Recently in Storytelling and Learning Category

When I was teaching, I was so appalled at the prices of college textbooks that I used an assortment of popular-press books instead of texts.

I knew from Walter Isaacson’s bio of Steve Jobs that Jobs, too, was appalled, and one of the next things on his agenda was to revolutionize textbook publishing the way he revolutionized the recording industry.

iBooksAuthor.jpg With the announcement today of the (free!) iBooks Author app, the fulfillment of that part of Jobs’s legacy has begun. And as soon as I heard it, I knew I wanted to organize a crowdsourced (and probably peer-reviewed) textbook on applied storytelling, focusing especially on organizational/business narrative and brand storytelling.

How awesome would it be if some of the luminaries of storytelling each contributed a chapter to such a textbook?

Stay tuned for more on this idea as it burbles through my brain. You might just be receiving a Request for Proposal soon.



Entry by Kathy Hansen. Learn more.

 

Almost 20 years ago, the National Council of Teachers of English (NCTE) published Guideline on Teaching Storytelling. This beautifully written piece from 1992 (last edited three years ago) has lost none of its timeliness or power in the two decades since it was written. This excerpt reinforces why my friend Sean Buvala contends that “storytelling … requires a live audience of at least one person.”

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The storyteller begins to see and re-create, through voice and gesture, a series of mental images; the audience, from the first moment of listening, squints, stares, smiles, leans forward or falls asleep, letting the teller know whether to slow down, speed up, elaborate, or just finish. Each listener, as well as each teller, actually composes a unique set of story images derived from meanings associated with words, gestures, and sounds. The experience can be profound, exercising the thinking and touching the emotions of both teller and listener.

As you read on in the NCTE guideline, you realize that the audience being discussed is probably younger children of primary- and elementary-school age, but most of the guideline applies to any story audience.

The piece captures …

How we relate to stories told to us and how they help us connect and communicate with each other: “Often listeners are likely to be reminded of a similar tale from their own lives. … By exploring story territory orally, we explore ourselves … storytelling is communication, from the teller to the audience, not just acting or performing.

How listening to stories helps us learn to write and use language: Sitting in a circle and swapping personal or fictional tales is one of the best ways to help writers rehearse. … Those who regularly hear stories, subconsciously acquire familiarity with narrative patterns and begin to predict upcoming events. Both beginning and experienced readers call on their understanding of patterns as they tackle unfamiliar texts. … Learners who regularly tell stories become aware of how an audience affects a telling, and they carry that awareness into their writing. … The comfort zone of the oral tale can be the path by which [listeners] reach the written one.

The best thing about the guideline may be this line that appears at the bottom: “This position statement may be printed, copied, and disseminated without permission from NCTE.” If you’re looking to make a case for storytelling in education or just want to read a share a beautiful piece, check the guideline out.



Entry by Kathy Hansen. Learn more.

 

For conversationally driven web-based live online learning programs, Terrence Gargiulo recommends “telling stories, listening to stories and triggering stories,” the “Triple Threat of Storytelling,” as he calls it.

OnlineLearning.jpg Last week, Terrence whetted my appetite by posting on Facebook a link to a short blog post by Lenn Millbower that mentioned an article Terrence wrote for the ASTD newsletter — available only to ASTD members. Terrence was kind enough to share the article with me.

Terrence absolutely knows how to design and deliver conversationally driven web-based live online learning programs; his webinars are stellar learning experiences. He emphasized the most important theme of his article:

Learning events need to trigger and elicit stories. from participants.

The article is just one juicy nugget after another. He suggests that learning organizations establish story banks. Here are his ideas on how to garner stories for a story bank:

  • Listen carefully to comments during live online learning events, meetings, project debriefs, mentor and coaching programs.
  • Invite veteran employees to special focus groups designed to elicit stories.
  • Mine your social media outlets on a regular basis for stories.
  • Hold story contests. Go here for more info.
  • Provide story prompts to get people going. Stories are some of the best prompts I know. One story usually leads to another.
  • Give people timelines.
  • Generate a good stream of questions.
  • Show genuine interest and curiosity in others, their experiences, and how they have formed their worldviews.

Terrence also generously offers these three useful tools, all documents of his on Scribd:



Entry by Kathy Hansen. Learn more.

 

ray_32.gif I’ve never met Dr. Ray Jimenez (pictured), but I believe I have seen him at the three Golden Fleece conferences I’ve attended in Washington, DC.

