! events worldwide. A Promotional Kit CD is available for $25.00. For new sites and/or first time producers, a Manual and Guidebook CD is available for $15.00.

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“Get your publicity out weeks in advance. Make up a list of all the TV and radio stations and contact them to find out where to send your publicity. Have a name on your envelope, e-mail, or fax. Send publicity material to all the local TV and radio stations. They must all save air time for community calendar events. The blurb should only be 15 or 30 seconds so write down what you want them to say, time it for length, and send in the final draft that fits perfectly into the time slot.” Linda Spitzer, Professional Storyteller and Tellabration! Producer

Beginning a Storytelling Guild

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Starting a storytelling organization can be fun and exciting. It is also a lot of work. In 1999, I decided I wanted to start a storytelling guild in my area. I teamed up with Angela Davis and together we founded South East Louisiana Storytelling Guild. To attract people, we offered a free storytelling workshop. We tapped the media and our meetings were advertised in the community bulletin of the paper. We partnered with a local coffee shop to host our meetings. Later, we then partnered with a national bookstore to host them. Members were enthusiastic and excited about storytelling. Unfortunately, since Hurricane Katrina, the organization has been dormant.

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“A guild often needs a zealot to keep it going, somebody who is willing to gather the people, spread the word, and delegate.” Priscilla Howe, Professional Storyteller

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Planning is Essential In her article “How to Start and Maintain a Successful Storytelling Guild,” Chris King advises, “To start any group, you will need a plan of action and at least one or two other people who are willing to help with the startup.” If you plan to create a nonprofit group, you will need a Board of Directors and bylaws. You can hire a lawyer to draft your bylaws, incorporate your group as a nonprofit, and file your paperwork with the IRS. Check with your arts council to find out if they have lawyers who volunteer for the arts. A nearby successful storytelling guild may be willing to share a copy of their bylaws and incorporation paperwork with you. An organizational chart delineating the duties of the board can be very helpful. Strong leadership and group participation are vital to the success of a storytelling guild.

Membership Benefits When forming your guild ask, “What will the members gain when they pay their dues?” Membership benefits can include story-coaching, story-swapping, professional development, mentoring, networking, and a regular newsletter. To keep members renewing each year, a storytelling organization should be benefit-laden. Steve Otto advises, “I have found that you continually have to be recruiting new members. The old ones get tired and burned out because there is a cadre of only 10–12 people. You have to have new blood constantly being recycled to keep the organization alive. Your 10–12 base will remain, but they need to be able to accept and give responsibility to the new folks. Not having any input or responsibility drives people away quickly.”

Resolving Organizational Conflicts No matter what group you are involved in, there will be organizational conflictsa. People have differing opinions and misunderstandings occur. In order to thrive as a group, conflicts must be resolved. Many organizations cripple and die as a result of unresolved organizational conflict. Board and committee duties should be clearly defined on paper. Grievances should be cleared in the open and the guild should look for solutions. Remember why the organization was started in the first place.

Financial Stability Every guild, no matter how small, has expenses. A treasurer should be designated to track expenses and reconcile the group’s bank account. Chris King says, “Even a small, casual group will have expenses. Having a substantial treasury helps with advertising the group, holding special events, hiring well-known storytellers, and being able to donate a gift to your meeting place. Also, it will give the group/guild credibility.” To open a bank account for your group, you will need a Tax I.D. Number from the IRS. The TIN is free. Visit www.irs.gov for access to the form.

Nurturing Storytelling Storytelling is one of the most wonderful forms of entertainment because it connects people through the power of story. Nurture storytelling in all its forms and storytelling will nurture you.

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“Chase the rooster and catch the hen. I'll never tell a lie like that again..” (Bahamas)

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Recommended Reading National Storytelling Network. The Producer’s Guide. National Storytelling Network Producers Special Interest Group. National Storytelling Network. Tellabration Promo Kit. National Storytelling Network Tellabration! (2003). Neal, Kathleen A. A Primer on Nonprofit PR. Pineapple Press (2001). “Producing Storytelling Events.” Storytelling Magazine. (September/October 2004; Vol. 16, Issue 5).

Recommended Websites National Storytelling Network Visit NSN’s Marketplace for great storytelling resources. www.storynet.org Producers and Organizers, a SIG of the National Storytelling Network The purpose of the Producers and Organizers Special Interest Group of the National Storytelling Network is to encourage networking and support among organizers within NSN. A Producer’s Guide is available for purchase. www.organizersig.org Storytelling Power Chris King’s website has a great article on beginning a storytelling guild. www.storytellingpower.com

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Nonprofit Resources The NonProfit Times The NonProfit Times is a free newspaper on nonprofit management. It is filled with great articles and resources. www.nptimes.com

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Chapter 27

Working the Workshop Scene

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“Back, far back, in the mists of time when the world was very young...”


Crafting a Workshop Proposal The Workshop Toolkit Organizing Your Workshop Materials Preparing Yourself and the Space Housekeeping, Safety, and Comfort Issues The Presentation Working the Workshop Scene Resources

As you grow confident in your skills as a performer, you have probably developed ideas that work. Now that you are accomplished, you may want to consider sharing your ideas with others by conducting a workshop.

Crafting a Workshop Proposal Great conferences are made up of great workshops. Conference participants attend workshops because they are, as Corinne Stavish says in the January/February 2004 issue of Storytelling Magazine, “shopping for ideas that work.” But let’s go back to how it all starts. It starts with a call for proposals. The proposals are then evaluated by a committee, who score them, and decide which proposals will be accepted.

Behind the Scenes As a proposal evaluator for the National Storytelling Conference 2005, I had to review many proposals. Fran Stallings, chair of the proposal committee, gave these instructions:

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“I especially depend on your experience and judgment to evaluate: (1) The quality of the session which the applicant proposes to present and (2) the applicant's proven ability to present it.” In addition, we had to look at the overall quality of the proposal. Did the person follow instructions? Is the proposal legible and properly formatted? Does it contain typos or other errors? Were the supporting materials included? Submitting a proposal is like submitting a résumé. You are applying for a job. There are other applicants vying for the same “job.” Who will ultimately receive the “call” depends, in large part, to the content and the quality of the proposal.

Elements to Consider The most important element of your proposal is your workshop’s subject matter. Are you offering knowledge of great value to your participants? Is your topic something that people want to learn? Something people would pay to learn? If you haven’t already put your presentation together, now is the time to outline your workshop. Some calls for proposals may request an outline. In addition, you will also need to have the following available: • • • • • • •

Workshop description Workshop objective Length of workshop What can participants expect to learn? Full and condensed bio Résumé Supplemental materials

If you are filling out a form, it is best to type it. Be mindful of spelling and grammar, and doublecheck your application before submitting it. If you are submitting more than one page or attachments, list your name and contact information on every page. Know the difference between a workshop, seminar, and lecture. Judith Black says, “Workshop includes the word ‘work’ and I believe that means participants expect to be engaged in hands-on or ‘words-on’ activities. If they want to hear you yammer on about the topic, then title your presentation as a ‘lecture,’ and no one will be disappointed. In a workshop, however, folks deserve to immerse themselves in activities you have designed to help them explore a specific area of their storytelling.”

Putting it All Together When submitting your proposal, check to make sure your application is complete. Place the proposal in a 9" 12" or 10" 13" envelope, so that your proposal doesn’t bend in the mail. Workshop proposals aren’t limited to conferences. You may want to submit a proposal for a teacher workshop to the superintendent of schools or to a company to teach a training course. In any event, the proposal is a vital part of your overall workshop package. It represents your image and your status as an “expert.” Take the proposal seriously and you will be taken seriously. You might just be the right presenter for the job! 324

X X X X X X X X X X X X X X X X Chapter 27

- Working the Workshop Scene

The Workshop Toolkit Giving workshops can be fun and exciting. It is a great honor to be the teacher. Everyone has come to learn from you. As a workshop presenter, your #1 responsibility is to inspire your participants into action when they leave. They should want to take the material they have learned and put it into immediate practice. Workshops are places for idea making.

Proper Planning Laying the foundation for a successful workshop begins in your office or wherever you do your thinking and planning. It is vital that you have a well thought out model before you begin your workshop. Workshops are not the place for “off-the-cuff ” presentations. Participants can see immediately when a presenter is not prepared. When you are asked to present a workshop, find out as much about the event as possible. • • • • • • •

How much time will you be allotted? How many participants will be attending? Who will be in your audience? (teachers, librarians, etc.) What is the objective of the workshop? Where will you be presenting? What type of equipment is available for your use? How will the room be set up?

All of these factors will greatly affect the way you plan your workshop. Of course, you can always build “stock” workshops, workshops you have available year-round that can be tailored for nearly any event. My “Story Biz” workshop is a stock workshop. I can do a 90-minute presentation or a weeklong intensive.

The Outline I like to start my workshops with an outline. An outline allows you to plan your ideas ahead of time. I bullet discussion points and include group activities, which can be omitted if time is an issue. My personal outline then becomes the blueprint for the workshop in general. It is also from my personal outline that I create an agenda for the workshop. At the beginning of the semester, college professors hand out a syllabus. Students then know what to expect and what is expected of them throughout the course. It is the same with a workshop agenda. Let your participants know ahead of time what to expect.

The Description For the hiring presenter, the title and description is vital. It’s how they “sell” the workshop to interested people. Come up with a catchy title for your workshop. “How to…” is always popular but I prefer jazzy, snazzy titles. Try plays on words or select a theme. For me, “Wild About Marketing” was a play on words and a theme. No one I met ever seemed to be wild about marketing so I thought I would inspire people to like it more by looking at it differently. The “Wild” in the title also allowed me to play to the theme using animal prints on my handout, my table decorations, and even my dress!

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When people walk into my workshop, many are surprised at how colorful and lively everything is. And it all started with a catchy title. The title is important but it isn’t enough. The workshop description should be given a lot of thought. In the description, you will be summarizing what people can expect to learn, getting them excited about attending your workshop. Have several blurbs at the ready—a 25 to 30-word description, a 75-word description, and the in-depth 200-word description. Each has its own purpose. The shorter blurbs are for the brochure while the longer blurbs can work in a press release.

Visual Aids Depending on the type of workshop you are presenting, visual aids are very useful. Information retention is greater when your workshop audience can see what you are talking about. Types of visual aids are: • • • • • •

PowerPoint presentations Overhead transparencies Flip charts Display boards Props Samples

While using visual aids can enhance your presentation, they can also be cumbersome to carry and awkward to show, interrupting your flow. Think carefully about using visual aids. If you believe it is vital to your workshop, then use it. If not, then streamline and focus on your workshop’s content.

The Handout Participants crave handouts. They want something they can take home and digest later. Handouts also serve as a great marketing tool so be sure your contact information is on every page. There is no rule that states how long handouts should be. Some presenters give participants a one-page handout while others prefer several pages. For me, the handout is an important aspect of my presentation. I don’t use the handout as merely a bibliography. I like my handout to be interactive, encouraging people to read it, write on it, and use it. For this reason, I give my handouts at the beginning of my workshops. If however, you do not wish for your participants to rifle through the pages of your handout while you are talking, it is best to wait until the end of your presentation to hand it out. One of the best workshop handouts I have received is from storyteller Linda Gorham. Her handout begins with a personal note and has her logo and all her contact information on it. Each page is numbered and contains the title of her workshop as well as her contact information. Her outline is clear and bulleted. Her bibliography contains notes about each book she recommends, both pros and cons. Storyteller Karen Chace gives a workshop on forming a youth storytelling club. Her handout is a bound booklet. When participants leave her workshop, they have a book of material they can go home and digest. For my Wild About Marketing! intensives, I offer a workbook. Throughout my workshop, participants are encouraged to “work the worksheets” that accompany each chapter.

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I always create a special heading on my handouts for each workshop. It has my name, logo, contact information, the name of the workshop, the name of the event, location, and date. It helps them find your handout later when they need it. I try to organize the overall handout in such a way that it would be useful even to someone who had not attended the workshop. I want the handout to be kept—after all, it has my name and contact information on it! Mary Grace Ketner—Professional Storyteller

When negotiating with your client, find out who is responsible for providing the handout. I always ask the presenter to provide the handout. Handouts can get costly, especially if you have a large number of participants in your workshop. Keep this in mind when creating your handouts. If you do decide to create a larger handout, be sure that there is value added and that it is worth the extra expense. Include the following in your handout: • • • • • •

Contact information on every page Page numbers (helps if pages are separated) Title of workshop on each page Outline of workshop Bulleted points Annotated bibliography and webliography

Group Activities I have attended many workshops that were enhanced by group activities. Storyteller Michael Parent is an expert when it comes to group activities and participation. He knows how to solicit volunteers and execute an activity that enhances his presentation. Before you decide to add group activities to your workshop, you must first determine what value they add to your presentation. Activities you choose should have the ability to be executed in a short time and be vital to the topic you are presenting. For instance, in my Wild About Marketing! workshop, I have a section on media. I solicit volunteers and conduct a TV, radio, or newspaper interview on the spot. Afterwards, we discuss how to handle media interviews.

The Checklist I like lists. Lists delineate what needs to be done clearly and efficiently. Here is my “Do Not Forget” workshop checklist: • •

Workshop handouts (I always bring extras just in case) Personal workshop outline (2) or note cards

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• • • • • • • • • • • • • • • • • • • •

Evaluation sheets (if presenter does not provide) Workshop preparation sheet for host or room monitor Briefcase and PDA Brochures and brochure holders Business cards and business card holders Laminated signs and Page Ups (palm-sized stands that hold up signs) Display boards Easels Portfolio CD player (optional) Items for sale Cash box and change (for books and CD sales) Pens Fill-in slips for the prize drawing Book and CD order forms Stop watch Tablecloth(s) Display items Door prizes Promotional giveaways

Not everyone will present like me. Some people like a simpler, more streamlined approach. Do what is best for you. Create your own workshop checklist.

Organizing Your Workshop Materials During my marketing workshop, I pass out a lot of samples. Inevitably, they are strewn about or piled on one table. Sometimes, another workshop presenter comes on right after me so breakdown time is limited. To organize the samples, I use an accordion file with each slot color-coded according to the outline of my workshop. Every sample is tucked into that pocket. I label each sample a different color to correspond with the color-coded slot. That way, when clean up time comes, anyone can stick the samples into their proper pockets by color. The accordion file I use is a black, nylon zippered file I found at Office Depot. I also use a lot of displays during my workshops. Because setup time is often limited, I set up the display the way I want it at home and then take a Polaroid or digital picture. When I get to the workshop site, if someone is helping me set up, they can just look at the picture.

