Q&A with a Story Guru: Penelope Starr: Storytelling Connections Create Community

See a photo of Penelope, her bio, and Part 1 of this Q&A, Part 2, Part 3, and Part 4.


Q&A with Penelope Starr, Question 6:

Q: You blog for TucsonCitizen.com, where the tagline of your blog is “Creating Community One Story at a Time.” In your experience, what are some of the ways stories help to create community?

A: People come to Odyssey Storytelling because they want to hear stories from their friends and neighbors and because they want to hear from someone they might not meet in their everyday life. We are sensitive to being inclusive of people from different ethnicities, races, religions, social and economic groups, ages, gender expressions and sexual orientations. In this way we celebrate the diversity that Tucson has to offer.

When Michael, a robust, bearded man told a story about when he was a little girl, many in the audience were very surprised. When Keon told a story about his father emigrating from a small town in a Middle Eastern country, an audience member (and stranger) was stunned because his father was from the same town. Doug would repeat the stories he heard at Odyssey to his elderly parents who where unable to leave their home.

An important part of every evening at Odyssey is the community announcements where we invite the audience to promote activities that they are involved in. These can range from Greyhound Rescue to political rallies, whatever our listeners what to share with each other.

These connections and many more are part of the magic of community storytelling. You’ll find this quote on the bottom of the program: “Because these stories are from our lives they may be amazing, messy, enlightening, disturbing, and entertaining . . . and more.”

Q&A with a Story Guru: Penelope Starr: Writers and Actors are Different Kinds of Tellers

See a photo of Penelope, her bio, and Part 1 of this Q&A, Part 2, and Part 3.


Q&A with Penelope Starr, Question 5:

Q: If you could share just one piece of advice or wisdom about story/storytelling/narrative with readers, what would it be?

A: If you want to tell a personal story then just BE YOURSELF!

When people ask if the stories are true, we say they come from the lives of the tellers; things they’ve experienced or have been told (i.e., family stories) and they tell their version of the truth from their memories.

The tellers who have the hardest time with this form are professional storytellers, actors, and writers. Performers are used to learning their material and presenting a finished product to the audience. Writers fall in love with specific phrases and long to reproduce them orally. Neither of these approaches work especially well in personal storytelling.

We coach tellers to know the point of their story, have an opening line and an ending and remember a few points they want to make along the way. The stories we hear in rehearsal are always different from the ones people tell on stage when they are reacting to the response from the audience. The fluidity is part of the planned spontaneity of this unique artform.

Q&A with a Story Guru: Penelope Starr: The Time for Community Storytelling is Now

See a photo of Penelope, her bio, and Part 1 of this Q&A, and Part 2.


Q&A with Penelope Starr, Questions 3 and 4:

Q: The storytelling movement seems to be growing explosively. Why now? What is it about this moment in human history and culture that makes storytelling so resonant with so many people right now?

A: With people plugged into their own personal electronic devices, eating meals in their car, using the TV as a babysitter and turning to pharmaceuticals to control their moods, we have a desperate and truly human need to connect. And what better way than telling our stories? The time for community storytelling is now before we forget the stories, the skills and our basic humanness.

Q: How important is it to you and your work to function within the framework of a particular definition of “story?” (i.e., What is a story?) What definition do you espouse?

A: A personal story at Odyssey Storytelling is an individual’s narrative from their life that they have crafted into a 10-minute oral presentation. The stories are not read or memorized; they are told from the experiences and creativity of the teller.

Q&A with a Story Guru: Penelope Starr: Audiences Respond to Storytellers’ Authenticity and Sincerity

See a photo of Penelope, her bio, and Part 1 of this Q&A.


Q&A with Penelope Starr, Question 2:

Q: How do you go about choosing the people who participate in Odyssey Storytelling (See yesterday’s entry)? Do you ensure that they are good storytellers? What has the audience response to the event been like?

Q: For the first show on March 4, 2004, I had to do a lot of fast talking to convince some of my friends to go on stage at this untried event. I could tell them the concept but I couldn’t answer any questions yet. Now we have a reputation as a fun and interesting monthly event, a large mailing list and a pool of fans that spread the word.

