Why Folk and Fairy Tales?

  By Simon Brooks

There is so much publicity and cheer leading for personal narrative that I feel we might be getting away from folk and fairy tales, and losing focus. There is much craft that goes into a well-told personal narrative to make it work for an audience. It is also easy to simply tell a personal story for self-gratification. I was into the poetry open mic scene back in the day and you would hear beautifully crafted poems and some crass work which should have been kept within a bedroom or therapists office. I feel the same at some slams, or open mic storytelling too. There is some high art, and there is some rubbish. It can be the same for folk and fairy tales too.  I have seen stories ruined for me with a bad telling.

I have been asked about the relevance of folk and fairy tales, myths and legends these days, and this saddens me. A growing number of kids don’t know Little Red Riding Hood, and have not heard of King Solomon. There are, in many works, references to such tales, and if the youth of today are not hearing these stories then those references are lost. Reading Neil Gaiman’s Sandman series of graphic novels, you know Gaiman has a deep level of understanding of mythology. As someone who knows these ancient tales and stories I gain another level of enjoyment of the books. It is not only literary references which are lost but a level of understanding too.

Hansel and Gretel is set in reality. In the days when the story was created, young children, the sick and elderly were given over to the forest in times of starvation, or even when the fear of lack of food became apparent, so that the strongest survived. This does not happen these days, although some cultures as recent as 100 years ago still did this. But children, and the elderly are abandoned, or it can feel like that to them, when parents work three jobs to pay bills, or travel away from home for work, or are just ignored, and the elderly are placed in homes. This story can help young folks process what they might be going through.

Stone Soup is also set in fact. A study of warfare in Europe up to the 1700’s will show you that many battles were fought over the same territory, and the same routes were used to march to these places. Soldiers had to find their own food on route and often stole food (appropriated?!) as they passed through villages and towns. Often these soldiers were starving. Only the officers were well fed and clothed, the conscripted soldiers were not professional soldiers but men gathered by force from their homes to fight a war they were not interested in, nor whose stakes would have any effect on them other than the fighting. If stray soldiers found their way into a town, they would have been ignored, in fact there are historical records stating that some soldiers were hung, or even beaten to death. Understandable when some armies burned crops to stop another army from feeding itself, sending a village or town into starvation. This happened to the same villages and towns, year after year. The story of Stone Soup could have been a true personal narrative at one point. Homer, in the Iliad describes what is now known as PTSD. There is truth and power in the old tales.

These stories can be used to teach about our histories and how our cultures have changed, but they also teach about compassion, and how some things have been happening since time began. Sure, some are pure entertainment, the same as some personal narratives are, but there is a depth which, I feel, folk and fairy tales go to and reach in which personal narrative does not. One can lose oneself in a folk or fairy tale and become any of the characters and be safe, so if the subject is hard, you are one step removed. Personal narratives do not necessarily have that. Listening to a personal story can plunge the listener back to their own trauma, or fear more directly.

As human beings we need to be exposed to many different types and styles of telling. We need to hear different stories just like we need to hear all different types of music.  We need a foundation to build from, not just in telling stories, but in life, and the ancient tales, the myths, legends, folk and fairy tales can do that. They teach us that we can survive, we can process things we do not understand through the ancient stories, they can explain the world around us, and they can, most importantly give us hope. So when someone says to me, ‘Why folk and fairy tales?’ I tell them – hope. They always give us hope, and sometimes a really good laugh, too!

Simon Brooks will be a featured storyteller at theFlorida Storytelling Festival in Mt. Dora, FL,  January 23-26, 2020 He recently performed at the National Storytelling Festival where his animated style drew much praise.

Tellabration - It's Florida Storytelling Week!

The Florida House of Representatives passed the bill declaring November 16 - 23, 2019, as "Florida Storytelling Week."

On the weekend before Thanksgiving, the celebration of telling stories has become known as Tellabration. This is a worldwide event!

Search for a Tell-a-bration event happening THIS WEEKEND in your area.
Check out the Florida Storytelling Association online calendar:
https://flstory.com/calendar/

According to the National Storytelling Network:

TELLABRATION!™ is a worldwide evening of storytelling. It creates a network of storytelling enthusiasts bonded together in spirit at the same time and on the same weekend.

TELLABRATION!™ originator J. G. Pinkerton envisioned this international event as a means of building community support for storytelling. In 1988 the event was launched by the Connecticut Storytelling Center in six locations across the state. A great success, TELLABRATION!™ extended to several other states the following year, and then, in 1990, expanded nationwide under the umbrella of the National Storytelling Network (then called NAPPS, and later the National Storytelling Association).