Preparing Yourself and the Space If you can enter the workshop space beforehand, do so. Acquaint yourself with the layout. Don’t rush into the room right before the workshop starts. You won’t feel centered and calm. Allow yourself a few minutes of “me” time to focus and go over your notes. 328



Taking care of yourself is so important. Keep yourself “watered and fed” throughout the workshop, particularly if you are presenting an intensive, one that lasts several hours. Keep room temperature water, cut fruit, and mints or lozenges nearby. Test all the equipment in the room. Have your outline and/or your note cards ready. Set up and test your PowerPoint presentation. If you are using a projector, check to see that your overheads are in order. Make friends with your host or room monitor and communicate any needs to them. Employ their help in setting up, greeting participants as they come in, passing out drawing slips and evaluations, and breaking down. It is a nice gesture to give them a little something extra for all their help.

Housekeeping, Safety, and Comfort Issues Adjust the temperature of the room if necessary. A cooler room is better than a warmer one. Bodies usually warm up a small space. Acquaint yourself with the locations of the exits and the restrooms. “Housekeeping” information should be communicated to the workshop participants in the beginning: • • • • •

Locations of restrooms and exits Turn off cell phones and pagers Your photo/video rules (some people do not want pictures or video taken) Enter name for door prize (if there is one) Complete evaluations and turn in at the end of the workshop

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If you are “workshopping” for an extended period, give participants a chance to stretch and break. Sitting for hours on end can be counterproductive. A yoga stretch, some silly shakes, or a participatory song with movement can all serve to get the blood moving. A ten-minute break is standard for an hour and half of sitting.

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“Invest in a copy of The Trainers Handbook as it reads like a tutorial. It will walk you through every important step from needs assessment to program evaluation.” Kimberly M. Cuny, Director of the University Speaking Center

The Presentation Linda Gorham, a professional storyteller who worked in the corporate world, has mastered the art of presenting a workshop. In fact, she gives a workshop on how to give workshops. Linda says, “Think of presentations as journeys—guided, clearly mapped journeys into the vast world of knowledge and entertainment.” Are you ready to guide your participants into uncharted territory? When they leave, they should have a map of where they want to go with the information you have imparted. You 329


should be enthusiastic and perky when your participants work through the door. Leave your personal issues outside and be truly “present” for your presentation. Start and end on time. If people have another workshop to attend after yours, they will want to get out on time. It is disrespectful to the presenter and your audience to keep them past the allotted time without their permission. Pace yourself so that you will cover your material in the allotted time frame. Warm up your audience with low-risk icebreakers. Icebreakers are activities that help your group get to know you and each other better. Icebreakers should be simple, not too involved and should make your workshop attendees feel welcome. Inevitably, questions will arise throughout your presentation. It is your job to keep the questions in check so that you don’t shortchange your participants the material you have promised to cover. Never lose control of the floor. Once two people engage in discourse in your workshop, you are no longer in control. It’s harder to rein people in when they are in the midst of deep discussion. Expect the unexpected. There will be times when Murphy shows up. Murphy’s Law: “Whatever can go wrong, will.” In 2003, I presented at the National Storytelling Conference in Chicago. I had extensive handouts: folders filled with a 16-page saddle-stitched booklet and lots of samples of marketing materials. To make a long story short, the post office lost my box of handouts. Fortunately, I came with 50 extra handouts and materials. On the morning of my workshop, a friend drove me to Office Max where I purchased more folders and made more copies. The folders were done just in time for my workshop. No one knew the difference. A friend advised me not to tell the participants about the disaster at the beginning of the workshop and not to begin the workshop with an apology. She was right. If I had, it would have started the workshop on a down note. At the end, I told my story and everyone was amazed at how complete my packets were. They didn’t even miss what was missing! It sure helped to have a contingency plan. You can divert disaster with Plan B. While people appreciate your ability to talk “off-the-cuff ” and spontaneously, they appreciate it more when you present your topic completely prepared. Your confidence is their confidence. When you are knowledgeable and encouraging, your participants will go away feeling like they can do it too. I begin and end my presentations much the same way I approach my stories when I am storytelling. I memorize it. What you say in the beginning of the workshop sets the tone for the rest of the time. End with enthusiasm and energy so you can fire up your participants.

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“We learn by doing. A successful workshop is an equal mix of performance, pedagogy, and hands-on experience. Participants should walk away with a healthy dose of inspiration and practical application.” Brian Fox Ellis, Fox Tales International



Working the Workshop Scene

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“A grief shared is half a grief. A joy shared is twice a joy.” (Vietnamese)

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Offering workshops can be a great boost to your career. You take on one of life’s greatest roles, that of “teacher.” It allows you to inspire others into action.

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Recommended Reading Harvard Business School. Presentations that Persuade and Motivate. Harvard Business School Press (2004). Kushner, Malcom. Successful Presentations for Dummies. IDG Books Worldwide (1997). Stevenson, Doug. Never Be Boring Again. Cornelia Press (2003). “Workshops: Shopping for Ideas That Work.” Storytelling Magazine. (January/February 2004 Vol. 16, Issue 1).

Recommended Websites Ice Breakers Looking for some icebreakers to spice up your next presentation? www.businessfundamentals.com/IceBreakers.htm Patricia Fripp, Professional Speaker Patricia has a ton of useful articles on her website about public speaking and presentations. Great resource. www.fripp.com

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Chapter 28

Taking Care of You

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“Back when the world was young, and the humans and the animal people could speak to each other...”

In this chapter… ³ ³ ³ ³ ³

Caring for the Vocal Instrument Vocal Training Preventing Burnout 101 Stress Busters Resources

As a storyteller, your voice is your most precious instrument. Without your voice, you cannot tell stories. Take care of your voice and treat it well.

Caring for the Vocal Instrument

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“We can’t expect a resonant voice to be there, on demand, before a big gig.Working on breathing, articulation, resonance and diaphragm strength is a cumulative reward.” Susan O’Halloran, Stories for Possibilities

Hydration In order for the vocal folds to vibrate efficiently, a thin layer of mucous is needed. The best way to

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achieve this is by drinking the recommended daily 64 oz. of fluids. Most of those fluids should be water. If you are engaging in strenuous physical activity such as performing, you will need more fluids. As the saying goes, drink until you “pee pale.” Caffeinated drinks such as tea, coffee, and soft drinks, as well as alcohol, dehydrate the body. Drinking small quantities is not harmful but counterbalance their effects by drinking more water. If you travel by air, be aware that the pressurized air inside airplanes is very dry. Be sure to drink enough water to keep hydrated. On my way to Korea, a 15 hour flight, I failed to drink enough. Combined with jet lag, the dehydration affected my body. While performing in Singapore, I had a terrible dry cough that would only ease with mega-strong cough syrup and herbal tea. Thank goodness for chamomile! Entertainer’s Secret and Clear Voice throat sprays are effective for moisturizing the vocal folds. Extremes of temperature can also cause hydration issues. Air conditioning and heat can cause dry air. A humidifier helps to moisturize the air.

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“Hydrate, hydrate, hydrate! Drink plenty of water before the performance, and during it, if possible. In elementary schools, try not to drink or fill your water bottle from the drinking fountain—consider all those little mouths and hands touching it.” Priscilla Howe, Professional Storyteller

Throat Clearing and Harsh Coughing When you have a sinus drip or a cold, your impulse may be to clear your throat or cough away that “frog.” Stop! Throat clearing and harsh coughing are traumatic to the vocal chords and should be avoided, or reduced as much as possible. Too much mucous or thick mucous in the throat should be cleared with a good productive cough, and with little sound.

Drugs Sometimes, the very drugs that are supposed to ease our symptoms and provide us comfort are the very worst for performers. Over-the-counter antihistamines, used to treat colds and allergies, cause dryness. Steroid nasal sprays such as Nasacort, Vancenase, or Flonase can often provide the relief needed without drying the vocal cords. In her book, Gigging, Patricia Shih says, “These prescription nasal sprays are great because they are often more effective and less expensive than prescription antihistamines.” Be sure to talk to your doctor or pharmacist about the possible side effects of any over-the-counter and prescription medications you are on. Establish a good relationship with your doctor. My doctor and her staff know that I am a storyteller and that my voice is my gold. Whenever I call for an appointment for an illness that can affect my voice, they see me right away. 334


- Taking Care of You

When Vocal Illness Strikes Sometimes it cannot be avoided. Illness strikes when you least expect it. Here are some remedies recommended by performers over the years. Use what works for you. •

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For Sore Throats and Laryngitis ± Crystallized ginger ± Ginger throat drops such as Gin-Gins ± Throat Coat tea ± Zinc lozenges ± Herbal teas such as chamomile and green tea ± Warm pineapple juice ± A hefty dash of Tabasco in your warm salt water gargle treatment ± Warm lemon water with honey For Colds ± Echinacea ± Zicam ± Cold-Ease ± Airborne (preventative) Throat Sprays (for moistening the vocal folds) ± Clear Voice ± Entertainer’s Secret

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Most importantly, if you are experiencing vocal illness, get complete voice rest. Do not talk! This would be a good time to learn sign language…

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“Treat your voice with the same loving care that a musician treats his instrument after a performance. When not in use, gently put your instrument in its case. REST your voice and avoid unnecessary speaking, especially on the telephone. Drink lots of water and avoid clearing your throat and whispering. If you must speak, do it in a slightly higher pitch and lighter quality than normal. I call this using ‘my Fairy Godmother voice.’ ” Leeny del Seamonds, Master Story PerformerTM

Good Vocal Practices Practice the following to achieve vocal longevity:

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• • • • • • • • • •

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Maintain good general health. ± Get adequate rest. Fatigue stresses the voice. ± Eat a balanced diet that includes vegetables, fruit, and whole-grain foods. ± Keep your body hydrated with plenty of water. ± Avoid smoking. ± Maintain a healthy mouth, including lips, teeth, and gums. Avoid dry, artificial climates if possible. Avoid smoggy and polluted air (second-hand smoke). Avoid yelling and whispering. Both are damaging to the vocal chords. Avoid extremes of your vocal range. Character voices can sometimes tax your vocal chords. If you begin coughing after performing, you have probably strained your voice. Avoid consuming dairy products close to performance time. Dairy products, such as milk and cheese, produce phlegm. Use sound amplification when you are performing or presenting. When speaking long sentences, take frequent breaths. Wrap your throat with a scarf in cold weather to keep your throat warm. Like any muscle, your vocal chords cannot perform well when they are “cold.” Warm up your voice before performances to avoid vocal strain (motorboat noises, tongue twisters). Like any athlete, muscles must be warmed up before you perform. Release tension in the jaws and neck—yawning and rotating your necks helps. When performing, pull your sound from your diaphragm. In addition to giving your voice a fuller, richer quality, you will also relieve tension on the vocal chords.

“I try to think of warming up my voice as I do brushing my teeth or any other daily habit. Would I go out of the house without combing my hair? No. So why would I leave the house without my best voice on—especially when I’m in the business of using my voice?” Susan O’Halloran, Stories for Possibilities

Vocal Training If you are interested in preserving your voice for the long haul, you may want to consider professional training. A vocal coach can guide you and provide you with directed exercises to warm up and strengthen your voice, and help you use your diaphragm. I took lessons from a vocal coach and learned a lot about using the air from my diaphragm to strengthen my voice. Doug Lipman offers a Voice Care Toolkit, which provides a video, CDs, and a guide for taking care of your voice.

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“If you abuse it, you lose it! Remember your voice is your precious instrument. Keep it tuned up for peak performance.” Bonnie Greenberg, Professional Storyteller and Speech Language Pathologist

Preventing Burnout The blues. The doldrums. Down in the dumps. In a funk. Stressed out. Burnout. Whatever you call it, it happens to all performers. Being a solo performer can make you feel disconnected. There are long hours traveling and long hours spent in your office. You can lose your focus and passion for your work. There have been times when I wondered, “Why am I doing this?” I know several performers who, at one time or another, lost their spirit for their art. Fortunately, there are ways to cope and manage these feelings.

Reach Out Whenever I am feeling down, I call people on my support system. My best friend, another performer, has the perfect ear for listening to my troubles. Being a performer herself, she always offers me great advice. Or sometimes, she just listens and that helps. Find people you can confide in and people who will help you through this period. Call them. Visit them. Burnout is a serious issue and the people you talk to shouldn’t treat it lightly. If you are really down, you may be suffering from depression. Depression is a serious health issue and requires the help of a professional. Sometimes, the combination of medications, side effects caused by medication, and even health issues or disorders can be the culprit. Some signs of clinical depression are: • • • • • • • • •

Constant depressed or irritable mood Constant sleep or sleeplessness Fatigue or loss of energy nearly every day A feeling of hopelessness Disregarding personal hygiene Disconnection from friends and family Diminished interest or pleasure in all or almost all activities Diminished ability to think or concentrate nearly every day Sudden weight gain or weight loss

If you are feeling three or more of the above symptoms, talk to a doctor and get help.

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Connect with a Community of Storytellers Find a group of storytellers you can connect with: a local guild or even online. The STORYTELL listserv is a great community of supportive storytellers. You can often draw inspiration from their collective wisdom.

Change Your Routine It’s easy to get stuck in a rut. You wake up. You gig. You come home to paperwork and housework. No “joie de vivre.” Try changing your routine. Schedule different office hours. Take a walk in the morning before beginning your work. Take a break in the middle of the day and indulge in a guilty pleasure like reading a tabloid or watching daytime TV. Have lunch with a friend. Exercise or do yoga.

Don’t Overbook Success does indeed have a price. Performers know the ups and downs of the biz. It’s often feast or famine. So when work comes our way, we often say “yes” to every gig. A friend who is an extremely successful touring artist has a gig every day. She called me and whined, “I don’t have a day off for months!” It’s good to be busy but being overbooked is a sure cure for wringing out the passion for what you do. What good is monetary success if you have no time to enjoy the fruits of your labor? If you are working too much, perhaps it is time to adjust your fees. Raise your fees and accept less work. Work smarter, not harder. Or you may want to consider outside help. Hire a part-time assistant, someone who can take over the administrative side of your work.