We have posted the themes for the rest of the year so people can visit our website and see where their favorite story will fit in. They call or email with a synopsis of the story and a brief bio, and we go from there. We have a rehearsal before each show where they meet the other storytellers, practice their stories, and give and get feedback. Adam Hostetter, who joined Odyssey two years ago as assistant producer, and I offer coaching at the rehearsal and are available for 1:1 sessions if requested.

Since one of our goals at Odyssey is diversity, sometimes a theme will need someone with a certain backgrounds and expertise. In that case, we will contact a community member and invite them to be a teller.

We do not “ensure that they are good storytellers;” we help each person be the best storyteller that they can be. Some are better than others; there is lots of variety. The main focus is on the sincerity and realness of each teller and that is what the audience responds to.

Audience response has generally been very positive, depending on the combination of the content and the skill of the teller. The most common feedback we hear is how a story touched a listener personally, evoking empathy and connection and triggering their own memories of similar situations.

Q&A with a Story Guru: Penelope Starr: Unlikely Founder of Community-Storytelling Event

I believe I learned about Penelope Starr when she kindly cited this blog in one of her columns for the Tucson Citizen. I’ve followed her columns about storytelling since. I’m so pleased to present this Q&A with Penelope, which will run over the next several days.

Bio: Penelope Starr founded Odyssey Storytelling, a monthly, volunteer-run storytelling event in Tucson, AZ, in 2004. As producer and artistic director, she’s coached hundreds of people who have told personal stories at the performances. She has taught storytelling classes at Pima Community College and Casa Libre en Solano and has conducted workshops for community groups, businesses and organizations. Her blog for the online Tucson Citizen is called “Telling Stories.” Adam Hostetter joined Odyssey in 2009 as assistant producer. They are developing curriculum for bringing community storytelling “on the road” to share their knowledge of how to create a personal storytelling event with other communities. Odyssey is now a program of StoryArts Group, Inc, a nonprofit 501(c)(3) corporation.


Q&A with Penelope Starr, Question 1:


Q: You are founder and producer of Odyssey Storytelling, a community storytelling event in Tucson in which you invite local people to share 10-minute personal stories based on a changing theme. How did you get the idea for this event?

A: The first time I went to Porchlight Storytelling in San Francisco, I was hooked on personal storytelling. Listening to an eclectic collection of people tell funny, tragic, amazing, and touching stories from their lives ran me through a gamut of emotions and admiration for each teller brave enough to get up in front of a room full of strangers and share their lives. Right then decided that I would bring this stunning event to Tucson.

OdysseyStorytelling.gif

And I was the most unlikely person to undertake this venture. I was a visual artist with little experience in performing arts, but I did have some experience in organizing events. And I knew a lot of people.

With some guidance about the basic structure from my daughter-in-law Beth Lisick (co-producer of Porchlight along with Arline Klatte) I jumped into a foreign world. In the past six years I have learned how to emcee, tell a story, recruit volunteer storytellers and help them form their stories, run a rehearsal, negotiate for space, get the word out and be the spokesperson. I have been interviewed for TV, written a magazine article, kept a blog, given workshops and taught classes on personal storytelling.

I have learned by reading everything I can find in books and online and from hands-on experience. I keep saying I’ve made every mistake that can be made, but then I find new ones!

Now Odyssey Storytelling is a nonprofit as a program of the newly formed 501(c)(3) nonprofit StoryArts Group and many more challenges are ahead. One of my goals is to go “on the road” with Odyssey and teach people in other places how to produce their own community storytelling.

