Storytelling Find-o-Rama

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Four interesting story-related finds that have come across my computer screen in the past few days:

Rooftop Confessions: I’ve blogged about sites where folks can tell their personal stories, including sites like Alpha Women, which logs rather racy confessions. But this is the first site I’ve seen in which confessions are recorded in both text and video. Here are some words on what the site is all about:

Rooftop Confessions are literally public confessions of private experiences…all of which are delivered from rooftops across the country. … User-driven and fully interactive, let Rooftop Confessions be your cyber-diary for the Web 2.0 world.

The folks behind the site use words like “embarrassing,” “lewd,” and “sordid” to describe the confessions. Users get to “Forgive” or “Condemn” each confession. I particularly enjoyed the founders’ description of themselves (these points seem to capture the spirit of the confessions sought):

  • We’re the guy down the hall who stole your Playboy subscriptions throughout most of 2007.
  • We’re the girl who had a spring-break fling with your fiancée while you were home with the flu.
  • We’re the pizza delivery guy who’s had a major crush on you for the past 3 years.
  • We’re the old lady who keyed your car just for the hell of it.
  • We’re the younger brother who read your diary when you went off to college.
  • We’re the waitress who served you tap water even though you ordered Evian.
  • We’re the neighborhood kids who put bags of flaming feces on your porch last Halloween.
  • We’re the young co-ed who used sex to get out of a speeding ticket.
  • We’re the friend who shamelessly slipped meat into your vegetarian burrito.
  • We’re the sister who accidentally killed and secretly replaced your goldfish while house-sitting for you last week.
  • We’re the guy who lied about being Jewish just to get into your pants.
  • We’re the coworker who sabotaged your project in order to get a promotion

One Million Monkeys Typing: As you can probably guess, this site is inspired by the “infinite monkey theorem,” which states that a monkey hitting keys at random on a typewriter keyboard for an infinite amount of time will almost surely type or create a particular chosen text, such as the complete works of Shakespeare. It works like this, according to the site’s founders:

This site attempts not only to harness the literary power of one million “monkeys” typing but also to generate some truly wonderful texts and social networks. It is part Exquisite Corpse, part Choose Your Own Adventure, and it works by having multiple authors work on the same stories with each adding their own segments. Each segment (or snippet) will have the opportunity for 3 offshoots — those that are ranked highly will gain offshoots of their own, and those that are ranked poorly will wither and die.

30 Unusual Innovations in Storytelling from TrendHunter Magazine. A few of these I knew about and have even blogged about, but most were new to me. You can see them either as a slideshow or photo gallery. The innovations range from t-shirts and other fashion to street art to virtual mixed-media scrapbooks. Or how about a story tattooed in words across the bodies of 2,095 strangers? Or a video that depicts a completely different storyline when played in reverse vs. forward?

Storytron: This is a complex interactive storytelling tool that I don’t totally grasp, involving Storytronics, software called The Storyteller, SWAT (the Storyworld Authoring Tool), Diekto (a simplified form of English used by the Storyteller), Sappho (the scripting language the author uses to create a storyworld), and Storyengine, the brain of the Storyteller. See? Complex.

And here’s what Storytron is not and is not similar to: interactive fiction/choose your own adventure, videogames or massively multiplayer online role-playing games (MMORPGs), The Sims, Second Life, or literature. What it is: “A sophisticated new technology that employs computer-generated actors in a social learning environment.” Apparently it can also be used for corporate e-learning, in which “Storytronic e-worlds are peopled by savvy, computer-generated Actors who teach your employees the hard lessons in a safe, simulated setting–so they don’t learn them on your customers.” The corporate slide show gave me my best understanding of Storytron, which is good because my hatred of games will probably preclude further exploration.

Readers Weigh in on Storytelling’s Next Big Thing

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I’m pleased that my little survey widget on my sidebar has gleaned a few responses — and not as much spam as I’d feared.

I asked: What do you think will be the next significant development in applied storytelling?

Here are readers’ responses:

I imagine something that draws on creativity…the use of cartooning and visualising stories is of interest.

~ Doug Govan

Continued advancement & adoption of immersive storytelling in simulation games & virtual worlds like World of Warcraft & SecondLife.

~ Craig Delarge

Person-to-person charity sites (e.g. Kiva, GlobalGiving) will reach the tipping point of mainstream philanthropy because recipient stories (told via multimedia) will increase the emotional connection of the transaction.

