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