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“An office manager is well worth every penny you spend. I have an office mom. She works 9 to 3, three days a week, with a flexible schedule so she can be available for her school-aged child. She loves her job and is good at the things that I am not so good at. This gives me more time for researching, rehearsing, and focusing on the craft of storytelling.” Brian Fox Ellis, Fox Tales International

Learn to Let Go and Say No As a complete and total “Type A,” I am prone to overburdening myself and taking on too many responsibilities. There was a point when I was over my head and overstressed. So I let go of some major responsibilities. I said “No” to volunteer work that came my way. I began doing more for myself, my family, and my career. The result? A happier and more productive Dianne! Stress is the biggest contributing factor to burnout. When people depend on you and deadlines loom, Stress rears her ugly head. She is relentless, peering over your shoulder and wrapping her poisonous arms around you. She is the first thing that you wake up to and the last thing you think about before you close your eyes. 338



Don’t let the stress demon take over your life. In addition to the emotional wear stress takes, it can cause physical distress as well. When Stress appears, close your eyes and take a deep breath. Assess the problem. Too many responsibilities? Make a list and prioritize. Eliminate what you can. Work on what’s left, one item at a time. Practice stress-busting. Below are 101 ways to relieve stress.

101 Stress Busters Stress gets the best of us at the worst time. Here are 101 tips to relieve your stress. Make time for you. Today is a good day to start! 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30.

Breathe deep Roll your head slowly around your neck Read for pleasure Light a candle Light some incense Go for a walk Exercise Drink a cup of warm herbal tea Make a cup of hot cocoa Take a hot bath Sing in the shower Put on your favorite song Dance in front of the mirror Hug someone Make love Send a card to someone you care about Call a friend Put fresh flowers in a room Go shopping Go to a movie Take a nap Get a massage Have a good cry Tell someone you love them Give a gift Go swimming Write poetry Commune with nature Go for a drive on a deserted road Listen to the sounds of nature 339


31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63. 64. 65. 66. 67.

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Enjoy a sunrise Enjoy a sunset Meditate Pray Eat some chocolate Drink green tea Look through picture albums and reminisce Spray lavender in the room Get a foot massage Sing a silly song Play with children Swing on a swing set Walk barefoot on the grass Play with an animal Day dream Go on vacation Color with crayons Do a fun art project Play games you played as a kid (marbles, jacks, string figures, etc.) Read inspirational stories Rent a video Walk through a garden Go to the zoo Ride a bike Go on a boat ride Go fishing Tell a joke Get your hair done Work in the garden Jump rope Play noncompetitive sports Play Solitaire Paint Get a manicure Get a pedicure Get a facial Look at the stars


68. 69. 70. 71. 72. 73. 74. 75. 76. 77. 78. 79. 80. 81. 82. 83. 84. 85. 86. 87. 88. 89. 90. 91. 92. 93. 94. 95. 96. 97. 98. 99. 100. 101.


Doodle Listen to the rain Give someone a compliment Go to the art museum Make a silly face in the mirror Listen to a story Say hello to a stranger Tell someone that they matter Unclutter a room Throw a paper airplane Listen to a child’s laughter Whistle Feed the birds Sit on a bench in the park Stand up and stretch Adopt a positive attitude Blow bubbles Watch a live theater or dance performance Lunch with a friend Give something away Bake cookies Visualize your dream destination Do a puzzle Read a magazine Kiss someone Hold hands Wear a new outfit Paint a room Change your décor Put plants in the room Spray Silly String Walk near water Chew a piece of gum Smile

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Recommended Websites Music Biz Advice This website is full of great information. Their section on vocal care is excellent. www.musicbizadvice.com/vocal_care.htm Story Dynamics This is the website of Doug Lipman, the Storytelling Coach. Doug offers a voice care toolkit for purchase. In addition, Doug’s site is full of great articles on the how-to of storytelling. www.storydynamics.com

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Chapter 29

Preparing for the Future

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Creating a Financial Plan Planning for Retirement Health Insurance Money-Saving Ideas for Choosing a Health Insurance Plan Life Insurance Disability Insurance Estate Planning Starting Over Starting Over with Mary Hamilton Preparing for the Future

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As the saying goes, “Life happens.” As an artist entrepreneur, you need to prepare for the changes life will bring. Creating a secure and stable future is not only a necessity for you but for your family as well.

Creating A Financial Plan “Money goes in—money goes out.” “Robbing Peter to pay Paul.” “Living from paycheck to paycheck.” Ever hear any of those sayings? Haven’t we all been there? Because being a performing artist often means “feast or famine,” checks from our clients come in downpours or not at all, creating a dry spell. As a self-employed business person, it’s up to us learn financial management skills. This will allow us to “save for a rainy day” and hopefully, “make money hand over fist.”

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Get Organized It’s time to clean up and organize. Keep good records and file your receipts properly. Make sure that all your financial documents can be found at your fingertips.

Set Goals As with any plan of action, you must set goals. What financial goals would you like to accomplish in the future? Write them down. Create a need list and a wish list.

Evaluate Your Net Income How much money are you taking in (gross income)? How much of your money goes to your expenses? Subtract your expenses from your gross income and this will be your net income.

Calculate Your Net Worth Financially speaking, what are you worth? Your net income is only part of the total picture. You must also calculate the value of your assets (everything you own). Next, determine your liabilities (what you owe). Subtract your liabilities from your assets and you have your net worth. Seeing your net worth will help you determine how to proceed with your financial plan.

Strategize Strategize and create a plan. Part of your financial plan may include debt management, estate planning, retirement planning, purchasing life insurance, and health care insurance management. Analyze your complete financial situation and develop a plan that will move you into a financially fit future. A good financial plan will help you visualize the possibilities and realize your future goals. If tackling this alone seems scary, there are many financial planners who have the right tools to make the process easier for you. Planning today will create a better tomorrow.

Planning For Retirement Maybe you love your career so much that you never plan on retiring. That’s a nice thought, isn’t it? But the reality is that there will come a time when most of us will retire from our careers. When that day comes, we need to be ready. Preparing for retirement for the self-employed artist takes careful thought and planning. There are various types of retirement plans and you need to know what’s out there.

Traditional IRAs If you received taxable compensation during the year and are younger than 701/2 years by the end of the year, you may contribute to a traditional IRA. As of this date, deductible contributions can be made up to $3,000 per year providing your family’s adjusted gross income is below $150,000.

Keogh Plans There are four basic types of Keogh plans: (1) a defined benefit plan, (2) profit-sharing plan, (3) money-purchase plan, and (4) paired plan. To receive a tax benefit for the current tax year, the plan must be set up before the year’s end.

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(1) Defined Benefit Plan Annual contributions to Keogh defined benefit plans are based on a percentage of your selfemployment income. The defined benefit plan is designed to guarantee a certain annual retirement income, like many corporate retirement plans do. Each year’s contribution is calculated by an actuary and the amount depends on your income. The defined benefit plan is very involved and requires detailed calculations. (2) Profit-Sharing Plan With the profit-sharing plan, contributions are based on a percentage of self-employment income. They are based on how well your business performed and allow a contribution from 0 to about 11 percent annually. (3) Money-Purchase Plan The money-purchase plan sets up a fixed contribution, based on the participant’s income regardless of affordability or profitability. (4) Paired Plan This Keogh plan allows the most flexibility, allowing the participant to contribute the profit-sharing maximum as well as allowing a contribution to the money-purchase plan.

Simplified Employee Pension SEPs are generic retirement plans that allow you to contribute nothing to the percentage allowable for the current tax year. All contributions are deductible. SEPs are said to be easy to set up and maintain. No annual reports are required and ongoing administrative expenses are minimal. SEPs let you contribute a greater amount to your pension than a traditional IRA allows, and does not lock you into an annual contribution amount as a Keogh might.

Roth IRAs If you have already set up a retirement account and would like to contribute more to your pension, you may want to consider the Roth IRA. Contributions are nondeductible but earnings are tax-free, and when you are eligible to withdraw, you may do so without paying any taxes (because you have already paid at the front end).

Performer’s Union Retirement Plans Many performers belong to unions. If you belong to a musician’s union and participate in their retirement plan, a percentage of each of your gigs is applied towards your plan. The union also makes a matching contribution. In addition, being a member of a union such as The American Federation of Musician of the United States and Canada (AFM), or the Local 1000, allows you to participate in other benefit programs such as health insurance, disability, life insurance, and contract protection.

Making the Decision When deciding on the right retirement plan for you, a visit with a retirement planning professional or financial advisor is recommended. Laws change each year and a good financial planner can guide you

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in the right direction. For those of us who earn the bulk of our income from performing, contributing to our retirement nest egg is a must. Careful planning now will allow us to retire in comfort.

Health Insurance One of the sacrifices we make when we dedicate our careers to the performing arts is that we no longer receive employee benefits, such as employer-paid or employer-subsidized health insurance. It is up to us to provide our own health insurance. Because the cost of insurance has skyrocketed over the past years, many artists find themselves without any coverage for themselves or their families. Living without health insurance is a dangerous situation. When sudden or long-term illnesses strike, you can be left without the resources to cover your medical costs. I have seen this unfortunate event occur with a fellow storyteller who had to sell many of her belongings, and nearly lost her home in order to cover the astronomical costs of her medical expenses. Education is the key and here are some options for you to consider when making health insurance decisions.

Spouse Coverage If you are married or are in a domestic partnership, look into coverage through your partner’s employer. Some companies and agencies offer health insurance coverage for domestic partners. Having your partner carry health insurance for you through his/her company is usually less costly than purchasing an insurance plan of your own.

Group Insurance through Associations For the individual artist, there are group health insurance plans out there. Many of them are HMOs and PPOs offered through arts organizations, local agencies, and associations. Check with your local and state arts council to find out if they offer group insurance. For instance, with membership in the Entergy Arts Business Center through the Arts Council of New Orleans, participation in a group health insurance plan is available. Check with your local Small Business Association and Chamber of Commerce for some possible leads. Also consider your college alumni association.

Individual Health Insurance Individual health insurance plans often require you to take a physical and blood work, and may exclude pre-existing medical conditions. In addition, premiums are usually high. Read the fine print carefully.

COBRA COBRA stands for the Consolidated Omnibus Budget Reconciliation Act of 1985. Under this act, companies with 20 or more employees must make their group health plan coverage available to exemployees for up to 18 months. The worker pays the entire premium and it is often very expensive. If you are employed full time and are considering leaving your job to pursue your art, it may be more

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cost-effective to look into other options such as enrolling in your spouse’s health insurance, or joining an association and purchasing their group plan.

HMOs HMO stands for Health Maintenance Organization. According to InvestorWords.com, HMOs combine “a range of coverages in a group basis. A group of doctors and other medical professionals offer care through the HMO for a flat monthly rate with no deductibles. However, only visits to professionals within the HMO network are covered by the policy. All visits, prescriptions, and other care must be cleared by the HMO in order to be covered. A primary physician within the HMO handles referrals.” Many group insurance coverages are based on the HMO system.

PPOs A PPO is a Preferred Provider Organization. InvestorWords.com defines PPO as a “health care organization composed of physicians, hospitals, or other providers which provides health care services at a reduced fee. A PPO is similar to an HMO, but care is paid for as it is received instead of in advance in the form of a scheduled fee. PPOs may also offer more flexibility by allowing for visits to out-of-network professionals at a greater expense to the policy holder. Visits within the network require only the payment of a small fee. There is often a deductible for out-of-network expenses and a higher co-payment. A policy holder will have a primary physician within the network who will handle referrals to specialists that will be covered by the PPO. After any visit, the policy holder must submit a claim, and will be reimbursed for the visit minus his/her co-payment.” PPOs offer an alternative to the HMO plan.

Medical Savings Account MSAs allow self-employed people to use pre-tax dollars to pay for medical expenses up to the limit of the deductible on your existing medical insurance policy. By purchasing an insurance plan with a higher deductible, you can use the premium savings to contribute up to 65% to 75% of your deductible to an MSA. The funds are kept in a tax-deferred account and you are able to withdraw the funds to pay for medical expenses (including eye care and dental for some MSAs) until you reach your deductible. If you spend less than you contribute, you may earn interest and the funds may also be invested. It is also possible to use an MSA to accumulate a nest egg for retirement. If you use the MSA funds for anything else, you are subject to taxes and a 15% penalty. Check the fine print of the MSA—some MSAs have a “use or lose” policy and any funds not used during the year cannot be rolled over and are lost.

Healthcare Savings Programs Different from MSAs, HSAs are patient advocacy programs that help minimize out-of-pocket expenses. This program allows you to access a network of healthcare providers at a reduced rate ranging from 20% to 50%. While not ideal, it offers an alternative to no insurance.

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Reduce your level of coverage. If you are reasonably healthy and do not have the need for coverage for doctor visits and prescriptions, consider purchasing a major medical plan, which only covers hospital stays.

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Choose a higher deductible. Again, if you are reasonably healthy and do not anticipate many doctor visits and expensive medication, consider raising your deductible. You’ll pay a lower premium but you will incur a higher out-of-pocket expense when you do visit the doctor.

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Pay premiums annually. Many insurance companies offer discounts for pre-payment of the annual premium. In addition, you may also avoid a service fee.

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Enroll in a group health insurance plan through associations. Many associations offer group insurance, which is more affordable than purchasing an individual plan.

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Avoid policies that exclude pre-existing conditions. If you must purchase a health insurance plan that excludes pre-existing conditions, at least buy one that has no more than a six-month waiting period.

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Beware of “supplemental medical insurance.” There are many companies that offer supplemental medical insurance. Often, items covered in their policies are the same items covered in your existing policy.

Carefully review your policy each year to ensure that the coverage is still meeting your needs. Health insurance companies often change their policies and exclusions. They also frequently change their prescription formularies and approved network physicians. Be sure to read all of the literature they send you throughout the year. You don’t want to be caught off guard by having to pay full price for medication your prescription plan no longer covers or visit your doctor and find out that they are no longer in the “network.” When shopping for policies, review quotes from at least three to five different companies, carefully comparing their benefits. Though health care insurance is costly, you can’t afford not to protect your business’ greatest asset—YOU.