~ Tim Ereneta

I would take issue with the word applied. All storytelling is applied. I don’t think good storytelling changes. All that changes is the methodology that is used to communicate the story. So today we have the web that allows us to reach people with our story that are not within our immediate circle of family and friends. Just as the printing press changed how story was distributed. The web changes how story is distributed. But neither technology changed story. Story adapts to the medium outwardly, but at its core remains the same. So when the next technological advance arrives, story will hop on for the ride.

~ Harley King

Interesting observation about virtual worlds. Seems like last year, Second Life got tons of buzz (the way Twitter does this year), but now I barely hear about it. Just read a piece about newspapers setting up bureaus in Second Life but now expressing disappointment in the low number of users and advertisers.

Tim, I think your observation is astute as I am increasingly seeing nonprofits use storytelling.

Harley, I believe it was Michael Margolis who inspired me to use the term “applied storytelling.” I don’t disagree that “all storytelling is applied.” But I use the term “applied” to distinguish the forms of storytelling that most interest me from performance storytelling, which interests me, but not as much as other forms do. I have learned through Annette Simmons that the performance-storytelling roots of “applied” storytelling are exceedingly important because performance storytellers have so much to teach the rest of us about how to tell a good story. I really like your final line, “So when the next technological advance arrives, story will hop on for the ride.”

I’m posting my next question on the widget — about defining “story.”

Get Your Red-Hot Story Goodies Here

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Here’s a collection of recent story-related finds — all free, I’m pretty sure:

    • The Science of Presentations
      Nice slideshow with audio about creating preserntations that cater to the way people actually learn; hence, stories are effective in presentations. Audio wasn’t great for me, but that could be my computer.
    • Story-Selling in Business by Tom Nies
      Attractive PDF booklet by Tom Nies on the importance of storytelling in business, especially in the current economic climate.
    • Storytelling & Social Media series
      5-part webinar series, Social Media and Storytelling, sponsored by TechSoup Global and NTEN (Nonprofit Technology Network), that teaches the building blocks of the social web, then the specifics on podcasting, video creation, and creating social media buzz, and finishing with ROI to determine what your strategy is worth. The series ended last week, but slides and recordings are available for free download.
    • Podcast: Telling Your Idea Story
      Free podcast about creating a story that will attract others to your killer idea. Outline of podcast here.
    • Storytelling and Narrative for Business Podcast #3
      Frequent commenter to A Storied Career, Sean Buvala, responds to a listener’s email asking about the use of jokes, anecdotes, and stories and discusses the differences among each of these items
    • Storytelling and Narrative for Business Podcast #2
      Sean Buvala, on using even an old, familiar story in your business presentations.
    • Storytelling and Narrative for Business Podcast #1
      Sean Buvala on how every business and every person in the business needs the power of storytelling.
    • Episode 3 (in an 8-part series) of the Perry Marshall Podcast about copywriting.
      Marshall discusses, among other things, how storytelling helps make for better copy. This podcast is a bit too off-the-cuff for my tastes (and it’s a dialog with an unidentified woman; maybe she is identified in the earlier parts of the podcast series). The discussion of storytelling begins 8 minutes into this 18-minute podcast.
    • One-hour Interview on Socially Speaking (via BlogTalkRadio) with David Spark on Storytelling in Social Media.
      David Spark, owner of a consulting and production company that helps organizations become leading voices in their industries through storytelling, discusses how online and social media have changed our concept of storytelling, as well as tips and tricks you can use. I did not find this broadcast to be very much about storytelling; it’s more about how social-media content is more important than distribution. Judge for yourself by listening below. (I had embedded the broadcast, but it took too long to load and was too hard to turn off.)

Are We Now in the New Storytelling Economy?

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Just read a fascinating and resonant (to me anyway) article by Frank A. Mills in the online Urban Paradoxes magazine (reprinted from the blog Flaneur). (Beware that some of the links in the article are a bit funky).

In the article, “Quantum Storytelling: The New Way of Thinking,” Mills asserts that “old linear, left-brained thinking” (which “reduces new products, new technology, and new solutions, to just another version of the same old thing”) needs to yield to “a new model of right-brained thinking — Creative and conceptual.” (much like Dan Pink’s proclamation that we are in the Conceptual Age).