In 1995, for the first time, there was a TELLABRATION!™ in Japan, brought there by Japanese storyteller Masako Sueyoshi, who had been a part of TELLABRATION!™ when she lived in Connecticut for several years. By 1997, there were TELLABRATION!™ events on every continent but Antarctica. (Anyone know any good penguin storytellers?)

TELLABRATION!™ is traditionally held on the third Saturday in November. Some events, however, may be at an alternate time during the same weekend.

Anyone can produce a TELLABRATION!™: storytelling organizations and centers, schools, libraries, colleges, museums, performing-arts centers, story-swap groups, story enthusiasts, and others.

NSN serves as a partner to producers and a clearinghouse for information. NSN publicizes TELLABRATION!™ events worldwide and offers a Guidebook and Promotional Kit for producers.

Telling and Reading to Elementary School Students  

 Contributed by Pete Abdalla

When I retired almost 20 years ago, I started volunteering in the elementary
schools by telling stories to various classes to encourage reading. To emphasize
how important I thought it was to enjoying reading, in my first meeting with each
class I would point to my watch and say “Do you see what time it is? This is the
time I usually take my nap, but instead I’m here to help you see how much fun
reading can be!”
Before I started volunteering, I built up my repertoire of children’s stories. Some
of the best resources are the “Ready To Tell” books. I still use many of those
stories today, including some for adults. The stories all fit in the time period that
a Teller needs (6 to 10 minutes), the authors give recommendations for the age of
the audience for which the story would be most appropriate and they also give
hints for how to tell the story.
The web site “storybee.org” is an excellent site to find stories for all ages. The
home page has links to four age groups of students. When you go to the age
group you are interested in, there will be a list of stories, the time each story lasts
and the artist. You click on the story that interests you and hear the artist tell the
story. There are many stories for each age group. For instance, the 4 to 9 age
group has over 140 stories.
You can find an endless number of sites that will spell out stories when you
Google the type of story you are searching for, i.e. folk tales, adventure stories,
love stories, pirate stories etc., etc. In my experience, I have found the above
listed sources to be most satisfying.
For years I only told stories in the classrooms. I would tell something about the
story to set it up, tell the story, then talk about the story and generate questions
about the plot, characters, likes and dislike about the story. One day when I was
visiting my family in Pennsylvania, one of my grandchildren was reading a story to
me. He went along in a dull monotone, just saying words no matter what was
happening in the story. I asked if we could alternate reading and, since I am a real
ham anyway, I read very excitedly. He caught on and really got into the story.

Now, before I tell, I first read a story to the class with lots of expression and
animation to give the students an idea of reading in the same way. I believe that
it is very important that when you are preparing to read, write down any words
that the students might not know and decide on a definition that they can easily
comprehend. If you are going to work with the same classes, that is if you will
read/tell to the same classes, explain some of the terms that define a book. Front
(cover), back, head (top), tail (bottom), spine, endpapers (page glued to the front
and back covers). It can be fun as well as informative. Show how the author
sometimes uses the endpapers to tell you something about the book. Generate
discussion by asking what the cover makes you think the story is about. As you
read, when it is appropriate ask what they think is going to happen next. If it is a
picture book, always hold the book so that they can see the page that you are
reading and make sure you rotate the book to insure all of the kids see the page.
If you asked me what one thing helps the most in telling to Elementary School
students I would tell you to embrace being silly. I sometime just mispronounce a
word that kindergartners know and they think I am the funniest storyteller in
the world. Many of the stories you will tell to this age group involve something
humorous or silly. I practice in front of a mirror when a story involves witches,
animals ogres etc. One story that I tell has three witches and it took me awhile to
come up with three different voices and facial expressions to distinguish between
them. Of course it helps if you have someone who can listen and critique to firm
up the storytelling. One thing I have learned is to always wrap up all details of a
story. For instance, in the “Belly Button Monster”, say that the monster says he
will leave Florida forever. Or in “Jack and the Robbers”, say that Jack’s father tells
the animals they can live on the farm now. If you don’t, you will be asked “But
what happened to…”

If you go to a class on a regular basis, you will know what a rock star feels like.
The kid will love you and you will love them. There is a wonderful feeling when a
child comes up to you and tells you what they have been reading. And, of course,
they will tell you that you are the best storyteller ever!





