Story Power: Secrets to Creating, Crafting, and Telling Memorable Stories (Verbal communication, Presentations, Relationships, How to influence people) - Softcover

Farrell MLS, Kate

Softcover

ISBN 10: 1642501972 ISBN 13: 9781642501971

Verlag: TMA Press, 2020

Inhaltsangabe

Verbal Communication Through Telling Stories

“…learn how to bring your own stories to life on the page, on the stage, around a campfire, or a dinner table.” —Mary Jo McConahay, award-winning journalist

Winner 2020 Indie Book Award for Non-Fiction Writing/Publishing
CIBA I&I (Instructional & Insightful) Non-Fiction Awards Finalist
#1 New Release in Writing Researching & Publishing Guides

The art of telling stories has been around as long as humans. And in today’s noisy, techy, automated world, storytelling is not only prevalent―it’s vital. Whether you're interested in enlivening verbal communication, building your business brand, making presentations, sharing family wisdom, or performing on stage, Story Power shows you how to make use of a good story.

Tell your story. Telling stories is the most effective verbal communication―if you know how to use it. Story Power provides techniques for creating and framing personal stories alongside effective tips for telling them in any setting. Plus, this book models stories with unique storytelling examples, exercises, and prompts, as well as storytelling techniques for delivery in a spontaneous, authentic style.

Learn from the verbal communication experts. Story Power is an engaging, lively guide to the art of telling stories from author and librarian Kate Farrell, a seasoned storyteller and founder of the Word Weaving Storytelling Project. In Story Power, more than twenty skillful contributors with a range of diverse voices share their secrets to creating, crafting, and telling tales.

In this book discover:

• How to share your own coming-of-age stories and family folklore
• The importance of a personal branding story and storytelling marketing
• Seven Steps to Storytelling, along with helpful tools, organizers, and media options

Booklovers who have read Storyworthy, The Storyteller's Secret, Long Story Short, or the classic How to Win Friends & Influence People, will find Story Power to be a great read.

Über diesen Titel

Über die Autorinnen und Autoren

Kate Farrell, MLS, is a graduate of the School of Library and Information Studies, UC Berkeley. She has been a language arts classroom teacher (pre-school and grades kindergarten through 12th), author, librarian, university lecturer, and storyteller in Northern California since 1966. She founded the Word Weaving Storytelling Project, in collaboration with the California State Department of Education funded by grants from Zellerbach Family Fund, San Francisco, 1979-1991, to train educators at all levels, and published numerous educational materials.

She is author of Word Weaving: A Storytelling Workbook, 1980; co-author of a monograph, Effects of Storytelling: An Ancient Art for Modern Classrooms, 1982; author of Word Weaving: A Teaching Sourcebook, 1984; producer and co-author of a training videotape, “Word Weaving: The Art of Storytelling,” 1983, distributed by the University of California, Berkeley; and author of the professional book, Storytelling: A Guide for Teachers, Scholastic, 1991. She is also senior author of Storytelling in Our Multicultural World, an oral language development program for early childhood education, published by Zaner-Bloser Educational Publishers, 1994.

Farrell has edited and appeared in numerous anthologies of personal narratives. She is author of the fabulist novella, Strange Beauty, and a collection of short stories, Woman Wonder Tales. http://katefarrell.net/

She currently offers storytelling workshops to writers in CWC branches and Mechanics Institute Library and the San Francisco Public Library and hosts a weekly storytelling blog: http://www.storytellingforeveryone.net/

Susan Wittig Albert is the award-winning, New York Times bestselling author of Loving Eleanor (2016), about the intimate friendship of Eleanor Roosevelt and Lorena Hickok; and A Wilder Rose (2014), about Rose Wilder Lane and the writing of the Little House books. Her award-winning fiction also includes mysteries in the China Bayles series, the Darling Dahlias, the Cottage Tales of Beatrix Potter, and a series of Victorian-Edwardian mysteries she has written with her husband, Bill Albert, under the pseudonym of Robin Paige. She has written two memoirs: An Extraordinary Year of Ordinary Days and Together, Alone: A Memoir of Marriage and Place, published by the University of Texas Press. Susan Albert is founder of the Story Circle Network, an international not-for-profit membership organization made up of thousands of women who want to document their lives and explore their personal stories through journaling, memoir, autobiography, personal essays, poetry, fiction, nonfiction, drama, and mixed-media, based in Austin, Texas. Susan Wittig Albert is a member of the Texas Institute of Letters and lives in the rugged Texas Hill Country, in the small town of Bertram, just northwest of Austin.