I recently came across some nice resources that Dr. Jimenez offers through Vignettes Learning, of which he is chief learning architect. They’re described on the company’s blog.

master_story_teller_survey-msaller6.png First is The Master Storyteller Survey and Profile, which Dr. Jimenez describes as “a product of my research on how to help trainers, learning and eLearning specialists to reflect on how well they are applying the ideas of storytelling in improving learning and performance.” The illustration at right correlates to the survey and the teaching/learning aspects of storytelling.

The survey is not a scientific instrument but rather an exercise for reflection. I especially like the fact that the survey is followed by short items that provide ideas for reflection.

The survey is apparently related to a webinar, Be a Master Storyteller, for which the above mentioned blog post provides links to download the PowerPoint slides (see opening slide below) and view the recording of the webinar (registration required).

An ancillary site to Vignettes Learning is Stories2Learn, described as

a tool … to encourage trainers, teachers, eLearning designers and developers, leaders, designers, subject matter experts (SMEs) and everyone in all types of organizations to share stories and collaborate to refine and fine-tune stories. The ultimate goal is to build a site that everyone can share their stories and borrow stories to use in their learning activities.

I’m also intrigued by Dr. Jimenez’s e-book, available on LuLu, Scenario-Based Learning: Using Stories To Engage e-Learners.

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Entry by Kathy Hansen. Learn more.

 

I will admit to very slight disappointment when Angela Maiers began her presentation on storytelling in education Thursday during The Reinvention Summit: A Virtual Summit on the Future of Storytelling. I’ve long been interested in using story in teaching — college students. Angela’s focus was very young children. But I quickly became captivated by her passion and ideas. I also recognize that fixing our broken education system should be one of America’s top priorities, and positive approaches like Angela’s contain some of the answers we need. “Saving education requires understanding that the most powerful quality we hold as teachers, leaders, and change agents is our power to tell new stories,” she said in describing her session, entitled “Story Power: Reclaiming the Place of Story in Education and Life.”

angelamaiers.jpg “The individuals who are going to change the world are sitting in school now,” Angela began. “They don’t know their voice matters.” The “big idea” that Angela intended to drive home in this session: “Children have world-changing ideas, and we haven’t given them to tools to tell their stories.” She cited the “miracle of literacy,” embodied in the top left photo in the montage below, in which one little girl excitedly reacts to a story being told and written/drawn by an older little girl.

She noted that “story is a somewhat unnatural conversation in education” and that storytelling is often seen as a time-filler in lower grades.

“Stories aren’t meant to be just received but to be told and shared,” Angela said. “Technology today is all about ways to tell and share stories.” 21stCenturySkills.jpg She asserted that the 21st-century competencies most in demand (see graphic at left) can be enhanced by honoring value of stories. We don’t couch the most important skills as stories, Angela said, but stories are vital because because it’s biologically impossible for our brain to process facts unless they are wrapped in stories (“Our brain cannot process what our heart has not processed.”) “When we answer the question, ‘Why do we need to know this? Why do we have to do this work?, we are telling a story,” Angela said in her description of the session. “When we describe science or explain an algebraic equation; we are telling a story. When we write, when we read, when we dream of a desired future or struggle to understand our past, we are using storytelling to shape learning and lives.”

To illustrate the world-changing ideas of children, Angela told the story (and I hope I’m retelling it accurately) of finding pieces of paper — story fragments — plastered along a bike path in Iowa, all about saving the lives of animals. Angela located the storyteller, Hayley (I’m guessing at the spelling). Hayley (second photo from top in montage below) invited Angela to her bedroom, which Hayley called her “laboratory.” The little girl was on a quest with her bike-path posters to save a sick panda in China, and she had raised some $400. She even had a Plan B.

I was stunned when Angela stated Hayley’s age — four and a half!

“We grow out of being comfortable telling stories,” Angela observed. Children’s storytelling tendencies get beaten down by teachers, whose red pens bleed all over their written stories. “Your story isn’t good enough until your writing is good enough,” is the message many teachers communicate to children, Angela noted. Thus, creativity is quashed. (See the shocking Creativity Index graphic at the bottom of the montage of images below). “Technology should be used in service of helping kids telling their stories,” she said.

ShareStoryModel.jpg Angela has developed a framework — a work in progress, she says, called the “Teaching and Learning Cycle/The Story Cycle” (see graphic above). It’s about the “pattern-seeking/meaning-meaning part of curriculum,” she explained.