Life Insurance Life insurance is meant to protect your family with financial security after you are gone. If you are a self-employed performing artist with a family, you have an even greater need to purchase a good life insurance policy. Should you pass on, financial needs for your family could include: • • 348

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Unpaid medical bills House mortgage Your children’s education expenses Unpaid accumulated debt Estate taxes

If you are not properly covered with a comprehensive life insurance policy, your family could face financial hardship for years to come. It’s an unsettling thought, which is why we need to prepare for the eventuality. There are various types of life insurance: term insurance, whole life insurance, universal life insurance, and variable life insurance.

Term Insurance Term insurance is a policy that provides death benefits. It is purchased for a fixed period of time with fixed payments each year. You have the option of increasing your premium during your annual renewal term. When you pass on, the policy is cashed out and provided to your beneficiaries.

Whole Insurance Whole insurance provides coverage for an individual's whole life, rather than a specified term. A savings component, called cash value or loan value, builds over time and may be used for wealth accumulation. Regular premiums pay insurance costs and equity accrues in a savings account. A fixed death benefit is paid to the beneficiary along with the balance of the savings account.

Universal Life Insurance Universal life insurance combines the protection of term insurance with a savings component that is invested in a tax-deferred account, the cash value of which may be available for a loan to the policyholder.

Variable Life Insurance Payments in a variable life insurance policy are determined by the performance of the underlying investments chosen by the policyholder. Returns are generally not guaranteed and the policyholder assumes the investment risk rather than the insurance company. Premiums remain fixed under this arrangement and there is no guaranteed cash value.

Choose Carefully When choosing a life insurance policy, take into consideration what expenses will need to be covered after you are gone. Conventional financial wisdom suggests that life insurance should not be purchased as an investment tool or as a college savings plan. There are other ways to invest your money that will yield better returns and provide you and your family with the financial security you seek. Again, a financial advisor will be able to direct you to the right policy for you and your family.

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Disability Insurance Disability is an optional insurance but it protects against the “What Ifs.” What if you were injured and never able to perform again? What if you lost or damaged your voice and were unable to tell stories? The older we get, the more disability becomes an issue. If disability becomes an issue for you, not only will you lose income due to loss of work, but you will also face rising expenses due to the medical bills you will incur. Protect yourself and your family from the unthinkable.

Estate Planning Though estate planning sounds like something reserved only for the rich and famous, it is a critical step in planning for you and your family’s future. If you are suddenly incapacitated or meet your untimely death, what will happen to your estate? Who will inherit what? Even families with low to moderate income should engage in proper estate planning. Planning your estate should include: • • •

Your burial wishes What to do if you are permanently incapacitated and unable to make your own decisions How your property and assets will be distributed

Make a consultation with an estate planning attorney who can help you draw up a will. Proper planning will prevent confusion amongst family members and help them during a time when they will be consumed by intense emotions. Estates from people who die without wills go into probate and many times, families must engage in costly litigation before the estate is settled. Estate planning is just another way to take care of your family after you are gone.

Starting Over The good news is that, because you are a storyteller, your job moves with you. The bad news is that moving means starting all over again. In addition to changing the information on all your promo materials, you have to establish yourself in a new market. It’s like starting from the beginning. Several storytellers I know (Angela Klinger, Leanne Johnson, and Mary Hamilton) have moved, started over, survived, and thrived! Mary Hamilton is a full-time teller and the account of her starting over experience is a lesson for us all.

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Starting Over with Mary Hamilton "Well, I guess I know a little bit about starting over. I began full-time storytelling in 1983 when I lived in Michigan. In 1987, I moved back to Kentucky. Now, a year in advance I thought I had done a good job of planning my move. For several years I had mailed to schools in Kentucky whenever I was going to be there and they had hired me. During my last year in Michigan, I steered Michigan bookings to the times of the year when I knew I could come back and do a Michigan tour, and I lined up schools in Kentucky through mailings and contacting the Kentucky schools who had hired me in the past. So far, so good. I moved in June 1987. I was even fortunate enough to be a featured teller at the National Storytelling Festival in October 1987 (after having been an Exchange Place Teller in 1986, so two appearances in two years—sounds promising doesn’t it!?!). However, when it was time to pay rent for January 1988, I had twenty cents. Yes, you read that right—twenty cents (no debts, but only twenty cents). Now, I had done some work for which I had not yet been paid, and I had a brother who was willing to loan me rent money for January 1988, but twenty cents! I do not have the words to describe how I felt about myself when I was down to twenty cents. I said to myself, ‘Failure! Idiot! Whatever made you think you could earn a living telling stories? What makes you think anyone should pay you to tell stories? How could you have allowed yourself to come down so far? You call this a business?!’ I will admit I had also made what, in retrospect, seems a stupid decision, but seemed reasonable at the time. While in Michigan, I sold my car and bought a new one. The car I owned in Michigan had no air conditioning (not too important in Michigan, but a bit more important in Kentucky) and was showing rust (small amount by Michigan standards, but quite a bit by Kentucky standards). Nevertheless, I still had a few thousand dollars in savings, so I expected to be fine. I wasn’t—six months after the move, I had only TWENTY CENTS! A presenter in Louisville, Kentucky who hired artists at paltry sums to perform throughout the city told me, ‘I don’t care how experienced you are or what you’ve done in storytelling. Here, nobody knows you, so I’m not going to pay you more than $35 a show.’ It was a shock; I was indeed starting over. This presenter also controlled the program that supplied all the public libraries, parks, and nursing homes in Louisville (Kentucky’s largest city) with FREE performances. It is really hard to compete with free when no one knows your work. In Michigan, these venues had always been paid gigs for me. In Louisville, I had to get with her program or forget about it. There is a silver lining to this dark cloud. Checks began arriving; I repaid my brother, and never needed to borrow rent money again. I had also done several things right. I lined up work in Kentucky schools before I arrived. I also lined up work in Michigan during my busy season before I left so that I had a cushion of income for my move. I do not share my story to scare you, but I wanted to let you know that starting over after a move really will be starting over.”

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Make Connections Presenters know presenters and often belong to associations and organizations, such as presenters’ networks, that allow them to connect. Let all your clients know that you are moving and ask them if they know presenters in the area where you are relocating. Word-of-mouth referrals and letters of recommendation can help in securing work with a new venue.

Line Up Work Follow Mary Hamilton’s example and line up work in the area where you are relocating. Every state has a directory of schools; some even have ready-made labels you can purchase. Library addresses can be found by researching the Internet. Every state has a state library or a state library association. A visit to their website usually reveals links to the public libraries in the state. Send out mailers on a consistent basis so that presenters can get to know your name.

Contact the Arts Council Contact the local and state arts council in the area where you are relocating. If you are already working in your new location, find out how to list in the various directories the arts council may publish. The arts council may know of performance and networking opportunities. My local arts council hosts networking parties and workshops. They also publish a directory of arts organizations and presenters.

Join a Storytelling Organization An organization such as the National Storytelling Network can help you find a local storytelling guild. Through NSN and a local guild, you can connect with other tellers who can tell you about the climate of the arts in the state. As well as being a support group, they may also provide leads for work.

Contact the NSN State Liaison Within the National Storytelling Network, each state has a state liaison. That person knows the area guilds and is a great resource of information. Find your state liaison by visiting www.storynet. org/ NSN/sl.htm

Contact the Chamber of Commerce Mary Hamilton suggests, “Contact the Chamber of Commerce in the city where you will be moving. They should also know about any local or regional arts councils. They or the tourism board should know of any museums, arts centers, or other venues that hire performing artists.”

Find Out About Showcasing Opportunities Many arts councils, school districts, and even libraries hold performers’ showcases. Showcasing your work in front of hiring presenters can help you secure new gigs. You are more likely to be hired when presenters can see your work in person. Be sure your promo material contains your current contact information. 352



Establish a National Reputation Winning awards and being reviewed in national publications helps people take notice of your work. Build a national reputation by garnering media attention when you tour. Paper your promotional kit with media clippings.

Use the Power of the Internet Invest time and money in a good website. No matter where you live or perform, presenters will be able to look up information on your work. Build your e-mail list with names of presenters from your new area. Consistently send out a great e-mail newsletter. Following Hurricane Katrina, I was displaced from the New Orleans area to Houston, Texas. I had no home base—no permanent address. I survived the immediate hit to my business because of the established list of my e-mail newsletter and my website. Through my e-mail list, I was able to connect with people who connected me with gigs. Through my website, clients were able to contact me, book me for gigs, and follow updates on my whereabouts.

Prepare Financially Most financial experts advise people to have enough money in savings to last for three months. As a performer, you should probably double that amount. Establishing yourself in a new area can take time. If you make your living solely from storytelling, be prepared for the challenge of branding yourself in a new location. It could take a few months to secure gigs and cash flow.

Market Yourself Silly Bring business cards wherever you go and pass them out liberally. Purchase a magnetic sign for your car or window decals advertising your business. Make face-to-face visits with presenters and drop off information about your work. Through my experience with Hurricane Katrina, I learned that the three most important marketing tools are: website, e-mail newsletter, and business cards/postcards. Once I found a “permanent” home in Houston, I had business cards made so that I could make face-to-face visits with presenters in the area. My business card listed my website, which provided potential clients with further information regarding my work. My e-mail newsletter allowed me to connect with existing clients. Relocating to a new town or city is exciting and, at the same time, daunting. Make the right preparations and the transition will be easier.

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Being a professional storyteller is a full-time job that comes with full-time responsibilities. Yes, maintaining various insurance policies is costly and will take up a large portion of your performance income, but knowing that you and your family are protected will give you peace of mind. Whether you are planning your financial outlook or readying for a move to a new area, preparing for the future means anticipating the unexpected. The best plan is one that foresees the future.

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Recommended Websites Actor’s Fund The Actor’s Fund is a nonprofit, nationwide human services organization providing programs that support the unique, essential needs of all who work in entertainment and the performing arts—on stage or camera and behind the scenes. The Actor’s Fund assists those working in theater, film, television, radio, music, dance, opera, and circus. The Fund is a safety net, offering quality services for and individual attention to our community, giving all a responsive place to turn in times of need or crisis. The Actor’s Fund offers a broad spectrum of programs including comprehensive social services, health care services, employment and training, and housing. www.actorsfund.org Financial Planning About.com is a website about everything! Here you can find articles on personal financial planning, insurance issues for small businesses and much more. http://financialplan.about.com/ 354

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Reaching Beyond

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“Far beyond the edge of the world…”


Youth Storytelling Storytelling as a Healing Instrument “The Legend of Scheherazade” Storytelling in Business and Organizations Storytelling in Higher Education Resources

Storytelling is not just entertainment. Storytelling has been applied in education, in the health field, and in the business world. People are turning to storytelling as a creative way for change.

Youth Storytelling Youth storytelling began with a vision to teach youth to tell stories, to develop leadership, and to leave a legacy.

National Youth Storytelling Showcase Formerly known as the National Youth Storytelling Olympics, the program began in 1996, originally sponsored by the Master’s Degree Program Option in Reading/Storytelling at East Tennessee State University headed by Dr. Flora Joy. The program is now sponsored by the City of Pigeon Forge, Tennessee and the National Storytelling Network. Students, 17 years and younger, participate in the national storytelling event every February.

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“The National Youth Storytelling Showcase is a unique opportunity for kids of all ages to participate in storytelling at a local, regional, and national level. The goal is simply to help kids tell stories. Each young storyteller will have an opportunity to develop their story and to tell their story in a comfortable and supportive environment. ALL kids are WINNERS.” City of Pigeon Forge

Youth tellers are nurtured at the local level. Tellers can then apply, through a state representative, to participate in the National Youth Storytelling Showcase. Twelve storytellers are then selected to participate in the event in Pigeon Forge, Tennessee. All showcase finalists receive a trophy and a $100 cash award for their participation. Storytelling “Torchbearers,” selected from each age category, receive a trophy and a $300 cash award. One “Grand Torchbearer” is selected and receives a trophy, and a $500 cash award. For more information about the National Youth Storytelling Showcase, visit them online at www.nationalyouthstorytellingshowcase.org.

Growing Youth Storytelling YouthStorytelling.com is a nationwide effort to create youth storytelling clubs in schools and communities. Kevin Cordi, founder of Voices Across America, is also an advisor for the Youth and Education Storytelling (YES Alliance) Special Interest Group for the National Storytelling Network. Kevin says, “More and more students are realizing the power of studying storytelling and telling stories to their peers, community, and family, and more and more storytelling festivals are featuring youth performers.”

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“Storytelling is the ultimate teaching tool. Unlike television, in which learning is passive, with storytelling young people actively participate in learning, constantly interpreting images created in their minds through a story’s words.” Judy Sima and Kevin Cordi, Authors of Raising Voices: Creating Youth Storytelling Groups and Troupes

Karen Chace, director of an elementary school storytelling club in Massachusetts says, “I vividly recall a conversation with the father of one of my third grade storytellers the evening of the Storytelling Festival. During intermission, he approached me with a stunned look on his face and said, ‘You have no idea what miracle you have just performed. My daughter was so shy in first grade, she barely spoke a word. I can’t believe she was up on that stage telling a story.’ I assured him I was no miracle worker; it was his daughter’s enthusiasm and dedication, the teamwork of the storytelling troupe, and of course, the power of storytelling, which made the transformation possible.” 356

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“Inside each child is a storyteller just dying to get out.” Harriet Kinghorn and Mary Helen Pelton, Authors of Every Child a Storyteller: A Handbook of Ideas

To answer this demand for leading youth to tell stories, a special interest group (SIG) was created within the National Storytelling Network. The SIG, called YES (Youth, Educators and Storytellers Alliance), invites people to join if they are interested in: • •

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Introducing children as young as preschool to the art of storytelling. Establishing a nationwide network of communication and assistance for youth storytellers, youth storytelling coaches, teachers of young tellers, and adults who work with youth in clubs or other organizations. Integrating storytelling into the classroom and into the P–12 curriculum. Providing advice, counsel, mentorship, and information to young tellers. Motivating young tellers to tell for enjoyment as well as to enhance the learning process in a variety of settings. Supporting storytelling coaches, teachers, librarians, and other leaders who teach young people to tell stories. Encouraging and supporting teachers, librarians, storytellers, and other leaders who work with young people to use storytelling in their respective educational settings. Generating and maintaining a list of curricular ideas and differentiated activities for using storytelling in the classroom to assist in the integration of storytelling into reading, language arts, and the content areas i.e. math, science, social studies. Use of these activities will help educators in meeting learning objectives and state standards. Supporting professional storytellers who present storytelling assemblies or perform residencies in schools. Facilitating preparation for teachers, librarians, and others who host storytelling programs in schools or other settings.