For me, the most striking line in Mills’ article is this one:

Whatever you call it, the “new economy” is at its core, a storytelling economy.

That statement is a preface to this:

This is not storytelling in the same linear fashion we use today … The new storytelling model is web-weaving, histological storytelling. In truth, there is nothing new about it; it is a return to a form of storytelling lost to the Enlightenment and its subsequent 1 + 1=2 objective logic. Over the years we have come to believe that the only way to think logically is the linear way. If Quantum Theory has taught anything, it is that there are logic constructs other than linear.

As you can guess from the article’s title and the foregoing, Mills then compares storytelling with Quantum Theory. Here’s a snippet of that comparison:

Each and every story contains, contains other stories, each opening up, if we but see and hear, potential and possibilities for even more stories, stories hereto unknown. In classic Newtonian logic, the observer is always a neutral and objective external agent. In quantum logic, the observer is always involved in the process of observing, and will in spite of efforts to the contrary always influence the eventual outcome. I just stated this linearly, but what we must grasp is that the eventual outcome is not fixed, not even singular, but rather has the potential to be one or more of many possibilities, perhaps even hereto unobserved. Every story has a backstory, middle, and end. In quantum storytelling, it is the middle, not the backstory nor the end that is important.

(I’m not sure Mills really explains why the middle is most important).

He goes on to discuss how our brains think in “wholes,” not parts; thus, “The natural result of the mind processing the ‘whole story,’ i.e., the quantum story.”

Mills ends with this powerful call to action:

Let us tell the stories that need to be told, and in the telling and the conversations, discover brand new, hereto unrealized solutions. Quantum storytelling is our last hope for a better future.

[Image credit: From The Daily Galaxy, http://www.dailygalaxy.com/my_weblog/parallel_worlds_multiverse_quantum_physics/, depicting quantum theory]

Just Some Nice Words about Story

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I have no commentary about the following, no questions, no critique. I just like these words about story and storytelling from novelist Laini Taylor:

Isn’t “story” a beautiful word? I think it likely that some day I will get it tattooed somewhere on my body. I like the idea of it on my wrist, like a bracelet. I’ve been thinking a lot about stories the past few days, not writing them, or reading them, which is where my mind usually goes when I think of stories, but telling them. Out loud. How magical! I come from a post-storytelling culture; my great-grandfather, as I understand it, was a storyteller, but he died when I was a toddler, and his stories — tall tales from a genuine cowboy — weren’t really handed down. It’s a shame.

I want campfires and ululating gypsies, guitar strummings and throat clearing and the jangle of a tambourine being tossed aside. A camel lazily listening from beyond the circle of the firelight as someone says, “Once upon a time,” or “Maybe there was and maybe there wasn’t,” or otherwise opens some gateway into the world of stories. I want to lean back on my elbows on my magic carpet — which maybe is hovering softly a few inches off the ground, to keep off the sand fleas — and listen. Better yet, I want to be able to tell stories.

Why Do You Want to Reunite with That Special Person? Tell Your Story

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Pipl is a well-regarded “people search engine” that helps folks find other folks.

A section of Pipl that collects stories asks users to “Tell us your story and explain why is it really important for you to reunite with the person you’re looking for.”

Definitely an interesting idea, and the collected stories linked from the left side of the site are fascinating — but they don’t seem to explain the importance for the storytellers to reunite with the person they’re looking for. Instead, they are more like testimonials for Pipl and how the site has helped bring reunions about.

But they’re still fascinating stories — of finding a mother after four years, learning that a best friend had died, finding an ex-boyfriend who had the storyteller’s college diploma in his possession, reconnecting with a brother lost for seven years.

Just as an aside, although Pipl searches the “deep Web,” I’m not sure how effective it is since no “advanced search” feature is in evidence. If you’re searching for someone with a common name, you can’t enter a middle name, for example, or a birth year.

If I were to tell a story about how satisfying a reunion can be, I’d tell about finding my childhood best friend, Claudia, whom I haven’t seen in about 45 years but am now in touch with. Over the last year or so, I’ve had some social-media-powered wonderful reunions with old friends, former students, and others — all more or less through Facebook. If I were to tell a story about the importance of finding someone, I’d tell about my high-school boyfriend. Not because I have any great need to reconnect with him, but because he so mysteriously disappeared just a few years after graduation. His parents have never been able to find him, and I’d love them to have some peace if they’re still living. Oh, what the heck, I’ll throw his name out there — William Scott Carson (he went by “Scott”), last seen in the Santa Barbara area in the mid-70s.