Angela went on to describe two ways she’s used story in education, one with children and one with adults:

The project with children began with the book Lois Lowry’s Number the Stars, a work of historical fiction about the Holocaust. The students went out and discovered other stories about the Holocaust. They broke into groups and studied the time of Holocaust. They narrowed the stories they’d collected down to four compelling stories and were to find a way to compel the rest of the class to vote for their story. I’m a little fuzzy on this next point: The students found a video with compatible subject matter but decided it was deficient, so they reinvented the video and uploaded it to YouTube, garnering 161 comments in 24 hours. Based on a horrible comment from a white supremacist, one teacher wanted to bag the project. The students contacted a Holocaust survivor, who said, “You live in a time where your stories matter. You can tell the story, and the world will listen.” From the supremacist’s comment, the students learned that sometimes the story told is not truthful. The entire school then did deeper research on hate groups. The approach Angela described here seems a lot like “story across the curriculum.” MaiersPix.jpg

The adult project Angela worked with looked at why parental involvement is critical in education. The project organizers collected stories from parents and teachers using the prompts “Tell me a story of the last time you interacted with a teacher” (with parents) and Tell me a story of the last time you interacted with parents (with teachers). Using Wordle.net, they made a word cloud from the texts of these stories, to show which words popped up most often in the stories. As you can see in the third image from the top in the montage at right, the parents told rather negative stories (word cloud at right) that were very different from the positive stories told by teacher (word cloud at left). Together the groups created a word cloud (top right image of montage) based on a new story for how parental involvement in schools should look.

“We need to be excited about the contributions and passion of children,” Angela said. We need to “teach kids to become the storytellers they were meant to be.”

We need to tell children what Angela told little Hayley: “You are a genius, and the world needs your contribution. Your ability to get your story out there is something I don’t see adults doing.”

That moment when a child realizes someone values his or her contribution results in what Angela calls “smiling eyes,” (embodied in the photo of Hayley, right column, second from top in the montage above), and the recognition of the valued contribution motivates the child to be better.

After the heart of Angela’s talk, she and Reinvention Summit organizer Michael Margolis talked about fixing education. “Education must be reinvented, not reformed,” Angela declared.

“Let’s go back to the core fundamentals of how we experience and interpret the world,” Michael said. “We’re stripping away our ability to live in narrative.”

Angela explained her concept of education reinvention: “Start with what kids can do, not the negative about what can’t be done or what they can’t do.” She noted that the lack of desire to go to school used to hit kids in about the eighth grade. “Now 5-year-olds don’t want to go to school,” she said. She talked about the audits she conducts in schools, noting that she can predict by the classroom environment whether kids will be successful. She looks at the materials and what’s on the walls. (I wish she’d said a little more about what kinds of materials and wall hangings indicate a successful environment.)

“To find out what kids can do, you have to hear their story,” Angela said. “It all comes down to hearing someone else’s story.”

“If you can’t imagine the possibilities,” Angela concluded, “go to a playground, go to a mall. See children.”

Some resources:



Entry by Kathy Hansen. Learn more.

 

I recently came across a book, published this past April, Storytelling as an Instructional Method: Research Perspectives. The surprise is that is edited by Dee H. Andrews and Thomas D. Hull of the U.S. Air Force Research Laboratory, along with Karen DeMeester of Florida State University.

I’m interested in the book because I’ve used storytelling in teaching and hope to do so again someday.

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Here’s how the book’s publisher describes it:

For thousands of years storytelling has been a key means of instruction in cultures around the world. Today stories are told for educational purposes in virtually every domain of human endeavor. This book explores various theoretical and practical aspects of storytelling as an instructional method.
It is divided into sections that examine instructional uses of the four types of storytelling: scenario-based, problem-based, case-based and narrative.
The book’s chapters cover a variety of topics including; theories of storytelling instructional effectiveness, story archetypes, cognition and storytelling, the use of stories in instructional games, and effective instructional strategies that employ stories. In addition, practical applications of storytelling are given for healing combat stress and improving information security.

I found a paper by the same two Air Force authors and a different civilian author (Jennifer Donahue of Boeing), “Storytelling as an Instructional Method: Descriptions and Research Questions,” published in The Interdisciplinary the Journal of Problem-based Learning, volume 3, no. 2 (Fall 2009). Looks like the reader can get a good flavor for the book by reading this paper; the authors’ four types of storytelling (scenario-based, problem-based, case-based, and narrative) are covered.