For more information on the YES special interest group of the National Storytelling Network, visit www.yesalliance.com. Youth storytelling is a growing movement, powered by the commitment and determination of storytellers, educators, librarians, and leaders like you.

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“What better legacy can we give our youth than our stories? What better way to promote the next generation of stories? Think about sponsoring a youth storyteller or a youth storytelling group in your neighborhood. The rewards are immeasurable, the learning limitless, and the value unconditional. It has been too long that kids feel that their voices have been not heard. Take the time to listen and they will take the time to tell.” Kevin Cordi, Founder of Voices Across America

Storytelling as a Healing Instrument Storytelling is being applied in the health field as doctors, nurses, psychiatrists, psychologists, therapists, social workers, counselors, and patients recognize its power as a healing instrument. Groundbreaking work happens as story listening and storytelling help people process grief, strife, inner conflict, and fear.

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“Mounting evidence suggests that stories and the storytelling process can promote recovery, inspire hope, trigger insight and personal growth—in short, ‘heal.’ ” Cristy West, “Guidelines for Healing Work” in The Healing Heart—Families by Allison M. Cox and David H. Albert


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The Legend of Scheherazade Long ago, when the world was filled with wickedness and wonder, there lived the great Sultan Schahriar. The Sultan had a wife who hid deceit behind beautiful eyes. When Sultan Schahriar discovered he had been betrayed by the Sultana, he sentenced her to death as was the law of the land. His heart was so badly scarred that he was convinced all women were as wicked as the Sultana. So every night, he took a new bride but by daybreak, she was sentenced to death. The Sultan’s treachery brought weeping and fear upon his kingdom. The Sultan’s Grand Vizier had a daughter called Scheherazade. She was as clever as she was beautiful. One day Scheherazade asked her father, “Father, do you love me?” He answered, “Of course I do, Scheherazade. I love you so much that I grant you any wish you heart desires.” Scheherazade looked her father in the eyes and said boldly, “I want to marry the Sultan.” The Grand Vizier cried out, “Are you mad?! Asking for marriage to the Sultan is asking for death. I will not have it!” Scheherazade held her father’s hands. “I want to deliver the women of this kingdom from their awful fate and stop this barbaric practice he carries out each morning. I have a plan, Father. You promised me my heart’s desire. I desire this most of all.” The Grand Vizier sighed, “Very well. If I do not grant you this wish, surely you will find a way to carry out your plans in spite of how I feel. Tomorrow, you will be the Sultan’s new bride.” Scheherazade hugged her father and said, “Trust me” as she ran off. The next day, Scheherazade was brought before the Sultan. He looked at her and laughed. “The Grand Vizier’s daughter? Now who is crazier? You or I?” Scheherazade kneeled beside Sultan Shahriar. “All I ask is that you listen to my story.” “Very well,” said the Sultan and he leaned back against his silk pillows. Scheherazade began, “In a small town not far from here…”

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So the legend goes that, for 1,001 nights, Scheherazade serenaded the Sultan with stories. In the end, she saved her own life, changed the fate of the maidens in the kingdom, and transformed a hardened heart into a healed heart through the power of stories.

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“Wisdom can only, I think, be gained by patient listening. One of the most remarkable things about storytelling is that the story-words are spoken, they pass through the air, they land in the ears of the listener—and then they go deep, deep into their soul. They can even, if heard at the right moment, change someone’s life. That’s why I always think of Scheherazade, who told her stories not only to save her own life but also to heal a very sick husband. Perhaps all storytelling is emergency storytelling.” Dan Yashinsky, Professional Storyteller and Author

In my own experience as a storyteller, storytelling offers cathartic healing. Having to endure nightly visits to my bedroom from my alcoholic father, I felt marred by the loss of my childhood innocence. I was 16 years old when my father shot himself and my subsequent teen years were full of turbulent rebellion. I always found a safe haven in stories. My heroines were frequently downtrodden but strong women who could endure life against all odds. In my mid-twenties, storytelling found me. My inner conflicts and demons were tamed, even transformed, by working with stories. I am “Cinderella” and storytelling is my “Happily Ever After.”

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“Stories are the re-collection of parts of ourselves in the process of becoming who we are or were truly meant to be.” David H. Albert, co-author of The Healing Heart—Communities

Dr. Christy West authored “Guidelines for Applied Storytelling,” which can be found on the Healing Story website. She provides storytellers with guiding principles for using storytelling in therapeutic settings. Dr. West states, “… a growing number of storytellers feel challenged to work outside of entertainment venues—in prisons, hospitals, homeless shelters, and with individuals in crisis and/or with special needs. What are some basic issues to be considered here? How can this work best be accomplished? The guidelines are offered not as hard-and-fast directives, but rather as a supportive overview to help individuals think about their role and responsibilities.”

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Storytelling can be a catalyst for change and growth. Stories heal. For more information, visit www.healingstory.org, the website of the Healing Story Alliance. The Healing Story Alliance is a special interest group of the National Storytelling Network.

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“Stories abound with examples of transformation—frogs turn into princes, hags into princesses, water into wine, mice into horses, eggs into jewels, pumpkins into coaches, and straw into gold. If we can relate these images to situations in our own lives, we discover opportunities for healing. When the message from a story resonates within us, stories can become the catalyst for a lasting transformation to take place.” Diane Rook, Author of Spinning Gold out of Straw: How Stories Heal

Storytelling in Business and Organizations Motivational speakers and keynote speakers have long used stories to spice up their presentations. They recognize that stories can provoke thought and inspire action. In the same way, businesses are now applying storytelling in the workplace, the boardroom, and the courtroom.

Springboard Storytelling In 1998, Stephen Denning was stuck. He worked for World Bank as the Program Director for Knowledge Management and he was trying to sell the bank on the value of knowledge management and knowledge sharing. Months of pie charts, PowerPoint presentations, and reasoning didn’t work. World Bank defended their position. They were a lending institution, not an information bank. Steve was faced with the threat of losing the Knowledge Management program. Steve says, “And so they called a big meeting in September 1998, and I was asked to make a presentation to the president and the senior management of the World Bank on ‘the status of the knowledge management program.’ In a sense, what they were asking me to do was: ‘Define knowledge management or die!’ And I knew that if I did define it, I would die. So I didn’t define it. I did something else instead.” His solution had to be quick and simple. His solution was storytelling. Through a story, he made his point succinctly and efficiently. At the end of his session, Steve realized that he had struck a goldmine. Storytelling was the wave of corporate future. It was a way to create change. Listeners are not passive; they are active participants, internalizing the story. Steve says, “I found that storytelling was not ephemeral and nebulous and worthless. Instead I found that it was an extremely powerful tool to get major change in this large, change-resistant organization.” Steve was given the go-ahead to execute his vision. Today, if you visit World Bank’s website, www.worldbank.org, you will see that the site is a vast resource of knowledge supporting their mission to reduce world poverty. Steve Denning works for World Bank part-time and travels the world as a knowledge management and story consultant. He has gone on to author three books on the power of storytelling in business. He coined the term “Springboard Story” for stories that ignite change. 361


Storytelling in the Law Office Registered nurse, attorney, and storyteller Diane Wyzga found a way to combine her many talents. Through her company, Lightning Rod Communications, Diane works with attorneys, teaching them to use storytelling to deliver effective messages on the negotiating table and in the courtroom. A group of plaintiff trial lawyers hired her to present a five-day workshop over consecutive Saturdays. During that time, not only did the attorneys learn to deliver good stories but, more importantly, they learned to listen. In listening to their clients, they were able to weave more than just facts into their arguments. They told stories about people, painting lives with words. Mediators, insurance adjustors, opposing counsel, judges, and juries are all people and they connect with the humanity of a sincere story. Diane says, “I taught them that stories are the most powerful tools for communicating since they enter our heart by engaging our imagination.”

Promoting Diversity through Storytelling Through her experiences growing up in a segregated Chicago neighborhood, Susan O'Halloran shares her insight to jump-start dialogue on diversity during corporate training sessions. Breaking down stereotypes and putting “isms” into context, Susan guides participants in examining their core beliefs and lays out issues in a nonthreatening, entertaining way. Susan’s diversity training in the corporate environment utilizes storytelling to create change in the corporate culture.

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“Imagine all of us coming together to take on the injustices of our society. Imagine moving from fear, guilt, and confusion to feeling comfortable and relaxed with each other. We have that power within us. We can transform our communities and our world.” Susan O’Halloran, Story Artist and Diversity Consultant

Storytelling can be a powerful force in business and organizations, creating a catalyst for change and creating environments of understanding and tolerance.

Storytelling in Higher Education There is a growing interest in storytelling at the college and university level. Many universities are following the model of Eastern Tennessee State University and offering courses and degrees in storytelling. In addition, many institutions of higher learning are exploring the value of storytelling in teaching their courses. The National Storytelling Network has a special interest group for Storytelling in Higher Education (SHE). Visit http://shesig.pbwiki.com for more information. In fact, with many young adults turning to “blogging,” a form of online storytelling, today’s college students are ripe for the experience of storytelling. With technology, communication around the world has never been easier. Yet, our technological wizardry has depleted our society of basic human contact. A personal, face-to-face form of communication is needed. Storytelling is needed. How cool would it be if, like math or English, storytelling became a required course to graduate? We could fill the world with storytellers and story listeners. What a wonderful world it would be! 362

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Recommended Reading Recommended Reading on Storytelling as a Healing Instrument Cox, Allison M. and David H. Albert. The Healing Heart—Communities. New Society Publishers (2003). ———. The Healing Heart—Families. New Society Publishers (2003). Niemi, Loren and Elizabeth Ellis. Inviting the Wolf In: Thinking About Difficult Stories. August House (2001). Rooks, Diane. Spinning Gold out of Straw: How Stories Heal. Salt Run Press (2001).

Recommended Reading on Storytelling in Business and Organizations Denning, Stephen. The Leader’s Guide to Storytelling: Mastering the Art and Discipline of Business Narrative. Jossey-Bass (2005). ———. The Springboard: How Storytelling Ignites Action in Knowledge-Era Organizations. ButterworthHeineman (2000). ———. Squirrel, Inc.: A Fable of Leadership Through Storytelling. Jossey-Bass (2004). Simmons, Annette. The Story Factor: Inspiration, Influence, and Persuasion Through the Art of Storytelling. Perseus Books Group (2002).

Recommended Reading on Storytelling in Higher Education Egan, Kieran. An Imaginative Approach to Teaching. Jossey-Bass (2005). McDrury, Janice. Learning Through Storytelling in Higher Education: Using Reflection and Experience to Improve Learning. Kogan Page (2004).

Recommended Reading on Youth Storytelling Chace, Karen. Story by Story: Building a School Storytelling Club. Story Bug Press (2004). Griffin, Barbara Budge. Students as Storytellers: The Long and Short of Learning a Story (Storyteller Guidebook Series). Griffin McKay Publications (1995). 363


Hamilton, Martha and Mitch Weiss. Children Tell Stories: Teaching and Using Storytelling in the Classroom Second Edition (with DVD). Richard C. Owen Publishers, Inc. (2005). ———. How & Why Stories: World Tales Kids Can Read & Tell. August House (1999). ———. Noodlehead Stories: World Tales Kids Can Read & Tell. August House (2000). ———. Stories in My Pocket: Tales Kids Can Tell. Fulcrum (1997). ———. Through the Grapevine: World Tales Kids Can Read & Tell. August House (2001). Kinghorn, Harriet R., and Mary Helen Pelton. Every Child A Storyteller: A Handbook of Ideas. Teacher Ideas Press (1991). Lipman, Doug. Storytelling Games. Oryx Press (1995). Sima, Judy and Kevin Cordi. Raising Voices: Creating Youth Storytelling Groups and Troupes. Libraries Unlimited (2003).

Healing Story on the Web Healing Story Alliance www.healingstory.org

Storytelling in Business and Organizations on the Web Creating the 21st Century Articles and resources on storytelling in business and organizations from top leaders in the field www.creatingthe21stcentury.org SteveDenning.com Website of Steve Denning, Author of The Springboard: How Storytelling Ignites Action in Knowledge Era Organizations www.stevedenning.com

Storytelling in Higher Education on the Web National Storytelling Network Storytelling in Higher Education (SHE) SIG http://shesig.pbwiki.com/

Youth Storytelling on the Web National Storytelling Network Youth, Educators, and Storyteller’s Alliance www.yesalliance.com National Youth Storytelling Showcase www.nationalyouthstorytellingshowcase.org Youth Storytelling with Kevin Cordi www.youthstorytelling.com

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Storytelling Resources from Libraries Unlimited (2005 to 2008) Cohen, Arlene. Stories on the Move: Integrating Literature and Movement with Children Offers dozens of interactive ready-to-use age-appropriate and story-based activities that get children actively involved in learning. $32.00; ISBN13: 9781591584186 (Paperback); ISBN10: 1591584183; 2007 de Las Casas, Dianne. Handmade Tales: Stories to Make and Take Contains over 25 stories from around the world that use hands as an active way to tell the stories: string stories, cut-and-tell, draw-and tell, fold-and-tell, and more. Grades PreK-3 $30.00; ISBN13: 9781591585367 (Paperback); ISBN10: 1591585368; 2007 de Las Casas, Dianne. Kamishibai Story Theater: The Art of Picture Telling Twenty-five folktales from across Asia are adapted for whole classroom use, where every student in the class will participate in telling the tales. Grades 2-6 $27.00; ISBN13: 9781591584049 (Paperback); ISBN10: 1591584043; 2006 de Las Casas, Dianne. Story Fest: Crafting Story Theater Scripts Contains 25 story theater scripts appropriate for grades 2-6 with in-depth discussions of specific lessons and ideas. $25.00; ISBN13: 9781594690099 (Paperback); ISBN10: 159469009X; 2005 de Las Casas, Dianne. Tangram Tales: Story Theater Using the Ancient Chinese Puzzle Integrating math and storytelling, Tangram Tales contains 25 world folktale story theater scripts illustrated with tangrams. Forthcoming; 2008 Freeman, Judy. Once Upon a Time: Using Storytelling, Creative Drama, and Reader's Theater with Children in Grades PreK-6 Practical how-to tips on how to learn and tell a story, how to act out a story using creative drama, and how to write and stage a Reader's Theater script. Grades K-6 $35.00; ISBN13: 9781591586630 (Paperback); ISBN10: 1591586631; 2007 Gordh, Bill. Stories in Action: Interactive Tales and Learning Activities to Promote Early Literacy Dozens of enchanting stories from around the world are accompanied by simple learning extensions for children that build important literacy skills. Grades PK-3 $35.00; ISBN13: 9781591583387 (Paperback); ISBN10: 1591583381; 2006