The uber expressive, marvelously talented Pete Abdalla lives in Orlando, FL, and delights audiences all around the state. You can catch him in Mt. Dora, January 23-26, 2020, as he will be one of the Florida Storytelling Festival's featured performers.

Haunting Tales ~ Ghosts in the Garden

The month of October is full of haunting Storytelling Events.

Check out the FSA calendar online:

https://flstory.com/calendar/

Here's one ....

After many years hiatus, "Ghosts in the Garden" are back 

at Leu Gardens in Orlando, Florida, as ...

Haunting Tales

Fri Oct 11

7:30pm - 10pm

For more events,

check out the FSA calendar online:

https://flstory.com/calendar/

Listen

by Morgen Reynolds

I came to storytelling via the stage; I was a theater major in college. A transfer to a smaller college necessitated a change to an English major. Then came love, followed by marriage, then came me with a baby carriage. First there was Isaac. . . followed by little sister Lucy. . and finally our caboose, Emma. Kids, laundry, life, and survival became the order of the day and my time on the stage slipped away.

And still I ached for it. I missed the work, the smells, the study, all of it. But, how could I do nightly rehearsals when dinner had to be made? And then there was the personal matter of content. I had some lines I wouldn’t cross for a character and that put a limit on what I could and would do on stage. It seemed my theatrical path had run its proverbial course.

Then, as silly as it might seem. . I had a dream. And in the dream I was on a stage, just me, all alone. I wasn’t really in a play. I was “telling” a play. I woke up and thought, “Hey, I could do that! I could just tell a play!”

What I didn’t know was that people were already doing this--they were just calling it storytelling. I had never seen or heard a storyteller, at least not a professional one. I had yet to discover the world of the teller and her festivals. Nope, I just had a hunch and an idea. So, I went with it. I started telling stories. Now, I was on the stage all by my lonesome. But even if I was the only one on the stage, I was not the only one in the story.

One of the most important rules as an actor is this: LISTEN. If you merely memorize your lines and recite them on your cue, then the audience might be impressed with your memorization skills, but they won’t go with you on your journey. Listening to the other actors, no matter how many times you’ve heard them say those lines brings you into that moment. You are aware of the nuanced changes and can shift accordingly. And the audience will be right there with you, experiencing it all for the first time, even if it is your 30th time in a row. Listening makes the magic.

Storytelling requires listening. If a story is too perfectly memorized, the audience might get the sense that it doesn’t matter if they are there or not. Listening to them, watching them, and responding to them completes the circle. Then, the story belongs to everyone. The best storytellers are tuned into the audience. They make eye contact, shift the story, and adapt to changes. Their stories are a living creation, not a memorized soliloquy. It is a wonderful thing to watch. How do we get there? I think we get there the same way we get anywhere we aren’t right now. We start moving and we practice.

We try to look people in the eyes more the next time we tell a story. We look for signals that we are losing them. We listen carefully to everything that is happening before we start our story, and try to add one detail on the fly that would feel like a little easter egg the audience finds in our story. We memorize our story, yes, but we also mark some points where we could play a little. And, once in awhile, if we are brave enough, we create a live story in the moment with the audience. I’ve done this before and it is a little terrifying and a lot magical.

It is a truth universally acknowledged that humans love stories. But, another universally acknowledged truth is this: people love being heard. Yes, we are the storytellers. But the story listeners have something to say as well. They say it how they are sitting, laughing, looking, and thinking. If we listen carefully, they will help shape the story into something new, right then. And we will all be better for it.

Morgen Reynolds will be a featured storyteller at the 2020 Florida Storytelling Festival. Learn more about her work below.

www.missmostoryteller.com

Find me on YouTube!

Advocating for Peace: Supporting activists in shaping their stories

by Noa Baum

I am sitting in a small room of a modest apartment on the upper west side of New York City, listening to Israelis and Palestinians. The accents are heavy, speech often halting as the teller searches for the correct English phrase or word. 

A young Palestinian woman tells about being 9 years old, seeing her beloved friend lying on the ground with a red stain of blood spreading on his blue school uniform. He is 12 years old, and the pride of the school, shot by Israeli soldiers. Filled with rage and grief, she picks up a stone and throws it at the soldiers. She is terrified and confused, “I’m a good girl. I don’t throw stones”.

Why is this happening? Why did they kill her friend?

