Improving Your Storytelling Beyond the Basics for All who Tell Stories in Work or Play

ISBN-10: 0874835305

ISBN-13: 9780874835304

Edition: N/A

Authors: Doug Lipman

List price: $16.95 Buy it from $3.22
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The first steps in storytelling are often easy, because we tell stories informally every day. Once you take storytelling into the more formal contexts of performance or occupational uses, however, you may be faced with challenges you hadn't anticipated. You need information that goes beyond the basics. And you need it in a form that does not just tell you what to do but helps you make your own informed decisions.
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Book details

List price: $16.95
Publisher: August House Publishers, Incorporated
Publication date: 12/15/2005
Binding: Paperback
Pages: 224
Size: 5.75" wide x 8.50" long x 0.50" tall
Weight: 0.682
Language: English

Introduction: Storytelling Basics and Beyond
Thinking in the Present
Helping You Make Your Own Decisions
The Case of the (Possibly) Bad Second Performance
Not Advice but Understanding
No Right Way to Tell Stories
Locally Preferred Styles
Style versus Effectiveness
The Storytelling Triangle
Loving the Mystery
Exploring Each Component
The Transfer of Imagery
Oral Language
The Variety of Expression
Tone of Voice
Facial Expression, Gestures, and Posture
Eye Behavior
Orientation in Space
Characterization through Clusters
Humor through Contrasts
Time-Based Language
Nonreversible Time
Rhythm and Tempo
The Uncrowded Stage
Forms of Imagery
The Nature of Images
The Ways Experiences Are Stored
Preferred Modes of Imagery
Learning to Transform Images
Imagining Fully
See the Sights
What If I Can't See the Colors?
Hear the Sounds
Developing Your Aural Sensitivity
Feel the Muscle-Tension and Movement
Tuning In to Kinesthetic Images
Using Sensory Details When Telling a Story
Kinesthetic Imagery and Characterization
Open Versus Closed Postures
Using Open/Closed Postures in a Story
Habitual Muscular Tensions
Why We Develop Habitual Tensions
Tensions Begin Creatively, and Can Be Slow to Release
Male and Female Abdominal Tensions
Using Habitual Muscular Tensions in a Story
Transformation Is Fascinating to Watch
Body Centers
Using Body Center in a Story
In Support of the Key Concepts
Using Multiple Body Centers
Using Multiple Muscular Tensions
Other Forms of Kinesthetic Imagery
Your Relationship to the Story
Learning to Learn Stories
What Is a Story?
The Esthetic Expectations Behind the Fairy Tale
Expectations About Story Attributes
Responding to Divergent Expectations
Learning the Story
Beginning a Natural Process
How We Learned to Tell It
How We Changed It
Tell It Informally, Many Times
The Dangers of Practicing
What if the Story Didn't Happen to Me?
Discovering the Meaning
MIT: the Most Important Thing
What Does This Story Mean to Me?
The Most Important Thing is Boss
The Next Most Important Things
To State or Not to State
Conscious or Unconscious Connections
A Continuum of Ways to State Meaning
Discovering the Structure
Other Tools for Understanding Structure
Why Not to Begin by Memorizing
Using My MIT To Create a Structure
Working toward the Details
At Last, the Words
The Central Role of Deciding the MIT
Memorizing Someone Else's Words
Your Relationship to Your Listeners
Helper and Beneficiary
The Beneficiary's Needs Come First
Being Clear and Agreeing
Fuzzy Situations
After the Performance
Stating the Expectations
Moving from Beneficiary to Helper
Telling a New Story As Beneficiary
Deciding to Tell As Helper
Special Problems with Personal Stories
When the Feelings Surprise Me
The Four Tasks
Ways to Unite
Relaxed Confidence
Rejected Invitations
Too Much Invitation
Your Effect on Your Listeners
Leaning Forward
Leaning Back
Special Problems with "Leaning Back" Stories
Some Genre-Related Effects on Your Audience
A Response to Personal Experience Stories
Program Planning
The MIT for a Program
Planning by the Slots
Unbidden Images
Developing Audiences for Your Needs
The Rehearsal Buddy
The Home Audience
Other Practice Audiences
A Balanced Diet of Audiences
Your Relationship to Your Self
Your Voice
Reducing Tension
The Healing Yawn
The Sources of Tension
What Are You Trying to Do?
Changing the Decision
Special Problems in Teaching Voice
Vocal Warm-Up
Performance Anxiety
Excitement and Fear
Readiness Skills Increase over Time
One Uncertainty at a Time
What Is Fear?
How to Process Fear
Noticing the Actual Situation
Speaking Back to Common Worries
When Fear Can Be Useful
Your Support Team
Planning Buddies
Many Helpings
Three Kinds of Helpers
The Care and Feeding of Helpers
Intangible Help
Putting it All Together
The Flexible Shifting of Attention
Four Layers of Attention
Warming Up a Preschool Audience
Act Two with Attentive Adults
Keeping My Attention Flexible
Obstructions That Misdirect My Attention
Meeting My Own Needs--for the Good of Others
Balancing the Details with the Goals
What Matters Most in this Event?
Learning the Most Important Component
Intermediate Concepts
Connecting to the Moment
Which Answer Do I Keep Closest?
Creating the Strands of Connection
Conclusion: Transformation
How to Find Storytelling Organizations and Publications
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