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Haven, Kendall. Story Proof: The Science Behind the Startling Power of Story Story Proof collects and analyzes the research that validates the importance of story, story reading, and storytelling to the brain development and education of children and adults. $25.00; ISBN13: 9781591585466 (Paperback); ISBN10: 1591585465; 2007 Haven, Kendall & Ducy, Mary Gay. Crash Course in Storytelling Everything you need to become a master storyteller yourself. Simple examples and summary directions for exercises and games reinforce and demonstrate key concepts. $30.00; ISBN13: 9781591583998 (Paperback); ISBN10: 1591583993; 2006 Irving, Jan. Story Celebrations: A Program Guide for School and Libraries Put some juice into your library programs with these lively, thematic, book-based activities for children in grades 4-8. $35.00; ISBN13: 9781591584322 (Paperback); ISBN10: 1591584329; 2008 Irving, Jan. Stories, Time and Again: A Program Guide for Schools and Libraries Through reading, storytelling, puzzles, creative dramatics, writing exercises, arts and crafts, and more, you can engage young learners while building their literacy and reading skills, and their love of books and reading with this resource. $34.00; ISBN13: 9781563089985 (Paperback); ISBN10: 156308998X; 2005 Keding, Dan. Elder Tales: Stories of Wisdom and Courage from Around the World This collection gathers traditional folktales from around the world to celebrate the wisdom, courage, and even the follies of elders. $30.00; ISBN13: 9781591585947 (Paperback); ISBN10: 1591585945; 2007 Livo, Norma. Tales to Tickle Your Funny Bone: Humorous Tales from Around the World More than 70 humorous stories, riddles, and verses represent cultures from around the world and across the centuries. $30.00; ISBN13: 9781591585046 (Paperback); ISBN10: 159158504X; 2007 MacDonald, Margaret Read. Tell the World: Storytelling Across Language Barriers A group of expert storytellers share a variety of tips and techniques that help bridge the language gap. $35.00; ISBN13: 9781591583141 (Paperback); ISBN10: 1591583144; 2007 Norfolk, Sherry; Stenson, Jane & Williams, Diane. The Storytelling Classroom: Applications Across the Curriculum Consisting of a series of essays written by storytellers who work in the classroom, as well as teachers who use storytelling in the classroom, this title addresses specific curriculum areas and includes practical easily replicable lesson plans. Grades K-8 $35.00; ISBN13: 9781591583059 (Paperback); ISBN10: 1591583055; 2006 Pellowski, Anne. Drawing Stories from Around the World and a Sampling of European Handkerchief Stories More than 30 ready-to-tell tales, along with step-by-step directions for ingenious illustrations that

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Storytelling Resources from Libraries Unlimited

accompany them, and tips for engaging your audience in further learning. $29.00; ISBN13: 9781591582229 (Paperback); ISBN10: 1591582229; 2005 Sima, Judy & Cordi, Kevin. Raising Voices: Creating Youth Storytelling Troupes and Groups A step-by-step guide on how to implement a youth storytelling program within your school or organization. $35.00; ISBN13: 9781563089190 (Paperback); ISBN10: 156308919X; 2003 Sobol, Joseph Daniel. The House Between Earth and Sky: Harvesting New American Folktales Expose your students to fables, wonder tales, and other ancient story genres, along with proverbs, remedies, recipes, and folktales from all over the world. $24.00; ISBN13: 9781591580805 (Paperback); ISBN10: 1591580803; 2005 Strauss, Kevin. Tales with Tails: Storytelling the Wonders of the Natural World. More than 60 multicultural tales from around the world combined with dozens of learning activities help you convey key scientific concepts and instill values encouraging children to become responsible stewards of the earth. $35.00; ISBN13: 9781591582694 (Paperback); ISBN10: 1591582695; 2006 To view our World Folklore series go to http://lu.com/showseries.cfm?serid=34. To view our Reader Theater titles go to http:// http://lu.com/showseries.cfm?serid=39.

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Notable Quotables and Cool Contributor’s Listing Albert, David—www.skylarksings.com Angelou, Maya—www.mayaangelou.com Ayvar, Carrie Sue—www.writeonspeakers.com/carrie_sue_ayvar.htm Baldwin, Jackie—www.story-lovers.com Black, Judith—www.storiesalive.com Bodkin, Odds—www.oddsbodkin.com Birch, Carol—www.carolbirch.com Burch, Milbre—www.kindcrone.com Brothers Grinn, The—www.thebrothersgrinn.com Chace, Karen—www.storybug.net Christensen, Patti—www.pattistory.com and www.patchworkplayers.com City of Pigeon Forge—www.mypigeonforge.com Cordi, Kevin—www.youthstorytelling.com Cuny, Elizabeth—www.uncg.edu/cst/speakingcenter Del Seamonds, Leeny—www.leenydelseamonds.com Denning, Stephen—www.stevedenning.com Downing, Johnette—www.johnettedowning.com Ellis, Brian Fox—www.foxtalesint.com Ellis, Elizabeth—www.elizabethellis.com Ellis, Rex—[email protected] Eth-Noh-Tec—www.ethnohtec.org Galloway, Chetter—www.chettergalloway.com Gathercole, Kathi—www.notsotalltaletellers.com Geisler, Harlynne—www.swiftsite.com/storyteller/ Geist Rosen, Sarah—[email protected] Gillman, Jackson—www.jacksongillman.com Gorham, Linda—www.lindagorham.com Hamilton, Mary—www.maryhamilton.info Haven, Kendall—www.kendallhaven.com Healy, Yvonne—www.yhealy.com Horner, Beth—www.bethhorner.com Howe, Priscilla—www.priscillahowe.com Huff, Mary Jo—www.storytellin.com Hyde, Timothy—www.achieving.com.au 369

Keding, Dan—www.dankeding.com Ketner, Mary Grace—www.talesandlegends.net Kimball, Joan—[email protected] King, Chris—www.storytellingpower.com Klein, Susan—www.susanklein.net Ladley, Diane—www.ghoststories.biz Leithold, Naomi—www.simplystorytelling.com Lipke, Barbara—[email protected] Martin, Richard—www.talesandmusic.de McCarty, Michael—www.havemouthwillrunit.com McLaughlin, John—[email protected] McWilliams, Barry—www.eldrbarry.net Melancon, Peggy—[email protected] Niemi, Loren—www.storytelling.org/Niemi/default.htm O'Halloran, Susan—www.susanohalloran.com Olson Tolar, Debra—www.debraolsontolar.com Pasini Beekman, Jeannine—[email protected] Piazzi, Joanne—[email protected] Rooks, Diane—www.storyjourney.com Roose, Steveanna—www.maaa.org/haf/artists/pa_storytell4.html San Souci, Robert D.—www.rsansouci.com Schram, Peninnah—[email protected] Sheppard, Tim—www.timsheppard.co.uk Sima, Judy—www.storynet.org/tellers/JudySima.htm Spitzer, Linda—www.storyqueen.com Stavish, Corinne—www.bristolhills.net/corinne_stavich.htm Stotter, Ruth—www.ruthstotter.com Strauss, Kevin—www.naturestory.com Waldman Frasier, Elizabeth—[email protected] Whitten, Robin—www.audiofilemagazine.com Wilder, William—www.williamwilder.com Wos, Joe—www.onceuponatoon.com Wyzga, Diane—[email protected] Yashinsky, Dan—www.storytellingtoronto.org/Directory_Pages/Dir_DanYashinsky.html Yolen, Jane—www.janeyolen.com 370

Index About Story and More About Story, 154 Acrylics, 42 ACT!, 178 Acting vs. storytelling, 40 Action shots, 133 Address labels, 244 Advertisements, 186–87 Age level appropriateness, 54–55, 56–57 Agencies, established, 225–26 Agents: hiring, 226; working with, 225–26 Agreements, 103 Aiex, Nola Kortner, 262 Airplane adapters, 243 Airplay, 307 Air pressure, tire, 241 Air transportation, 242–43, 245–46 Albert, David H., 360 “A-List,” 221 Amazon.com, 301 American Dictionary of Libraries, 118 American Federation of Musicians (AFM), 345 The American Heritage Dictionary, 316 American Library Association, 306 Amplifiers, 64 “Anchor bookings,” 234 Angelou, Maya, 11 Announcements, 200 Answering machines, 86, 155, 244 APAP (Association of Performing Arts Presenters), 234 Apprenticeships, 254–55 Arniel, Henri Frederic, 251 Arrival, early, 61 Articles, 156 Artist etiquette, 60–61 Arts Council of New Orleans, 346 Arts councils, contacting, 352 Arts Midwest, 212, 234 Assembly preparation sheet, sample, 281 Assertiveness, 57 Assessments, 272–75 Assistants, hiring, 227 Association of Performing Arts Presenters (APAP), 186, 234 “An Attitude of Gratitude,” 179

Audiences, 53; directed dramatization and, 18; elements that allow, 17; encouraging, 16–17; etiquette for, sample, 282; finding, 230; management of, 55–58; praising, 57; queries for, 16; setting expectations of, 56; types of, 16; welcoming, 56; when to include, 17–18 Audio clips, 169 AudioFile Magazine, 229, 306 Audio recordings, 296; live vs. studio, 294–95 Autographs, 305 Automobile transportation: equipment protection and, 245; maintenance on, 241–42; traveling via, 240–41 AV Cafe, 303 Awards, 306 Backgrounder, 200 “Back of the room” sales, 304 Bacon’s Newspaper/Magazine Directory, 204 Baker, Augusta, 14 Bathtubmusic.com, 301 Batiste, Alvin, 253 Beauregard, Sue Ellen, 306 Beauty and the Beast, 31 Beekman, Jeannine Pasini, 89, 266 “Beloved, Kentucky,” 185 Bendremer, Ellen, 182 Berkner, Laurie, 207 Bettelheim, Bruno, 36 Billboard Magazine, 203 Bill management, 163, 244 Birch, Carol, 59 Biz New Orleans, 201 Black, Judith, 294, 315, 316, 324 Blankets, 240 Block booking, 234 Blogger.com, 165 Blogosphere, 165 Blogrolls, 166 Blogs, 165 Blue Fairy Book, 31 Bluetooth Headsets, 86 Bodily-kinesthetic intelligence, 266 Bodkin, Odds, 33, 317

Book House, Inc., 303 Booking(s): agents, 225–26; block, 234; booking form, sample, 109; checklist, 101–2; conferences, 234; confirmation letter, sample, 110; confirmation of, 60; contract, sample, 111; following-up and securing, 103; managing, 92; over, 338; scheduling and confirming, 102; time-savers, 105–7; yourself, 227 Booklist, 306, 307 Brain-based learning, 267 Brainstorming, 4 Brand, Susan Trostle, 267 Braud, Betsy, 253 Brice, Shirley, 263 Bridges, 54 Brochure cards, 125–26 Brochures, 135, 147–48, 169, 187 Brown, Roberta Simpson, 34 Buddies, 19–20 Bullard, Julie, 288 Bumper stickers, 154 Burch, Milbre, 35, 79, 226 Burger King, 122 Burnouts, 337–39 Burns, Jeri, 72 Business cards, 124–26, 129, 176–77 Business card scanners, 87 Buvala, Sean, 166 Carnegie, Dale, 203 Carpenter, Regi, 229 Carroll, Sheila Dailey, 262–63, 288 Catalog sales, 303 Catterall, James S., 263 CdBaby.com, 301, 302 Cello Tales, 255 Cell phones, 86, 240 Censorship, 35–37 Chace, Karen, 13, 116, 289, 326 Chace, Kevin, 356 Chamber of Commerce, 352 Chants, 16 Chapin, Tom, 134 “Charging Your Worth,” 97 Chase’s Calendar of Events for Ideas, 159 Checking accounts, setting up, 75–76 Children, caring for, 55, 244

371

Index X X X X X X X X X X X X X X X X X X X X X X X X X X X

Children’s Music Network, 220 Children’s Theater Center (CTC), 220 “Chris King’s Guide to Winning Websites,” 170 Christensen, Patti, 16, 17, 20, 51, 75, 116 Cingular, 122 Classroom culture, 271 Closings, 54 Coaching, personal, 19–20, 254 COBRA (Consolidated Omnibus Budget Reconciliation Act), 346–47 Codell, Esme’ Raji, 287–88 Cognition, 263 Collaborations, 255–57 College courses, 258 College interns, 227–28 Color, 124–25 Common Sense...and Uncommon Fun, 294 Compact discs (CDs): advertising, 303; autographing, 305; awards for, 306; graphics on, 297–99; inventory, managing, 301; layout, sample of, 312; manufacturing companies and, 299; online selling of, 301–2; press release for, 305; proofing, 300; radio airplay of, 307; releasing, 301, 302–4; replication vs. duplications of, 299–300; review of, 306–7 Composite cards, 135, 187 Computers, 84; laptop, 243, 244 Concept statements, 76 Conferences, 157, 176, 258 Connecticut Storytelling Center, 318 Consistency, 163 Consortium of National Arts Educations Associations, 265 Contacts, professional: making, 235; organizing, 92; tracking, 178 Contests, 156 Contracts, 103 Copiers, 85 Copyright Act of 1976, 29 Copyrighting, 29, 133 Cordi, Kevin, 13, 27, 34, 47, 49, 356, 358 Corporate sponsorships, 104 Corporations, 74–75 Costumes, 154