You can also download an excerpt that includes the book’s first two chapters. Here are the contents of the book:

SECTION 1: ABOUT STORYTELLING AND INSTRUCTION
1. Story Types and the Hero Story by Dee H. Andrews
2. What is So Special about Stories? The Cognitive Basis of Contextually
Rich Learning.by Russell J. Branaghan
3. Storytelling, Archetypes and System Dynamic Modeling by Robert Patterson

SECTION 2: SCENARIO AND STORYTELLING
4. Using Scenarios to Archive Experience and Organize Training by V. Alan Spiker
5. Storytelling with Scenarios and Instructional Games by Conrad G. Bills and Cheryl D. Bills

SECTION 3: PROBLEM-BASED LEARNING AND STORYTELLING
6. Problem-based Learning and Storytelling: Finding Common Ground as Instructional Strategies by John R. Savery and Carol A. Savery
7. Adapting Narrative Theory to Improve the Implementation of Story in Problem-based Learning by Michael A. Rosen, Stephen M. Fiore, Rudy McDaniel and Eduardo Salas

SECTION 4: NARRATIVE AND CASE-BASED STORYTELLING
8. Once Upon a Time: The Role of Stories in Educational by William R. Watson
9. Enhancing Soldiers’ Resiliency to Combat Stress Injuries Through Stories by Karen DeMeester
10. Deriving and Designing Dynamic Stories to Communicate and Learn about Information Security by Stefanie A. Hillen and Jose J. Gonzalez

SECTION 5: CONCLUSION
11. The Storytelling Instinct: Concluding Thoughts by Thomas D. Hull



Entry by Kathy Hansen. Learn more.

 

Reader Stephanie Jones asked me a question I couldn’t answer but readers who are oral-performance storytellers perhaps can:

Do you know of any web tools that would enable a storyteller to keep a log of the stories they tell, along with notes about the stories, sources, places they’ve told, etc.? I know I could use a blog or a wiki, but I would like something more like LibraryThing or Shelfari? I am going to be teaching a storytelling class online this summer for my school library candidates and would like them to keep a record of stories they are learning.

If you have suggestions, please e-mail Stephanie.



Entry by Kathy Hansen. Learn more.

 

Here’s the latest entry in my (unintentionally) ongoing series on how to learn and master a story so your oral delivery of it sounds natural.

actingclass.jpg Heather Summerhayes Cariou, author of the acclaimed memoir about her sister, Sixtyfive Roses, responded to the most recent entry in this series, writing:

As a former professional actor, I would suggest that storytellers find a local acting class and attend it. What they might learn there will help immensely in terms of oral storytelling — and even reading their work aloud.

Cariou noted that she’ll be teaching “Presenting and Promoting Your Work” this summer at the 33rd International Writing Guild Conference at Brown University, the first week of August and that the workshop will include instruction in how to read aloud.



Entry by Kathy Hansen. Learn more.

 

I learned two new things from a Worldwide Story Work teleconference this week presented by Malcolm Jones, an expert in ideation and sketching. Well, probably a lot more than two, but these were the ones that really stood out.

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  1. An affinity for visual storytelling over text-based storytelling (or vice versa) probably reflects one’s learning style. Yes, that’s kind of a “duh” statement, and I’m sure I knew it on some level, but I hadn’t thought about it before Jones’s teleconference (even though Wednesday’s entry was about learning styles). I found it difficult to personally relate to Jones’s assertion that writing is very difficult for many people; yet, that observation is true to my experience. Writing comes incredibly easily to me, but I know from six-plus years of teaching business communication to college students that writing is agony for many. Some find linear storytelling to be a painful process, Jones says, and visual storytelling is less linear and more spatial than written storytelling. He also points out that the brain takes in visual stories differently than it takes in linear, written stories, yielding different insights. And an affinity for one over the other reflects differences in right- or left-brain dominance. Especially intriguing was Jones’s reminder that some 60 percent of people are visual learners. Given that stat, it’s almost surprising that visual storytelling isn’t more dominant over text-based storytelling.
  2. Like other kinds of storytelling, visual storytelling is now being used in business — in business comics, games and other forms of play, and a field that was completely new to me, graphic facilitation. Jones cited Kevin Cheng as a major name in using comics for User Experience Design and later shared with me links by and about Cheng: The Power of Comics: An Interview with Kevin Cheng, Communicating Concepts Through Comics from Cheng’s own blog, and Examples of Comics in Designing Customer Experiences. In graphic facilitation, Jones says, a graphic artist works with a facilitator to create a visual story of what goes on in a group meeting. graphic_facilitation_cover.jpg A site describing an upcoming workshop on Graphic Facilitation also provides a good description: “Using graphics to lead group process in a highly engaging, interactive way. … Participants learn to draw, create large-format displays, record, and practice facilitating and receiving feedback. They also design a meeting process and learn about methods of documenting visual meetings” and Graphic Facilitation is all about “applying visual language to group processes.” (A couple of resources on Graphic Facilitation: The Center for Graphic Facilitation, Graphic Facilitation Focuses A Group’s Thoughts — and apparently the definitive book on the discipline is David Sibbet’s Graphic Facilitation: Transforming Groups with the Power of Visual Listening). LEGOSeriousPLay.jpg Jones also noted that storytelling literally comes into play in business in the form of games and role-plays. He reported that corporate groups are building things out of LEGOs to solve business problems, using a process called LEGO Serious Play. seriousplay.jpgJones cited a book on business play, which seems to cover more than just LEGOs, Serious Play.