My Big, Fat Visual Storytelling Synthesis

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Periodically, I like to gather together interesting examples of visual storytelling I’ve come across and try to find connections among them — or just examine some of the fascinating ways artists are telling visual stories.

Philip Bishop, art critic for the Orlando Sentinel, notes that narrative painting is out of fashion in today’s world. He observed that a return to narrative painting has often been heralded but has not come to fruition. A rare exception is the work of Michael Ananian that Bishop reviewed for a show (“Narrative Tactics”) that has since closed but that can be seen on the artist’s Web site. The main narrative series featured in the exhibition was “Two Voices,” which I decided not to show here because its nudity might offend some readers. Instead, image No. 1 in the montage below is from the series “Counterpart,” the story of which you can read here.

  • I was intrigued by the existence of the Museum of Biblical Art because it’s hard to imagine any biblical art that is not narrative. A recent example (from a show also closed) was the work of Marc Chagall, in which the artist “sought to integrate various traditions of Jewish Hassidism, eastern Orthodoxy and western Catholicism into dramatically rich and personally significant expressions of biblical narratives,” according the New York Council for the Humanities. Chagall’s Samson Destroys the Temple is image No. 2 in the montage.
  • The work of artist IceKubi came to my attention when a blogger blogged about it last fall. For me, this work, an example of which is image No. 3, falls into the category of good fodder for story prompts. The artist says she is inspired by fairytales and stories told by her Polish grandmother. But viewers may prefer to see what stories IceKubi’s images evoke for them — rather than trying to guess at which stories inspired each work.
  • The blogger behind The Photophiles (I can’t detect the blogger’s name) admires a couple of photo essays in which “the juxtaposition of detail shots and broad shots of scenes will shock the viewer’s eye and draw them into the story.” They are American Trucker (image No. 9) by Tim Gruber and Havana (image No. 4) by Orlando Barria.
  • Most of the visual-storytelling examples here tell their stories without words. Caravan (image No. 5) is a photo essay accompanied by words. The photos are wonderful. I can’t discern the name of the artist, but this work and others appear on the site Mechanised. “Caravan” is a British-commonwealth term (I’ve seen it in Australia and New Zealand) for what we Americans would call an RV or travel trailer. I think the words are needed in this case. The story is quite magical, and I’m not sure it could be told with the photos alone. It’s fascinating to imagine the backstory of how the caravan came to be abandoned in the woods.
  • Photographer Jodi Getz proclaims that “storytelling, in both words and images is a wonderful way to combine the gifts I was given.” She illustrates that theme with a series about the concept “Your love, as seen through your child’s eyes.” The image I chose to represent the theme, No. 6, is not the best photo in the series (in my opinion) but is the one that best executes the theme.
  • Mark Neilsen exhibited three three-dimensional and autobiographical works at a gallery called In a Flash. The show was called “Flash Art Mob Don’t Blink” and apparently based on the concept of the “flash mob,” which Wikipedia defines as “a large group of people who assemble suddenly in a public place, perform an unusual action for a brief time, then quickly disperse.” I’m not sure the “flash mob” idea comes across (perhaps you had to be there), but the autobiography does in Suspension of Disbelief (image No. 7) and the other two pieces from the show.
  • Neil Crowley of MakeLoveReal.net does some of the most amazing slideshow work I’ve ever seen. The slideshow love story of Sara and Jeremy (image No. 8) seems almost like stop-motion animation and is accompanied by music and voiceover narration by the happy couple.
  • The Web site Visual Telling of Stories is an inelegant yet fascinating site from Dr. Chris Mullen that describes itself as “a lyrical encyclopedia of visual propositions” that is “dedicated to the study of the visial narrative.” Click on a letter, and you’re taken to a list of topics/terms about which storytelling images are available (click on the box to the left of each term). A good Web designer could make this info-rich site really powerful.
  • Mike Doyle, in a blog entry both in his own blog and the Huffington Post, laments the “lack of appropriate storytelling to give the average museumgoer a true impression of the wonderfulness of the objects on view.” He’s particularly referring to a late-2008 visit to the Art Institute of Chicago and its “ongoing lack of useful, plain-English explanations on text walls and wall cards [that] unnecessarily leaves average visitors scratching their heads — or hurrying through gallery after gallery with the puzzling feeling that they should be getting more out of their Art Institute visit than they unfortunately are.” Though he feels the Art Institute’s lack of context for its exhibits is especially egregious, he finds the problem all over Chicago. The exception is a non-art museum, the Chicago History Museum. I know from my brief time as a gallery assistant and my many art-history courses that this lack of context is pervasive throughout art exhibitions, but it doesn’t bother me the way it does Doyle. The average art patron is often dying to ask the artist — what does this piece mean? what was in your head when you created it? what inspired it? what are you trying to say? what’s the story behind this piece? But I’ve found that artist’s statements are notoriously stingy with that information. (The kind of meaty artist’s statement that Michael Ananian, for example, puts forth is unusual in my experience.) I think the underlying philosophy is that art is in the eye of the beholder, and every viewer should interpret each piece as he or she deems fit. As far as I can tell (and this may be a vast oversimplification), all art-history scholarship is based on trying to interpret the artist’s intent. Each beholder creates his or her own context. Still, I wouldn’t object to what Doyle cries out for: “…wall texts giving visitors a capsule history of the works on view, the relationships between the artists, and the role the works and the schools that contain them played in the history of art? Or at least a brochure or handout?”
  • “Neil” of Heartwood Studios delineates in the company’s Visuual blog purposes or uses of visual storytelling: (1) capturing “events [that] take place at a pace [that] is too fast (or too slow) for the human eye, (2) depicting images in which the location or perspective is inaccessible to the typical viewer (such as inside a working jet engine or underground), (3) showing events that are too small (or too large) for us to perceive, (4) presenting views that would risk the safety of viewers trying to experience them, (5) illustrating experiences that can’t yet be seen because they’re in the future (Neil explains that when the Dallas Cowboys built their new stadium, they wanted to win the rights to a SuperBowl before the stadium existed. Heartwood created digital animation of their new stadium), (6) making an abstract concept concrete, (7) explaining concepts, especially when a language barrier exists, and (8) guiding a viewer’s focus. That’s what Neoscape did for for William and Mary’s Mason School of Business. They, in Neil’s words, “created a 3D animation … that allows users to see related elements — classrooms, offices, etc . . . because the animation guides the viewer through color-highlighting.” The animation appears below.