A young Israeli man, who grew up like me, proud to serve and defend his homeland, tells about being 19 years old in his active army service. He has orders to “extract” a man from his house and bring him in for interrogation. It is well after midnight, he is carrying a large gun and feels powerful, but his heart is pounding with fear. After banging on the door with his gun, a woman opens it and starts crying. He is pointing his gun and sees the terror in her eyes. He completes his mission, drops the man at the detention center but never finds out if he was returned to his wife. The terror stricken eyes haunt him. He is tormented and confused. He was raised to believe he is the good guy. Why is he feeling like the bad guy? 

These are just snippets of the stories I hear in that room from five members of Combatants for Peace (https://cfpeace.org/), a grassroots group of people who grew up amidst the violent Israeli-Palestinian conflict.

They all saw family members and friends die. They were soldiers and stone throwers, they spent time being tortured or torturing, been in jail or guarded prisoners, they were freedom fighters and protectors of their homeland.

But one-by-one renounced violence put their weapons down and chose to work together, Israelis and Palestinians, to end the cycle of violence and occupation. Today they tell their stories to build bridges of hope, understanding and peace.

My job is to help them shape their stories for advocacy and get comfortable presenting them to American audiences. 

I share my own story: growing up an Israeli Jew in Jerusalem, my friendship with a Palestinian woman and journey of discovering “the other” through the power of story, and how I use storytelling to build bridges of understanding and compassion with a live performance and a memoir I wrote: A Land Twice Promised: An Israeli Woman’s Quest for Peace. 

I ask them to identify what makes an oral story compelling and we discuss the components of spoken language, I spend the rest of the day working individually with each one of the five members.

I am faced with many challenges:

How to help trauma survivors tell trauma-laden stories without re-triggering the trauma?

How to choose from dozens of experiences those that can be shaped into a coherent story arc?

How to be truthful to the pain and violence of the stories, convey the message and capture the heart, without alienating or overwhelming listeners? 

How to create a message of hope about an ongoing conflict when a peace resolution seems farther away than it’s ever been?

There is no formula and I don’t own the “Your Advocacy Story in Five Easy Steps” magic manual. I approach each individual story as a journey of exploration.

One teller needs to figure out how to talk without crying. Another needs to figure out how to put emotion in his voice when his instinct is to protect himself from the pain by talking in monotone.

And for everyone, the challenge is to learn the language of images: 

Can listeners see/imagine my story? Am I showing: describing the scene with sensual details? Using dialogue to give information and/or help bring each character to life? Or am I summarizing?

There are sound principals to the art of Storytelling but Coaching is not an exact science. I tread carefully, ask lots of questions, and offer examples and suggestions. I worry that it’s too hard for them.

But then, one of them retells his story after the morning suggestions. We invite our host, the apartment owner, to listen.

I watch the magic of teller energized by listener. I hear the emotion in his voice but he’s in charge, not collapsing. The story comes alive, our host is clearly moved and confesses that as an American Jew she had never heard this perspective.

It can be difficult to see the relevance of storytelling in the face of the growing conflicts, divisions and hateful rhetoric, the plight of refugees and the collapse of climate stability. 

Pete Seeger said, “The key to the future of the world is finding the optimistic stories and letting them be known.” 

The stories of the courageous people who are caught in conflict and suffer but choose to reach out to each other, hold that optimism for me.

Poet Wislawa Szymborska, writes, 

Four billion people on this earth,

But my imagination is as it was.

It doesn’t cope well with big numbers.

It’s still moved by singularity.

We need the stories. Let’s help people tell them.

Courage to Claim Our Callings

written by Rose van der Berg

My mouth was so dry my lips stuck together. I felt dizzy. I was next on stage at a story slam.

I wasn’t afraid to tell. I was afraid to tell what I brought. It was a story about healing shame that called me to craft and voice it.

I expected fear of vulnerability. I was unprepared for fear of being the participant who disappointed by poking a hole in the balloon of laughter generated by six funny tales before me.

I frantically searched my brain for a jolly yarn to offer. Self-doubt

Then I remembered words from a talk given by a peace activist named Peace Pilgrim: “trust in your own inner voice…become acquainted with the things you fear”.

I whispered those words as I walked to the mic – and told the story I came to share.
Instead of falling short, my telling was well-received. People came to me and related their experiences with reclaiming self-worth.

The response reminded me of more wisdom from Peace Pilgrim: “…there’s something greater than you going on when you are urged from inside to create and express, or do, what is out of the ordinary…have faith things will work out if you follow where you feel led.”