Jones talked a bit about comics and storyboarding and recommended three tools:

To that list, I would add ComicLife, the comic software app for Mac. I’ve never used ComicLife for an actual comic, but I use it lots of other graphics functions since I don’t have and don’t know how to use Photoshop. As Jones notes, these tools can help one tell a story with comics — but necessarily a good story.



Entry by Kathy Hansen. Learn more.

 

A few weeks ago, I presented the dilemma of blogger Jared (Moon Over Martinborough), who recently began podcasts and was concerned that his oral delivery didn’t sound sufficiently “campfire-story”-esque.

ThreeWaysofKnowingv6x4.jpg I tossed around a few thoughts on achieving a natural-sounding delivery, including suggesting Jared not even read from his written text (did I really say that?). Jared’s dilemma affects many of us who want to deliver spoken content in a way that sounds natural and conversational but don’t want our words to sound read or memorized. Some people can speak wonderfully off-the-cuff, but Lord knows, I’m not one of them. We often depend on written text to help us feel confident in our delivery and ensure we don’t forget what we want to say. Look at President Obama, whose legendary dependence on teleprompters is so extreme that he uses them in classrooms of schoolchildren.

Thankfully, a wiser voice than mine has suggested that there’s no one way to master a story or other content. Karen Dietz, in an article called The Trick To Learning A Story, relates mastering a story to learning style, noting that techniques that work for one person may not work for another. “[S]ome people need to write it down,” Dietz writes, “but there are plenty of others who can simply visualize the story and follow the chain of images to tell it. Some people just need to repeatedly listen to a story to learn it. So it really depends on your learning style as to which method will work for you.”

Here’s Dietz’s discussion of learning styles and the technique that aligns with her styles and works for her:

[W]hen building your storytelling skills, you also need to determine your best method for learning and remembering your stories so you can easily recall and tell them.
What learning style are you — Kinesthetic (I have to do it and get the physical feel of it) or Auditory (I have to listen to it) or Visual (I have to see it)?
Most people are a combination of the three with one or two that are dominant. For me my strongest learning styles are Kinesthetic and Visual. If I can see the images in my minds eye, and then feel the images physically, then I’m half-way home.
My best method for learning stories is to think about the story I want to tell and how I want to tell it. Then I get out my 3x5 index cards and create a BRIO (brief reminder of image order), a technique I learned from storyteller Doug Lipman [www.storydynamics.com]. On each card I write a keyword of the image, or draw a stick figure/diagram/picture of it. No artistic talent is required. These are just my own scribbles. This is my visual learning style.
Then I go on a walk and start telling the story out loud. This is where I get to see if the order I THINK the images should go actually work out that way; 99% of the time they DO NOT, and as I walk I reorder them.
What I love about this method is that by walking and practicing out loud, I kinesthetically build the story into my body. I find I can recall that story when I need to, and tell it in ways that I know will get results. Once I get to this point, I’m then ready to practice telling the story with a listening partner.

Terrific advice. Adapt your story mastery to your learning style. Mine are auditory and visual — decidedly not kinesthetic. For me, I believe auditory dominates, so I’d like to develop a mastery technique that suits that style.

And while I’m praising Karen Dietz, I should point out that she has revamped her Web site and is offering excellent, free story-related tools here.



Entry by Kathy Hansen. Learn more.

 

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A Storied Career explores intersections/synthesis among various forms of
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The following are sections of A Storied Career where I maintain regularly updated running lists of various items of interest to followers of storytelling:

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