NOTE: Embedding code for the animation that originally appeared here was outdated; I THINK this is the correct animation. 6-25-2020.

One-Month-Till-World-Storytelling-Day Wordle

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World Storytelling Day is a month from today — March 20. Although the day is a “global celebration of the art of oral storytelling,” I’d like to come up with some interactive way to celebrate here on A Storied Career.

World Storytelling Day is celebrated every year on the spring equinox in the northern hemisphere, the first day of autumn equinox in the southern. On World Storytelling Day, as many people as possible tell and listen to stories in as many languages and at as many places as possible, during the same day and night. Participants tell each other about their events in order to share stories and inspiration, to learn from each other and create international contacts.

I welcome any ideas for how this blog and its readers can celebrate together.

Meanwhile, here’s this week’s word cloud/tag cloud from Wordle.net based on A Storied Career.

Stories of Transformation — Through the Library

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On another site, I saw praise for this site headlined “Is the library transforming your life?”

The site collects and publishes stories of all the marvelous benefits of libraries — saving people money, building community, creating a safe haven for youth, and more.

Collecting these stories seems to be a defense against budget cuts. A powerful and poignant video on the site tells the story of Sean — how a librarian trusted him to take a book home and come back the next day and bring the ID needed to get a library card and how he went on to get a community-college education and a good job. There’s a neat Wizard-of-Oz moment in the video in which black and white becomes color just at the moment the narrator-librarian talks about how “alive” libraries are. (Sorry, couldn’t find any coding to embed the video here).

My Big, Fat Memoir-Writing Synthesis

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Assisted by Sharon Lippincott’s and Jerry Waxler’s Lifewriters Forum Yahoo group, I’ve become increasingly interested in memoir-writing as a form of identity-constructing storytelling.