Peace Pilgrim was an incredible example of daring to honor inner guidance to do something unusual. She stepped out in faith when she felt a calling to go on a pilgrimage for peace in 1952. She crisscrossed the U.S. on foot seven times from 1953 until her death in 1981. She influenced thousands of people with talks at schools and churches. She had no possessions or money. She was provided with food and shelter during 28 years of walking by those who were moved by her message.
You can learn about her at: http://peacepilgrim.org

Watch the 60-minute documentary on YouTube:

https://m.youtube.com/watch?v=dVubXFiRjqw

“Peace”, as many called her, used stories to illustrate actions we can take to grow into our full potential to help make a more peaceful world.

The art of storytelling fosters peace by creating connection.

Here are 3 ways we can grow into our full potential as story artists from Peace Pilgrim:

1. Spend time in receptive silence. Take breaks from mental noise and distractions to connect with, listen to, and strengthen our authentic self.
2. Believe in instincts that call us beyond what’s safe and familiar. They’re summoning us to bless others with a gift only we can give.
3. Make friends with fear of how the world might meet what we’re inspired to do. The forces of life will arise to meet us when we say yes to inner promptings.

Rose van der Berg is a professional storyteller and founder/director of Bridges Storytelling ™, an inclusive community arts program promoting peace by empowering people to craft and exchange personal stories.

Storytelling ~ A Quest for Peace

written by Claire Chandler

Storytelling has a ‘voice of it’s own.’  I have told stories of fantasy, humor, wonder and even fright to audiences of all ages and backgrounds.  But, it wasn’t until I told ‘The What If’ story that I realized the power of storytelling in influencing change and creating a path for world peace.

In September 2016, I was selected to be one of the tellers for a ‘Sacred Story Concert’ at the White Mountain Storytelling Festival in New Hampshire.  It was then I wrote and told ‘The What If’ -- a poem-story for world peace.  I knew then, that this was just the beginning of my journey with this story.  I planned to have it videotaped and shared on social media.

After many unexpected life ‘turns and twists,’ I was able to have this poem-story produced on video. I even shared with my church congregation, and I was surprised to receive a standing ovation.

This story spurred me to create a new peace initiative that I call “Walk with me on a gentle path to peace.” Nineteen people attended the first meeting. Together we embarked on the path to peace.

Join me on this ‘quest for peace’ by sharing your stories with me on my new Facebook site. You can also watch my video post of ‘The What If' story-poem. I invite you all to ‘Walk with me on a gentle Path to Peace’...

Visit fb.me/gentlepathtopeace.

Send me your ideas and inspirations: wwmeinpeace@gmail.com.

As storytellers, let us become change-makers in this world and get our message out there.

Claire Chandler

Professional Storyteller, Peace Advocate

Telling Stories to Young Children ~ Mij Byram

written by Mij Byram

"A person’s a person no matter how small." ~ Dr. Seuss

Those of us who work with young children are aware of the unique skill set needed to reach an audience with limited life experience and cognitive range but infinite curiosity and willingness to believe what you say.

TIP: Maintain Focus, Awareness and a Calm Demeanor - Not everyone can stay focused while watching a little one wiggle and jiggle because they are so deep in their own imagery that they are unwilling to acknowledge or tend to their immediate bodily needs. If you can relax and stay in the story, so will the child. There may be a wet spot on the carpet after they leave, but in the meantime, they have traveled with you through a universe of stories. And in the big picture a change of clothes is no big deal for a super hero.

TIP: Consider Point Of View - I don’t mean first person, second or third person. The actual point of view of a child sitting on the floor will determine what they see. If you are close to the children get down on their level so they are not looking at your toes or up your nose. Are you are standing or sitting far enough away to make it easy to see your face without neck strain? Be thoughtful and adjust when needed.

TIP: Consider Adults - When working with children, consider teachers and parents as part of the audience. It’s nice to be able to offer something of interest to them as well. Layered stories can please both child and adult. What would keep you interested in a children’s story?

TIP: Listen with your eyes to see what they are telling you with their bodies.

I often feel I’m holding a golden secret. A secret about how to make the world a better place. Through storytelling we have the opportunity and responsibility to add more kindness, compassion, generosity, honesty, courage and justice to the lives of our listeners. This should NOT be a secret.

Mij Byram

"Unless someone like you cares a whole awful lot, nothing is going to get better. It’s not." ~ Dr. Seuss

Contact info

Mij Byram

www.mijbyram.com

561-504-2616

Mij@mijbyram.com

Bio: Mij is a highly respected, sought-after Early Childhood innovator with over 20 years of experience using stories to plant the seeds of literacy and love of language. Her workshops and play-shops have trained teachers, librarians, parents, and storytellers from Maine to Florida how to build character and promote literacy through story. Mij has been a staff member of the National Storytelling Network, a board member of the Florida Storytelling Association and president of the Palm Beach County Storytelling Guild. Mij is the founder and publisher of the monthly newsletter South Florida Storytelling News since 2005.