372

Cotton, 42 Coughing, harsh, 334 Creativity, 263 Critic reviews, 306 Cultures, 263 Cuny, Kimberly M., 30, 329 Dada Mail, 183 Davis, Angela, 319 Davis, Donald, 12, 72, 227, 317 Davis, Rick, 221 Day runners, 244 Daytime organizers, 243 DC/AC inverters, 240 Deadlines, 6, 164 Defined benefit plans, 345 Demos, 213 Denim, 42 Denning, Stephen, 36, 361 Depression, 337 Designers, graphic: concepts, 164; elements, 163; tips, 136–37 DHL, 91 “Dianne and the Magic Suitcase,” 72 Dictaphone’s, 241 Dictionary of American Libraries, 186 Digg, 166 Digital cameras, 86 Digital downloads, 302 Digital printing, 138 Directions, confirmation of, 60–61 Direct mail, 187 Directory listings, 220 Directory of Associations, 118 Disability insurance, 350 Distractions, 57 Diversity, 362 Dr. Bronner’s Magic Soap, 243 Documentation, 252 Dodkin, Jeffrey, 204 Domain names, 162 Dominos, 115 Donations, 156 Donato, Jeanne, 267 Doty, Tom, 184 Downing, Johnette, 154 Dramatic pause, 16, 17 Dramatization, 16, 17, 18 Dress code, 41–42 Drugs, 334 Duplications, 299–300

Eastern Tennessee State University, 362 Edison Portland Cement Company, 251 Education and storytelling, 362 Einstein, Albert, 262 Eldrbarry.net, 15 Ellingwood, Rodger, 3 Ellis, Brian Fox, 68, 227, 239, 265, 330, 338 Ellis, Elizabeth, 20, 26, 35, 101, 254 Ellis, Rex, 15, 35 E-mails, 85, 92, 187; checking, 244; contacts, 183–84; newsletters, 182–85; newsletter samples, 191–98; programs, 183 Embarrassment, recovering from, 59–60 Emceeing, 313–15 Emergency contact information, 241, 242 Emerson, Ralph Waldo, 2 Encyclopedia of Associations, 118 Endo, Kenny, 253 Energy Arts Business Center, 346 Engraving, 138 Equalizers, 64–65 Equipment insurance, 78 Estate planning, 350 Eth-Noh-Tec, 253, 255 Evaluations, 272–75; form, sample of, 232 Executive summaries, 76–77 Expectations, setting, 256 Eye contact, 57 Fabrics, 42–43 FaceBook, 166, 167, 177 Failures, dealing with, 251 Fairy tales, 12 Family, working with, 227 Family Fun magazine, 203 Family history, 12 Fans, working with, 227 Fast-loading, 163 Favorite Scary Stories of American Children, 33 Fax machines, 85 Feature releases, 200 FedEx, 91

•••••••••••••••••••••• Fees: collecting, 100–101; negotiating, 100; quoting, 99–100; schedules of, 163 Festival circuit storytelling, 317 Festivals, outdoor, 315–16 Financial planning, 244, 343–44; preparing, 353; records, 77 First aid kit, 241 Five-year Plan, 3–4 Flashlights, 242 Flexibility, 61, 257 Flexography, 138 Flonase, 334 Floor surfaces, 47 Flow, 55 Fluids, vehicle, 241 Flumpa, 117 Flyers, 139, 187 Flyer slicks, 140 Focal points, 45 Focus points, 57–58 Folklore, 12 Follett Audio Visual, Book Wholesalers, Inc., 303 Follow-ups, 200 Food Network, 236 Foodnetwork.com, 236 Forest, Heather, 27, 72 Frasier, Elizabeth Waldman, 207 Free-Press-Release.com, 205 Friends, working with, 227 Funding sources, 104 Future, preparing for, 354 Galloway, Chetter, 118 Gardner, Howard, 266 Gardner’s Theory, 266 Gathercole, Kathi, 186 Geisler, Harlynne, 213 General liability insurance, 78 George, Yvetta, 262 The Gift of the Magi, 31, 32 Gigging, 334 Gillman, Jackson, 72, 266 Giveaways, promotional, 154–55, 187 Global Positioning System (GPS), 239 Glove compartment, 242 Goal-setting, 344; brainstorming, 4; deadlines, 6; defining, 3–4; initiation of, 7; prioritization of, 4–5; Priority A goals, 4, 5, 6; Priority B

goals, 5; Priority C goals, 5; road mapping and, 4–5; step-by-step, 5 Goldmine, 178 Goldstein, Jeri, 227 Google.com, 13, 165, 168, 204 Gorham, Linda, 43, 89, 103, 107, 122, 133, 136, 140, 154, 156, 212, 216, 294, 329 Goza, Kimberly, 237 GPS (Global Positioning System), 239 Grants, 103–4 Grant writing, 104 Graphic artists, 297–99 Graphic designers, working with, 122–24 Graphics, audio, 297–99 Gravure printing, 138 Greenberg, Bonnie, 337 Greene, Ellin, 14 Green Thumb Theater, 234 Grievances, working out, 257 Group dynamics, 53–54 Group health insurance, 346 A Guide for Emceeing Storytelling Events, 315 “Guidelines for Applied Storytelling,” 360 Guild listings, 221 Guilds, storytelling, 319–20 Gum, 242 Hamilton, Mary, 351 Hand lotion, 240 Handouts, 326, 327 Hand sanitizer, 240 Hand wipes, 240 Hansen, Cheryl, 234–35 Harley, Bill, 72, 227 Haunted Bayou and Other Cajun Ghost Stories, 34 Haven, Kendall, 14, 19, 251, 264 Headlines, 125, 207 Head shots, 133 Healing Story Alliance (HSA), 258, 361 Healingstory.org, 361 Health, taking care of, 239 Healthcare savings programs, 347 Health insurance, 346–48 Healy, Yvonne, 44, 102 Henry, O., 12, 31

Index

High school students, 227–28 Historical accounts, 13 HMOs (Health Maintenance Organization), 347 Hollen, Stephen, 185 Holstein, Susanna, 185 Holt, David, 72 Horner, Beth, 313 Host companies, 162 Hotel airline rewards, 235–36 House-sitting, 244 Howe, Priscilla, 319, 334 How to Be Your Own Booking Agent, 227 How to Get Your Child to Love Reading, 287–88 How to Market A Product for Under $500 Dollars, 204 How to Win Friends and Influence People, 203 Hubpages, 166 Huff, Mary Jo, 115 Hurricane Katrina, 220, 319 Hyde, Timothy, 3 Hydration, 333–34 Icons, 164 Identification, 187, 242 Illinois Storytelling Festival, 317 Imagination, 12 Impromptu interview, 205–7 Income: evaluating, 344; generating, 103–4; tracking, 78 Independent Children’s Artist Network (ICAN), 220 Indie Bible, 307 Individual health insurance plans, 346 Information cards, 125 Information overload, 92 Initiations, 7 “In Search of The Big ‘O’—Organization!,” 92 Inside Arts, 186 International Performing Arts for Youth (IPAY), 212, 234, 235 International Reading Association World Congress on Reading, 288 International Storytelling Center, 258 International Virtual Assistants Association, 227

373


Internet, 13; directory listings, 220– 21; power of, 353; sales, 301–2; searching of, 163; wireless, 85 Interns, 227–28 Interpersonal intelligence, 266 “Introduction Card,” 50 Introductions, 50–51; express, 96; sample letter of, 145–46 Inventory management, 301 Investorwords.com, 347 Invitations, personal, 217 Inviting the Wolf In: Thinking About Difficult Stories, 35 IPAY (International Performing Arts for Youth), 235 IRAs, 344, 345 Irs.gov, 79, 320 Isaac, Oneal, 288 Isle of Capri Casino Hotel, 235 Ivaa.org, 227 Jambalaya, 294 “Jambalaya” educator’s guide, sample, 283–84 Jambalaya-Stories with Louisiana Flavor, 183–84 “Jeannine Pasini Beekman’s Top 10 Tricks For Touring Sanely,” 247 Joseph Had a Little Overcoat, 10 Joy, Flora, 355 Jump, Jiggle & Jam, 294, 302 Jumper cables, 241 Juried showcases, 212–13 Keding, Dan, 67, 237, 265, 301, 317 Kennedy Center, 265 Keogh plans, 344 Ketner, Mary Grace, 327 KFC (Kentucky Fried Chicken), 116 Kids, management of, 55 Kids Entertainment, 234 Kidsread.ning.com, 167 Kikuchi-Yngojo, Robert, 18, 253 Kimball, Joan, 289 King, Chris, 55, 68, 184, 317, 320 Kinghorn, Harriet, 357 Kipling, Rudyard, 12 KISS (“Keep It Simple, Stupid”), 187 Klein, Susan, 25, 26 Knits, 42 Koff, Susan, 272–73

374

Labelers, 87 Ladley, Diane, 34 Lang, Andrew, 31 Laptop computer, 243, 244 Las Casas, Dianne de, 229; and storytelling programs, sample curriculum guide for, 285–86 Law office storytelling, 362 “The Legend of Scheherazade,” 359 Legends, 12 Lehon, John, 10 Leithold, Naomi, 306 Lesson plans, 271–72 Letterpress, 138 Libraries: events held within, 289; listings in, 221; programs, creating, 289–90; storytelling-reading connection in, 287–88; summer reading in, 288–89 Life insurance, 348–49 Lightning Rod Communications, 362 Lights, vehicles, 241 Limited Liability Company (LLC), 75 Linguistic intelligence, 266 LinkedIn, 166 Lipke, Barbara, 263 Lipman, Doug, 20, 184, 254, 336 Listmaking, 6 Listservs, 177, 244 Literary stories, 12 Livejournal.com, 165 Live recordings, 294–95 Local arts councils, 220 Logical-mathematical intelligence, 266 Logos, 121–22, 187 Louisiana Press Association, 204 Loved ones, keeping in touch with, 237 Loyd Artists, 225 Lucas, George, 262 Lyera, 42 MacDonald, Margaret Read, 12, 27, 33 Mack, Jr., Roy, 76 Magnet cards, 125 Mailing lists, 185–86, 187 Mail services, 244 “The Making of a Story With EthNoh-Tec,” 18

Management team, 77 Managers, hiring, 226 Mapquest, 239 Maps, 240 Market analysis, 77 Market(ing), 77, 353; ABC’s of, 187–88; getting results, 188; locations for, 117–19; niche, 116–17; philosophy of, 113–14; public relations (PR) and, role of, 229; relationships, 188; target, 114–15 “Marketing at Face Value,” 134 Marlo, Eve, 288 Marshall, Barry, 72 Martin, Richard, 14, 60 Master classes, 252–55 McCabe, Tom, 137, 155 McCarty, Michael, 7, 134 McLaughlin, John, 76 McWilliams, Barry, 15 Meals, 236 Media contacts, tips for making, 204 Media lists, obtaining, 204–5 Medical savings accounts (MSAs), 347 Medications, 242 Meet-and-greet tips, 305 Melancon, Peggy, 48 Mental preparation, 46 Merchandise insurance, 78 Meta tags, 168 Michigan Reading Association, 262 Microphones, 65–66; handling, 67– 68; stands for, 66 Microsoft, 178, 186 Mid-South Education Research Association, 262 Milkshake, 207 Mistakes: admitting, 61; dealing with, 251; recovering from, 58–59 Mixers, 65 Modernpostcard.com, 182 Money-purchase plans, 345 “Money-Saving Ideas for Choosing a Health Insurance Plan,” 348 “Money-Saving Tips for Printing,” 139 The Moral of the Story, 276 Morgan, Zak, 207 MP3 Players, 86–87 Murphy, Susan, 234–35 Murphy’s Law, 330 Musical intelligence, 266

•••••••••••••••••••••• Music players, portable, 243 MySpace, 166 Myths, 12 Napkins, 240 Nasacort, 334 National Children’s Book Week, 289 National Council for Teachers of English, 10 National Endowment for the Arts, 254 National Endowment for the Humanities, 254 National Library Week, 289 National Standards for Arts Education, 265 National Storytelling Conference, 26, 35, 257–58, 323 National Storytelling Festival, 258 National Storytelling Network (NSN), 177, 220, 257, 315, 317, 318, 319, 352, 356 National TV Turn-off Week, 289 National Youth Storytelling Olympics, 355 National Youth Storytelling Showcase, 355–56 Negro, Janice Del, 288 Networking, 187 Net worth, 344 Newsletters: e-mail, 182–85; e-mail, samples of, 191–98; print, 185 Newspaper services, 244 Nick Jr., 203 Niemi, Loren, 20, 35 Nike, 116 Ning, 166 No Child Left Behind Act, 264 Nonjuried showcases, 214 Nonprofit organizations, 221 Norfolk, Bobby and Sherry, 276 Note cards, 125 Nylon, 42 O’Callahan, Jay, 13, 72, 254 Odometer readings, 241 Office, setting up: delivery services available at, 91; equipment, 83– 88; organization within, 88–90; setting up, 91; supplies, 88; traveling, 91 Office Depot, 79, 328

Office Max, 79, 330 Office supplies, 88, 244 Offset lithography, 138 O’Halloran, Susan, 64, 96, 98, 101, 117, 122, 136, 137, 199, 201, 202, 227, 238, 267, 295, 297, 333, 336, 362 Oil, 241 Olio, storytelling, 316 Once Upon a Bedtime, 27 Once Upon a Shoe, 294 One-Year Plan, 3 Online press kits, 169 OnStar, 242 OOPS (Ohio Order for the Preservation of Storytelling) Annual Spring Conference, 317 Openings, 54 Oracle Awards, 258 Organizations, 177, 187 Otto, Steve, 96, 155 Outdoor festivals, 315–16 Overbooking, 338 Pacing, 55, 238–39 PAE (Performing Arts Exchange), 234 Paired plans, 345 Papa Johns, 115 Paper files, 92 Paper towels, 240 Parent, Michael, 327 Partnerships, 74 PayPal, 169 PDA (Personal Digital Assistant), 79, 86, 177, 243, 244; Smart Phones, 86, 238 Pelton, Mary Helen, 357 Performances, public, 157 Performance space, 44–45 Performer’s bag, packing, 245–46 Performer’s union retirement plans, 345 Performing Arts Exchange (PAE), 212, 234 Periodicals, organizing, 92 Personal history, 12 Pets, 244 Phone book, drivers, 240 Phone cards, 242 Phones, 237–38 Photographers, working with, 133–34