News and Updates from the World of Storytelling

After our big cross-country move, I’m still playing catch-up — in a very big way — in curating story news and conducting synthesis and analysis. Here are a few items of interest that have popped up in recent weeks:

  • Seth Kahan, one of the leaders on the Washington, DC, storytelling scene, has a new book out, Getting Change Right: How Leaders Transform Organizations from the Inside Out, published by Jossey-Bass, with an initial print run of 7,500 copies. You can read about it and order it through Seth’s website.
  • Michael Margolis is now contributing to PSFK.com, a leading online magazine for marketing, design and culture. His first article is Lessons in Brand and Social Media Storytelling. Of particular value is his list of tips on How to Find Your Brand Voice (which I believe will work just as well for personal branding as for product/service branding). Given that Michael was encouraging folks to comment on the article two weeks ago, I’m quite late to this party, but I’m sure Michael would welcome more comments joining the 24 already there. He has a new column on the site inspired by the film Exit Through the Gift Shop. Also of great interest among Michael’s many offerings is his podcast of the latest edition of his The New Storytellers interview series. Last week’s interview was with the wonderful Paul Costello (pictured). The interview’s theme was “a new theology for storytelling in this modern world. Exploring the re-defining boundaries of narrative across time and space, and culture.”
  • Jim Ballard, a subject of my Q&A series, has launched service as a writer of people’s life-stories. You can download his brochure, MyLifeAsABook.doc.
  • Bernadette Martin‘s book, Storytelling about Your Brand Online and Offline, is getting ever closer to publication, and I got more intrigued by it when I saw a sneak preview of the manuscript. Should be a quick, fun read at 78 pages.

A Vision-Board Story

In celebration of today’s International Day for Sharing Life Stories, here’s a little piece of my story:

Martha Beck recently told me everything I did wrong with my vision board in 2008.

So what’s a vision board, who’s Martha Beck, and what does any of this have to do with storytelling?

A vision board, says the site WikiHow, “is a collage of images, pictures and affirmations of your dreams and desires. It can also be called a dream board, treasure map or vision map.”

The sample shown at right is from EvolvingTimes.com. A vision board is a way to visualize your goals. Here’s where it gets very woo-woo, new-age-y: Supposedly, says the Squidoo lens on vision boards:

The law of attraction states, that which is like unto itself is drawn. What that means is if you are maintaining a vibration that matches what you are wanting, more things will come your way to make you feel that way. … A vision board is a tool to help you create a matching vibration to what it is you want to have/be or do in your life and in your world.

I submit that a vision board facilitates a kind of storytelling because it enables the user to craft a visual representation of a future story for himself or herself.

In 2008, I was experiencing the last gasp of my unsuccessful search for a new job teaching at the university level. I had made the short list of finalists for a position at a Southern California university and had been invited for a campus visit, a.k.a., a grueling day of interviews, a research presentation, and a teaching demonstration.

Oh man, how I wanted that job … and how I was absolutely sure I would get it. I had a slight networking “in” in that I had met a member of the search committee. The school was similar to the one at which I had taught for more than six years, and it was facing an accreditation process that I knew a lot about.

Around the time I was prepping for the campus visit, I learned about visions boards, so I decided to create one about my desire to teach at this California university. I cut out a picture of a wall with the school’s name on it and then cut out a photo of myself and pasted it so that I was standing behind the wall. I surrounded this main image with photos of the university’s campus.

I stared and stared at the finished vision board, trying to manifest the idea of me belonging on that campus. I carried the board around with me everywhere, including to the campus visit.

Arriving a few days early, I underscored my manifestation of success by having Randall shoot a real photo (at left) of me in the actual spot in which I had collaged myself on my vision board.

I should have caught on pretty quickly during the campus visit that the outcome would not go my way. The chair of the search committee did not even show up for my visit. His wife, also on the committee, told me he was suffering from allergies. The day was set up with a lot of downtime for me, the candidate, which seemed both considerate and a poor use of time. I spent a lot of time hanging out in the office of a search-committee member. We could have used that time to get to know each other better, but she didn’t talk to me much, and I didn’t engage her because I could see she was busy. A faculty member knocked me off my game during my research presentation by asking a question, though I had asked the audience to hold questions until the end (amusingly, the question was “How do you define storytelling?”). And only two members of the committee bothered to show up for my teaching demo. I should have realized the search committee was just going through the motions. But I was in denial because I so wanted the job.

I went home to Florida. Weeks passed with no word. I’m not sure the committee ever would have told me I didn’t get the job had I not pestered the committee member I was acquainted with.