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Excerpt from Story Power

Chapter Five

The Heritage of Folklore

"Stories lean on stories, cultures on cultures ..."

-Jane Yolen

Introduction

"Once upon a time"―that magical phrase conjures up fantastical realms that take place outside of time, in the forever after. Such is the nature of the ancient craft of traditional storytelling, of timeless, wondrous narratives with symbolic patterns and supernatural events, stories told by no one and everyone. It is the fabulous world of folklore, a spontaneous, oral body of literature that has no author, no boundaries, or era, passed down by word of mouth for millennia. Within these captivating tales are talking animals, magical waters, fairy godmothers, enchanted castles deep in a forest, and flying carpets.

But as our global community shrinks to the size of a village, our stories not only lean on one another, they merge and change. The ever-evolving art of storytelling is adapting to our post-modern era of rapid progress. What was once considered the ultimate in transmitting the values of a culture―its traditional tales―is now called into question.

With today's current emphasis on the individual and on truths that are directly experienced, there is a creative shift in the art: away from traditional storytelling and its folklore, to spontaneous, personal tales.

There are several reasons for this shift. All of them contribute to a new oral tradition, or as Chris Anderson states in the prologue, A New Age of Fire, in his book, Ted Talks: The Official TED Guide to Public Speaking,  "... there is a new superpower that anyone, young or old, can benefit from. It’s called presentation literacy." Anderson imagines a new campfire and personal ways to convey truth, available to everyone, based on direct experience. It is a tremendously exciting time to practice the art of storytelling.

And so, in current society, the relevance of traditional tales is becoming problematic. Though some ancient tales continue to meet our storytelling needs, many of them do not. These stories are often told in a cultural context that is alien, that no longer connects to our common experience. In fact, in order for some folk and fairy tales to have any meaning at all, they require an extensive introduction to their listeners. For example, even "Jack and the Beanstalk" assumes some prior knowledge: dairy farming, cows, beans, and gardening. It can also be terrifying when children hear the giant's deep throated, sing-song rhyme:

Fee-fi-fo-fum
I smell the blood of an Englishman.
Be he alive or be he dead
I'll grind his bones to make my bread.

Jack's thievery and malice can give rise to ethical questions: Should Jack have stolen the golden harp? Did he have to kill the giant? Somehow Jack's courage and initiative is lost in our modern quandaries. We might attempt an updated version, but sanitizing folktales is a tricky proposition, while fractured fairy tales do not make sense without knowing the original, sometimes brutal version. There are countless examples of a folktale's setting that is so extremely unfamiliar that the story itself, without copious, contextual clues, can be meaningless or offensive.

Further, it is impossible to ignore male dominance in most centuries-old, traditional tales. Sexism abounds in the stories of princesses who need saving, whose protagonists are exclusively male. Most women in folktales play a passive role, while women with any power tend to be secondary characters: wicked stepmothers, fairy godmothers. Feminist collections of fairy tales that feature girls and women as independent-minded maids or princesses, nevertheless exist within a patriarchal authority.

Recent studies show that, though women make up nearly fifty percent of the world’s population, there are not as many folktales about women. In a quantitative study led by Jonathan Gottschall in his book, Literature, Science, and a New Humanities, "... it was found that this phenomenon is prevalent worldwide; that male main characters … outnumbered female main characters by more than two to one."

Gottschall's count is misleading: Even in folktales in which the main character is female, the woman is often powerless and must be rescued, discovered, awoken, or kissed by a heroic male character. Obviously, it is impossible to retell the ancient, traditional tales: That bell has already rung. Female storytellers can begin a new tradition for our time―speaking their own truth as heroines of their own, personal stories.

Details zur Ausgabe

• Verlag: TMA Press
• Erscheinungsdatum: 2020
• Sprache: Englisch
• ISBN 10: 1642501972
• ISBN 13: 9781642501971
• Einband: Taschenbuch
• Anzahl der Seiten: 272
• Kontakt zum Hersteller: MANGO; https://mangoeditions.com; ; 32 rue jean jaures; St zacharie; VAR; 83640; Frankreich