Here are some interesting bits I’ve come across on the topic:

    • You don’t have to have had great drama in your life or a rags-to-riches story to write a good memoir. So says memoirist Jeannette Walls (The Glass Castle) in a Reader’s Digest article by Joe Kita.
    • Writing a memoir can be therapeutic and cathartic, Walls says. “Even if the book hadn’t sold a single copy, it would still have been worth it.” Kita adds that writing a memoir helps the writer “make some sense out of his or her existence, to find some meaning in the world.” (You don’t even have to publish your story, Kita notes.)
    • In the same issue of Reader’s Digest, you’ll find five excerpts from

      Open magic book with flying shining stars

      memoirs, and Maureen Mackey suggests 10 Great Memoirs to Read.

    • One of the books on memoir-writing that I’ve seen discussed quite favorably is Shimmering Images: A Handy Little Guide to Memoir Writing by Lisa Dale Norton. A blogger (and memoir author) on Amazon, Theo Pauline Nestor, interviewed Norton, and spotlighted her thesis that “memoir writing is a means for transformation, not only of oneself but of the world.” Here’s how that process works, in Norton’s words:

      When we write memoir we craft a story of our past from disparate pieces. One could argue that all experience is random. To make a story from this random experience we must apply structure. By applying structure we create form and meaning. As we create meaning about our past, we have the opportunity to re-envision what we believe those past events meant. In so doing we open up the possibility of living a new way in the future. (If you see the past differently, the future that rises from it will consequently have to be different, too.)

      When we claim new meaning around our past and offer that story as a written narrative for others to read, they are given an opportunity to rethink and rewrite their lives. This process of transforming oneself and then passing on the transformation is a radical act of change. The more people who do it, the more apt change on a large scale will take place. This is an organic, subtle and powerful way to influence the world.

      Norton suggests that would-be memoirists consider the first 15 years practice, as well as read and analyze texts.

    • Judy H. Wright offers a PDF download entitled “Reasons for Recording Your Life Story,” of which some of my favorites of the 24 listed include:
    • When we record something, we remember more.
    • A life examined and recorded is twice precious, first the experience itself and then the memories it evokes when we read about it later.
    • There is an inner need in each of us to be remembered. To reflect and to see that our lives had value.
    • It is the ultimate journey of self-discovery, even if no one else ever reads it.
    • Wright ends the list with this telling tidbit: “A recent survey taken of a group of elderly people indicated that their major life regrets were in not contributing and sharing more feelings, thoughts and emotions with family, friends and community.”
    • Tips for getting started on a memoir include choosing a favorite object or photograph as a jumping-off point for the memoir, as well as speaking your story into a recording device if the idea of writing it daunts you. These ideas come from personal historian Dan Curtis (though I couldn’t find them on his site) by way of the blog Legacy Smile.
    • Back around New Year’s, I cited Gena Haskett, who blogged about 2008 as having been the Year of Personal Narratives. That blog posting is also notable for several striking examples of ” personal narratives … that not only could touch your heart but cause you to think beyond the surface of the story.” Check them out.
    • If you like the idea of a memoir but feel too overwhelmed or intimidated to write yours, consider hiring a personal historian to assist. The Web site of the Association of Personal Historians offers a great list of Frequently Asked Questions about Personal History to help folks make decisions about committing to a personal history. I’ll feature a Q&A interview with association member Sarah White in early April.
    • A ton of sites focus on memoir-writing, lifewriting, and similar pursuits. An intriguing site about learning from the past experiences of others (while connecting with them) is the Legacy Project. Here’s the site’s focus:

The Legacy Project is about creating your life, connecting with others, and changing the world. A multigenerational education project, it offers free online activities and guides, books, essay contests, workshops, exhibits, community programs, and more.

This is a “big picture” education project for children and adults that draws on scientific research. The Legacy Project’s three banner programs reflect the three ways we make a difference and evolve our legacy. LifeDreams explores individual potential and creating your life. Across Generations explores our connections with others and encourages closer relationships between generations. Our World explores the world around us and our role in it, looking at how each of us can change the world to deal with challenges like the environment.

    • Another admirable memoir-related project is Timeslips, “a creative storytelling method, originally designed to be used with people with dementia and their caregivers.” Says the site:

TimeSlips is a group process that opens storytelling to people with cognitive challenges by replacing the pressure to remember with the encouragement to imagine.

[TimeSlips] stories capture the hopes, dreams, regrets, fears, humor, and desires of people with memory loss, and help them connect with staff, family, and friends.