The vision board had failed. I decided vision boards were a bunch of hooey and that I would never fall for anything like them again.

I had no intention of reading Martha Beck’s column on vision boards in the June 2010 O Magazine, but I really like Beck’s writing, and I was curious.

So, let’s say I don’t think vision boards are hooey. Let’s say I believe in them and assume that I did something wrong with mine in 2008. What does Beck say I messed up?

If I thought Basic Vision Board was woo-woo/new-age-y, Beck was even more so, and I don’t totally follow everything.

First, I apparently shouldn’t have been so literal and specific with my images. Beck says eschew the familiar in favor of the unfamiliar, “images that trigger physical reactions.” Unstated but implicit is the idea that I should not have created a vision board for a specific want but rather a more general feeling for what I wanted in the future.

Next, all that staring and manifesting was exactly the opposite of what I should have done, according to Beck. I should have stopped thinking about it and even lost or recycled my vision board. “The biggest mistake aspiring reality creators make,” Beck writes, “… is continuing to push something you’ve already set in motion.”

Beck’s prescribed third step is to be ready to take action when the reality you want presents itself. I may have gotten this step right.

Because here’s the thing … If I had gotten that job, we would have had to move to Southern California. The town in which the university is located is idyllic, but as for the rest of Southern Cal … ewwwww (no offense to those who like it there). A few months after the abortive Southern California experience, Randall stumbled upon cheap land in Washington state. That September we traveled to Washington, fell in love with a piece of land in Kettle Falls, and bought it. Last year we started building our house and decided to move here permanently (instead of being bi-coastal as we thought we would). And this year, here we are, deliriously happy permanent residents in an almost-finished house.

I thought I wanted a certain vision, a specific future story. But the Universe had other plans for me.

I’m thinking my vision board worked after all.

If you are considering the possibility that vision boards aren’t a bunch of hooey and are interested in learning more, you can find all kinds of resources by Googling “vision board.” You can even find vision-board Web applications, like Oprah’s (registration required).

Q&A with a Story Guru: Cathryn Wellner: Canadian Storytelling Resources

See a photo of Cathryn, her bio, Part 1 of this Q&A, Part 2, Part 3, and Part 4.


Q&A with Cathryn Wellner, Question 5:

Q: I’ve had quite a few Canadians as subjects of this Q&A series, giving me the impression that storytelling is thriving in Canada. As a transplant from the US, what similarities and differences do you observe in the storytelling environment between the two neighbor nations?

A: John Ralston Saul may have the answer in his extraordinary book, A Fair Country. He points out that one of the major differences between the US and Canada is the latter’s Métis roots (which he also says we ignore at our peril). Saul writes that the first European arrivals had an egalitarian relationship with the First Nations people who were already here, a relationship destroyed by latter settlers, who brought cultural genocide.

The book is a bestseller in Canada and has led to a great deal of vigorous dialogue. If he is right (and from my perspective, he is), then perhaps it is not surprising this is a fertile land for storytelling.

When I arrived on Vancouver Island in 1990, I found a thriving storytelling community in three communities that were reasonably close by: Vancouver, Victoria, and Nanaimo. Coming out of a milieu in which personal stories had become the darling of the professional storytellers’ repertoire, I was surprised by how small a role those narratives played among Canadian tellers. Traditional stories and mythology were acceptable fare, but stories of a personal nature were considered self-indulgent.

I think I was under the same misperception so many Americans are, that Canada is really just like the States, just colder. In fact, with a different founding mythology and a different history, it is a country unique from its southern neighbour. I had to learn how to be a storyteller in Canada.

It wasn’t until I got into community development that I discovered storytelling in organizational settings had more of a history in Canada than the U.S., at least in the health realm. That was where the bulk of my contracts came from, and my storytelling background was viewed as an asset, not as some quirky bit of fluff.

Back in 1996 Ron LaBonte and Joan Feather wrote an excellent manual for Health Canada, Handbook on Using Stories in Health Promotion Practice. Reading it, I found a methodological underpinning to some of the work I’d been doing on a trial-and-error basis. (It is referenced widely, but I haven’t been able to find an online source. However, an Australian manual based on their work is available online.)