Index

Photo journals, 237 Piazzi, Joanne, 255 Pillows, 240 Pinkerton, J. G., 318 “Plain Brown Wrapper Stories,” 185 Plaxo, 166 Podcasting, 166 Poe, Edgar Allen, 12, 14 Polyester, 42 Portable data storage, 84 Portfolio, 163 Postage meter, 88 Postage scale, 88 Postcards, 140, 149–50, 182, 305 Posters, 140 “The Power of The PDA,” 87 PPOs (Preferred Provider Organization), 347 Press kits, 141–42, 151, 188 Press releases, 200–202, 305; advance, 200; composing, 201; mailing, 202; sample of, 210 Prime Time Family Reading® Time, 288 Printers, 84; portable, 244 Printing companies, 137 Printing process, 138–39 Print newsletters, 185 Prioritization, 4–5 Priority A goals, 4, 5, 6 Priority B goals, 5 Priority C goals, 5 Problem Solved: The Easy Way to Get Kids to Love Math, 201 Producers & Organizers, 258 The Producer’s Guide, 318 Product orders, filing, 244 Professional development, 257–58 Professionalism, 61 Professionals, hiring, 213 Professionalstoryteller.ning.com, 167 Profit-sharing plans, 345 Program development, 53–55 Promotional ideas, 155–59 Promotional kit, 140–41 Promotional materials, 244 Promo videos, 213 Proofings, 300 Props, 45 Public domains, 30, 31, 33 Publicists, 207

375


Publicity campaigns, 203 Public Law 105-298, 30 Public relations (PR) and role of marketing, 229 Publisher’s Weekly, 307 Pullman, Philip, 10 Purchasing booth space, 214–16 Purging, 184 Queen of the Cold-Blooded Tales, 34 Radio airplay, 307 Radiographics, 138 Rayon, 42 Reading is Fundamental (RIF) organization, 288 Reading materials, 243 Ready-to-Tell Tales, 25 “Reasons for Storytelling in Schools,” 264 Recorder, handheld, 241 Recording studios, 295 References, 164 Refinement, 252 Rehearsals, 44 Rehearsed responses, 16 Release party, 303–4 Reneaux, J. J., 34, 296 Repertoires, 19, 90, 92 Replications, 299–300 Research, 54, 90 Researching Stories on the Internet, 13 Residencies, 270–72 “Retelling Tales With Children’s Author Robert D. San Souci,” 28 Retirement, 344–46 Retreats, 258 Righteous Brothers, 167 Road mapping, 4–5 Roadside assistance, 242 Rolodex cards, 125 Rook, Diane, 361 Roose, Steveanna, 253 Rosen, Sarah Geist, 203, 207 Ross, Betsy, 154 Rosters, state artist, 219–20 Roth IRAs, 345 RSS (Really Simple Syndication) feeds, 165 St. Romain, Rose Anne, 31, 116, 294 Sales letters, 182

376

San Souci, Robert D., 28, 250 Satin, 43 “Say Cheese,” 58 Scanners, 85 The Scary Story Reader, 33 Schaer, Barbara, 262 Schnatter, John, 115 School district listings, 221 School Library Journal, 307 School shows, 267; educational content for, 54; preparing for, 269 Schoolshows.com, 221 Schram, Peninnah, 17 Schwartz, Alvin, 35 SCORE (Service Corps of Retired Executives), 75 Screen printing, 138 Seamonds, Leeny del, 44, 50, 243, 335 Search engines, 162 Secrets of a Storyteller, 182 Segues, 54 Setting fees, 96 Shih, Patricia, 334 Shipments, 300–301 Shopping, one-stop, 212 Show-and-tell, 217 Showcase, scheduling a, 156 Signature lines, 157 Signs, 153 Silk, 43 Sima, Judy, 356 Simplified employee pension (SEP), 345 Sir Mix-A-Lot, 167 Site development, 162 Slogans, 116 Small Business Development Center (SBDC), 228–29 Smart Phones, 86, 238 Snacks, 240 SNS (Social Networking Sites), 166–67 Socializing, 176 Social networking, 166–67, 177–78 Software, 84 Sole proprietorships, 73–74 “Something Out of Nothing,” 10 Songs, 16 Sound check, 45 Sound reinforcement, 56

Sound system, 63; components of, 64–66; mastering, 69; microphones, 67–68; sound checks, performing, 68; troubleshooting, 68; using a, 66 Souvenirs, 244 Spandex, 43 Spatial intelligence, 266 Speakers, 65 Speaker stands, 66 Special Interest Group for the National Storytelling Network, 356 Special venues, 315–16 “Spice Up Your Storytelling Stew With a Second Language,” 259 “Spicing Up Your Image,” 127 Spitzer, Linda, 319 Sponsorships, 103–4 Spousal health insurance, 346 The Springboard: How Storytelling Ignites Action in Knowledge-Era Organizations, 36 Springboard storytelling, 361 SRP (Summer Reading Program), 288–89 Staffing services, 228 Stage fright, 47; during performance, 49–50; prior to performance, 48–49 Stallings, Fran, 323 Standards-based storytelling, 264–65 “The Stand-Up Chameleon,” 72 “Starting Over With Mary Hamilton,” 351 Stationary, 124, 129, 188 Stavish, Corinne, 323 Stickers, 154 Store releases, 302–3 Stories: buddies, working with, 19–20; censorship of, 35–37; content of, 33–35; copyrighting, 29; finding, 11–12; learning, 14–19; performing, 61–62; public domains and, 30–31, 33; shaping, 13–14; telling, 20; working with, 9–10 “Stories From the Mountains & Beyond,” 185 Story Ballet Magic group, 36, 255 “Story Biz” workshops, 325 Storybug.net, 13

•••••••••••••••••••••• Story Connection Express, 184 Story Connection Express, 183 Storyconnection.net, 317 “The Storycrafters,” 72 Storynet.org, 315 Story swaps, 316–17 StoryTell, 177 Storyteller: defined, 2; dress code for, 41–43; employment as a, 39–40; introduction of, 50–51; preparation of, 46–47, 51; self-assessment of, 2; stage fright of, 47–50; technical requirements of, 43 Storyteller.net, 166, 221 “The Storyteller’s Oath of Ethics,” 26 The Storyteller’s Sourcebook, 12 The Storyteller’s Start-up Book, 33 Storytelling: vs. acting, 40; in businesses and organizations, 361–62; defined, 10–11; diversity through, 362; in education, benefits of, 262–63; education in, 276; emceeing, 313–15; ethics of, 25–27; events, organizing, 317–19; festival circuit, 317; guilds, 319–20; hands-on, 288; as a healing instrument, 358, 360–61; in high education, 362; importance of, 11; in law offices, 362; libraries and, 287–88; merging with arts, 255; nurturing, 320; organizations, 352; performance space for, 45–46; rehearsing for, 44; at special venues, 315–16; springboard, 361; standards-based, 264–65; youth, 355–58 Storytelling Art and Technique, 14 Storytelling business(es): license, 76; plan, 76–78; resources available to, 75; types of, 73–75 The Storytelling Coach, 20, 254 Storytelling festivals, 258 Storytelling guilds, 258 “Storytelling Improv Theater With the Brothers Grinn,” 256 Storytelling in Emergent Literacy, 267 Storytelling in Higher Education (SHE), 362 Storytelling in Higher Organizations, 258 Storytelling in Organizations, 258

Storytelling Magazine, 184, 186, 266, 323 Storytelling olio, 316 Storytellingpower.com, 68 Storytellingwithchildren.com, 166 STORYTELL listserv, 13, 27, 338 Stotter, Ruth, 59, 154 Strauss, Kevin, 19, 254 Stress busters, 339–41 Studio recordings, 294–95 Study guide, creating, 268–69 StumbleUpon, 166 Subscriptions, 184 Summer Reading Program (SRP), 288–89 Support network, building a, 72 Synthetics, 43 Taback, Simms, 10 “Tag team” networking, 176 Taiko, Kinnara, 253 Taiko Center, 253 Tajiro, Mochizuki, 253 Tales as Tools: The Power of Storytelling in the Classroom, 262 Targeted slant, developing, 201 Taxes, 78–79 Teacher in-service days, 270 Teachers, 275–76 “The Teaching Artist’s Creed,” 269 Telemarketing, 181–82 Telephone cards, 242 Telephones, 237–38 Tellabration, 318–19 Temperature, room, 45 Tent cards, 125 Term life insurance, 349 Testimonials, 188, 229 Thank you notes, 61, 178, 272 Thematic programs, 40–41 Themes, 54 Theory of Multiple Intelligence, 266 Thermography, 138 Third-person testimonials, 229 “Thom Bennett’s Guide to Fabulous Photos,” 132 Thoreau, Henry David, 1 Throat clearing, 334 “Tips For Dynamite Displays on a Dime,” 216 “Tips For Hiring A Professional Video Company,” 214

Index

Tires, 241 Tissues, 240 Toiletries, 242 Tolar, Debra Olson, 44, 48, 315, 316 Top Telemarketing Techniques, 182 Torrence Jackie, 7 Touring directories, 219–20 Tours, organizing, 233 Trademarking, 73 Trade names, 72–73 Traditional IRAs, 344 Traveler’s checks, 242 Traveling: checklist, 244; expenses of, 235–36; itinerary of, 239–40, 244; travelers checks, 242 Travel journals, 237 Trousdale, Ann, 36 Tune-up, vehicle, 241 Turn signals, 241 Twain, Mark, 12 Twitter, 166 U.S. Patent & Trademark Office (USPTO), 73, 116 U.S. Small Business Administration (SBA), 75 Universal life insurance, 349 Uploading, 162 UPS (United Parcel Service), 91 Uruguay Round Agreements Act (URAA), 30 The Uses of Enchantment, 36 “Using Your Website to Win New Clients and Service Existing Clients,” 169 USPS.com, 91 Uspto.gov, 73 USP (Unique Selling Proposition), 115, 188 Utilities, 244 Vancenase, 334 Variable life insurance, 349 Venues, special, 315–16 Video clips, 169, 213 Virtual assistants, 227 Visitor’s information, 236 Vistaprint.com, 182 Visual aids, 326 Visualization, 46 Vitamins, 242

377


Voice: caring for, 333–36; exercises for, 336–37; illnesses of, treatments for, 335; training your, 336–41 Voice Across America, 356 Voice mail, 86 Volunteering, 178 WAA (Western Arts Alliance), 234 Wal-Mart, 79 Wang, Nancy, 18, 253 Washington, Donna, 227 Water, bottles, 240 Web designers, working with, 163–64 Web feeds, 165 Websites: advertising, 168; attractive features to, adding, 165–68; developing, 162; development of, reviewing, 164; hits, tracking, 167–68; important elements of, 163; maintenance of, 162

378

West, Cristy, 358, 360 Western Arts Alliance (WAA), 234 Whitten, Robin, 306 Whole life insurance, 349 Wikipedia, 167 Wilder, William, 12, 29, 31 Windshield wipers, 241 Wolf, Eric, 166 Wolfgang, Johann, 250 Word-of-mouth, 229 Word processing documents, 92 Workshops: checklists for, 327–28; materials for, organizing, 328; preparations for, 328–30; proposals for, 323–24; toolkits for, 325–28 The World According to Mister Rogers—Important Things to Remember, 252 World Bank, 361

World Fiesta, 255, 294 World Wide Web, 188 Wos, Joe, 155 Wyzga, Diane, 362 Yahoogroups.com, 183 Yashinsky, Dan, 360 YES Alliance, 356, 357 Yolen, Jane, 27, 37 Young, Richard and Judy Dockery, 33 Young Audiences Catalog, 96, 221 Young Leadership Council, 178 Youth and Education Storytelling (YES Alliance), 258, 356, 357 Youth storytelling, 355–58 Youthstorytelling.com, 356 YouTube, 166, 167, 177

About the Author

Photo by Randy Richards

Author & Award-winning Storyteller Dianne de Las Casas Touring internationally, author and award-winning Storyteller Dianne de Las Casas sizzles on stage with “traditional folklore gone fun!” and “revved-up storytelling.” Audiences don’t just listen – they sing, clap, dance, chant, and roar with laughter. De Las Casas adapts traditional folklore, adding fun audience participation, song, and of course, humor. A dramatic storyteller, she does not stay still! Through the use of character voices, creative movement, and animated facial expressions and gestures, she creates a world of fantasy and enchantment. Childhood travels around the world contributed to shaping her future as a storyteller. De Las Casas lived in the Philippines, Hawaii, Spain and traveled across Europe and the United States. Her varied cultural experiences nourished her imagination, and she continues to draw on that knowledge, adding depth and richness to her tales. De Las Casas is a Louisiana State Roster Artist, a Louisiana Touring Directory Artist, and a Mississippi Arts Education Demonstration Roster Artist. She is the author of Story Fest: Crafting Story Theater Scripts (Teacher Ideas Press; 2005), Kamishibai Story Theater: The Art of Picture Telling (Teacher Ideas Press; 2006), Handmade Tales: Stories to Make and Take (Libraries Unlimited; 2008) Tangram Tales: Story Theater Using the Ancient Chinese Puzzle (Teacher Ideas Press; 2008), The Story Biz Handbook: How to Manage Your Storytelling Career from the Desk to the Stage (Libraries Unlimited; 2008), The Cajun Cornbread Boy (Pelican Publishing Co.; 2009) and Scared Silly: 25 Tales to Tickle and Thrill (Libraries Unlimited; 2009). Her debut CD, Jambalaya ~ Stories with Louisiana Flavor, won a 2004 iParenting Media Award, a 2004 Children’s Music Web Award, and a 2005 Storytelling World Honor. In addition, Jambalaya received a rave reviews in School Library Journal, AudioFile Magazine, Kidzmusic.com, and Georgia Family Magazine. Her second CD, World Fiesta, won a 2005 Children’s Music Web Award and received a rave review in ALA Booklist and was selected by School Library Journal as “Audio of the Week.” Booklist says, “De Las Casas' commanding voice, unique characterizations, emotive vocalizations, and creative methods of reaching out to her audience are most engaging.” Her latest CD, Jump, Jiggle & Jam ~ A Rhythmic Romp Through Story Land, won a 2006 NAPPA Honors, 2006 Children’s Music Web Award, and rave reviews in School Library Journal and Publisher’s Weekly. She performs arts-in-education programs and residencies at schools, libraries, festivals, museums, and special events. Interviewed by the Wall Street Journal, de Las Casas is a sought-after international professional development workshop leader. She is a frequent presenter at IRA, ALA, AASL and other literacy and education conferences. She is an enthusiastic advocate of literacy and arts-in-education programming. Dianne de Las Casas continues to make the story connection with thousands of children every year, reaching and teaching through the wonder of stories.

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