To Slam or Not to Slam?

Article by Madeline Pots, award-winning Storyteller and Slam Artist.

Why I Slam.

The room was packed.  It was the first event of the newly formed Orlando Story Club and my first slam.  I put my name in the hat and hoped I would be called.  I had practiced my story.  I had condensed it from a longer story, isolating just what I thought was truly important.  I was ready. 

Ten names were pulled.  Some of the tellers were obviously experienced.  Others were new to any genre of public speaking,  but they all had a story.  And the audience listened.  They intuitively recognized sincerity.  They responded to honesty.  They laughed at what was genuinely funny.  They forgave the stammering starts and stops and showed support for the speaker. The stories had heart, and so did the audience. 

As it turned out, it was an experienced storyteller who walked away with the honors that evening.  That was because her story was real and bravely told.  It set an example that has characterized the quality of this long-lasting event, now five years old and going strong.

A story slam is a level playing field.  Anyone can slam.  The tellers are randomly picked.  The stories are often like uncut gems, rare and valuable even though unpolished.   Other times the stories are crafted, poetic and powerful.  For sure, there are the occasional stories that ramble, but that does not negate the open-hearted reception of the slam audience.  It is a supportive community that values the candor of the teller.  It’s a community I love.

I no longer try to condense my longer stories into mini versions of themselves.  I prefer to start fresh with a beginner’s eye.  I know that a glib turn of words will not do it for a slam audience.  They respond to content.  It makes me dig deep for message, while keeping within that infamous five-minute limit.

Slams are contests, and it is certainly nice to walk away with the honors.  But the biggest prize is being part of a community that accepts all equally.  The best reward is the experience, from both sides of the stage.  That is why I slam.

 Madeline Pots is a storyteller and musician living in Winter Park, FL. She has performed on the National Storytelling Festival's Exchange Place stage, Tallahassee's Stories At Blue, the Cracker Storytelling Festival and Stone Soup Storytelling Festival. She leads FSA's Youthful Voices.

Ready to Learn by Sheila Arnold

Ready to Learn

I love coaching.  I love being coached.  I appreciate hard specific feedback just as much, and sometimes more than, compliments and platitudes about my stories.  Because of these “loves” and “appreciation” in my life, this is what I try to give to others when I am coaching. 

I have been asked to coach performers (not just storytellers) for quite some time, and I think it is important for me to approach each coaching session in a similar way.  The first thing I do is listen – all the way through.  I don’t interrupt the first time around unless I really don’t understand something and I have to get clarity in order to get the full story.  Then we take a moment to let the story breathe between me – the coach – and the storyteller.  This is a vulnerable time; storytellers can get afraid of what I am going to say.  They are already beating themselves up about the missed word, phrase or, in their mind, awful storytelling technique.  I need a moment to soak in what I have heard and to review the notes that I take.  Then step 3 – I give feedback and make sure my feedback is specific, with a reminder that this is my opinion, not required to be accepted.  I also try to speak without interrupting; I learned that by watching Connie Regan-Blake give feedback to Charlotte Blake-Alston; very powerful and a great lesson.  If there are others in the coaching with me, which I actually like, then I ask for other feedback, and if I see unkindness, I point it.  Vulnerability needs to be handled with care and compassion and needs to know it has a safe community to succeed, fail, make mistakes and keep trying.  Finally, we make a decision.  Do we have enough time to listen again?  Do we need to just breathe in the feedback?  Do we need to schedule another coaching time?  What is next for the story and the storyteller?

I come to each coaching session with the golden rule, “Do unto others as you would have them do unto you.”  I also come to each coaching session with the lessons, compassion, care and challenges given to me from amazing storytellers:  Diane Ferlatte, Donna Washington, Charlotte Blake-Alston, Donald Davis, Bil Lepp, Minton Sparks, Syd Lieberman, Susan Klein, Milbre Burch, Clare Murphy, and a close-knit group of friends called “The Storytelling Girlfriends”.  There is a community that has helped and continues to help me grow, and I want to make sure that each person I coach leaves knowing they have a community that lifts and holds them up.  Finally, I leave each session having learned things about storytelling, about people and about stories, and I grow! 

I love coaching.  I love being coached.

Sheila Arnold, 12/11/18