In subsequent years I came across other Canadian resources that helped to inform my work. I found a receptive audience for the value of storytelling in all the work I did and am grateful to my adopted country.

Here are some Canadian storytelling resources your readers might find interesting:

Q&A with a Story Guru: Cathryn Wellner: Stories Can Be Life-Changing

See a photo of Cathryn, her bio, Part 1 of this Q&A, Part 2, and Part 3.


Q&A with Cathryn Wellner, Question 4:

Q: What’s your favorite story about a transformation that came about through a story or storytelling act?

A: Although I know many instances of transformation through a story or storytelling act, I keep coming back to two I had the honour of witnessing. Both were published in The Healing Heart~Communities and are on my Catching Courage blog.

The first is about a woman named Paula Ziegelstein. I had no idea she was facing some inner and outer giants when I told the story of The Little Hen and the Giant. In fact, I didn’t even meet Paula at the gathering where I told the story.

The story was new to me, and it was my farewell story. I was moving from Rochester, NY, to Seattle, WA. I wanted to tell a zinger of a story, something for people to remember by.

From my perspective, the story fell flat. I was really disappointed and did a fair bit of self-flagellation over it. So imagine my surprise four years later when I met Paula at a storytelling conference in Rochester and learned the story had been life-changing for her.

The second story happened in Seattle. I’d been invited to tell stories in the burn unit of Harborview Medical Center. One of the stories I chose was Bill Harley’s “The Freedom Bird”. The bird of the story gets hacked, boiled and buried. Adults squirm when they hear it, but kids love it.

The bird had been shot out of the tree, hacked to pieces, and was bubbling on the stove when it hit me. My entire audience had been roasted in horrible fires. I didn’t know what else to do but finish the story, but I went home mortified, ready to hang up my storytelling shingle.

A week later, I got a call from the burn center. A 15-year-old boy, burned over nearly his entire body, had lost his will to live. Had he been physically able, he would probably have committed suicide. The story of the unstoppable bird, who could not be killed, became his talisman. He became the freedom bird.

I haven’t told either story for a good 20 years, but remembering the impact they had has kept me believing in the power of stories.

Q&A with a Story Guru: Cathryn Wellner: Creating the New Story That Will Persuade Us to Take Care of Our Planet

See a photo of Cathryn, her bio, Part 1 of this Q&A, and Part 2.


Q&A with Cathryn Wellner, Question 3:

Q: The culture is abuzz about Web 2.0 and social media. To what extent do you participate in social media (such as through LinkedIn, MySpace, Facebook, Twitter, YouTube, Second Life, blogs, etc.)? To what extent and in what ways do you feel these venues are storytelling media?

A: I’m a fan of social media. I belong to several Ning [groups], am on Facebook, write three blogs, and read others. I’m on Twitter but don’t refer to it a lot. On the other hand, I check out YouTube regularly and Vimeo and other video sites occasionally. I get tons of ideas from all of them, more than I can use on my blogs. I also make good contacts on them. And I generally keep my usage in check so as to be able to be productive rather than just be a consumer of other people’s stories.

For me, they are all storytelling media. Over the years I’ve been part of the ongoing conversation concerning how we define stories. But I’ve been only a small part of the conversation because I haven’t found it useful to my own work.

I define storytelling very loosely, if at all. What interests me is how we are affected by the Big Ideas we absorb from our cultures and how they influence the way we act in the world. I call those Big Ideas stories because abstractions have less power over us than stories. So we tell stories to support our world view and have a hard time recognizing that the totality of our life experience shapes what we think, say, and do. We can’t step outside our minds and see the world totally fresh.

The various social media are a means of entering the world of story from different points. We can assume an avatar and jump into Second Life. We can try out a new story and test it on Twitter or Facebook. We can blog a different perspective and see who responds, and how. We can invent our professional persona on LinkedIn.

To me, it’s all part of the larger arena of storytelling. If we don’t fall into the trap of becoming an observer, if we actually engage and become creative contributors, we can experiment with creating new stories.

And perhaps we can be part of creating the new story that will persuade us to take care of our planet.