You can write your own story, use one that's written or modify a story that's written. But, the final story needs to fit both you and your audience. As the workbook The Entertaining Speaker from Toastmasters International says,
"It should suit your personal style and outlook on life. If you aren't comfortable with a story or a set of funny lines, your material won't go over well as part of an entertaining speech."
If you are writing an entertaining story, your personal experiences are a good starting point, but you don't have to stick to the facts. You can stretch the facts, combine different events or even modify a joke to fit. Also, a story doesn't have to funny to be entertaining; the ghost stories and the "Winter Cub Story" are entertaining by being dramatic.
If you are using an existing story, the workbook "Storytelling" from Toastmasters International offers the following points to consider.
The age of the audience. Are your listeners adults, teenagers or children? Different age groups prefer different types of stories.
The type of audience. Are your listeners boys, girls, men women?
The social and intellectual levels of your listeners.
Generally, younger children enjoy stories with plot and action. Older children and adults like stories with more humor and interplay with characters. All ages enjoy rhythm and movement of event in stories. Stories should be well paced, with few slow and no dull spots.
You also need to consider how your story will fit with other events. For example, if the story will be used at the beginning of a campfire, it should have a lot of excitement and energy. If the story will be used near the end, it should be quieter and more thoug
Saturday, July 17, 2010
Point of stories
Our stories must be kept simple and to the point. We are teaching children, with short attention spans, communicating in a story context which can and must add "clutter" to the message, aiming for no longer than 10-15 minutes!
The point should be summarized in one simple sentence. As I have told my son "A good preacher tells you what he is going to say, says it, then tells you what he said - and that is the sermon."
We retain only a tiny portion of that we hear, a little bit more what we read, and most of all that which we memorize. The VBS lesson is actually a combination of the story, the class lesson in their books, and their memory work. I suspect we would be rather humbled at how little they actually "catch" of the messages we aim at them.
VBS Bible lessons have depth and strong biblical content to aid you in your preparation, usually more than you will need for the actual story. But you must boil them down as you study the lesson till your focus is clear and precise. Develop sub-concepts only with strong reasons and make sure they remain subservient to the main message. Much as we wish children would catch the whole story, we must be realistic.
If you feel the prepared material covers too much, or misses the point then please adapt it. It's your lesson. Do however be sure that you look at what the children will be doing in their class workbooks when you are making your preparation. If the story departs too far from the lesson, they may become lost in the workbooks
The point should be summarized in one simple sentence. As I have told my son "A good preacher tells you what he is going to say, says it, then tells you what he said - and that is the sermon."
We retain only a tiny portion of that we hear, a little bit more what we read, and most of all that which we memorize. The VBS lesson is actually a combination of the story, the class lesson in their books, and their memory work. I suspect we would be rather humbled at how little they actually "catch" of the messages we aim at them.
VBS Bible lessons have depth and strong biblical content to aid you in your preparation, usually more than you will need for the actual story. But you must boil them down as you study the lesson till your focus is clear and precise. Develop sub-concepts only with strong reasons and make sure they remain subservient to the main message. Much as we wish children would catch the whole story, we must be realistic.
If you feel the prepared material covers too much, or misses the point then please adapt it. It's your lesson. Do however be sure that you look at what the children will be doing in their class workbooks when you are making your preparation. If the story departs too far from the lesson, they may become lost in the workbooks
Good story
Characteristics of a good story:
1. A single theme, clearly defined
2. A well developed plot
3. Style: vivid word pictures, pleasing sounds and rhythm
4. Characterization
5. Faithful to source
6. Dramatic appeal
7. Appropriateness to listeners
-Baker and Greene, Storytelling: Art and Technique, pp. 28
Be sure there is drama in the story as well. There should be a situation (a conflict or predicament) building to a climax and resolution in the tale. The conflict can be introduced immediately or foreshadowed to increase the suspense and intrigue. Try to have the audience worry along with your characters and care about what happens next.
"As the suspense of your story builds, be sure to have some comic relief periodically. Approach the climax through ever increasing tension interrupted with periods of relaxation." Hanford, Puppets and Puppeteering, p. 101.
The story has to seem real to you. "Become so thoroughly familiar with it, it is a part of you....Don't just tell it, live it!" Barrett, p. 35
Children respond to sight and sound more than logic and plot. Look over good children's books, or anthologies of stories. Notice how the stories paint word pictures and use the sound and rhythm and repetition of words. In developing and learning a story concentrate on its visual and audio aspects: either assemble it into a series of visual pictures like a filmstrip, or consciously absorb the rhythm and arrangement of the sounds of the words. Repetition and Exaggeration has always been basic elements of story telling.
Even when telling an old a familiar story from the Bible, you must use imagination and all the storyteller's skills to make it come alive. Use your imagination to make the story come alive as you prepare. Give them personalities...live the story with them...know and feel their emotions...breathe the breathe of life into them, until they become so real to you that you feel like they are people you know. If you are convinced - your listeners will be too.
--------------------------------------------------------------------------------
Developing an appropriate story: Imagination and resources:
Use imagination to create your stories. "Imagination is to paint a picture in the mind, to invent ideas by seeing, because to imagine a thing is to image it." Feed that imagination. "It is reasonable then that the more you see and hear and read and experience and remember, the more the materials you will have on hand with which to feed your imagination. The more you practice the easier it will become." Barrett, pp. 85,86
Bible truths can be made into stories in quite imaginative ways, ways that will cause them to ponder, to apply, to understand their Bible lessons from different perspectives.
Good inspiration for story ideas include the stories of George MacDonald, the Narnia tales of C. S. Lewis, John Bunyun's The Pilgrim's progress, and The Holy war. These men were masters at making Bible teachings come alive. The children's section of your local library is another place for ideas and inspiration in preparing stories.
Pre-teaching...
Sometimes your audience needs to be prepared for the story by giving to them "listening tasks" (listening for certain information, or elements of the story). Perhaps you want them to listen for and respond to a particular word or phrase. Sometimes unfamiliar elements: objects, places, customs, etc. need to be illustrated or explained ahead of the story before puzzled looks or misuderstanding results. Pre-teaching can use a variety of visuals and activities, and can help bring the point into sharper focus.
--------------------------------------------------------------------------------
1. A single theme, clearly defined
2. A well developed plot
3. Style: vivid word pictures, pleasing sounds and rhythm
4. Characterization
5. Faithful to source
6. Dramatic appeal
7. Appropriateness to listeners
-Baker and Greene, Storytelling: Art and Technique, pp. 28
Be sure there is drama in the story as well. There should be a situation (a conflict or predicament) building to a climax and resolution in the tale. The conflict can be introduced immediately or foreshadowed to increase the suspense and intrigue. Try to have the audience worry along with your characters and care about what happens next.
"As the suspense of your story builds, be sure to have some comic relief periodically. Approach the climax through ever increasing tension interrupted with periods of relaxation." Hanford, Puppets and Puppeteering, p. 101.
The story has to seem real to you. "Become so thoroughly familiar with it, it is a part of you....Don't just tell it, live it!" Barrett, p. 35
Children respond to sight and sound more than logic and plot. Look over good children's books, or anthologies of stories. Notice how the stories paint word pictures and use the sound and rhythm and repetition of words. In developing and learning a story concentrate on its visual and audio aspects: either assemble it into a series of visual pictures like a filmstrip, or consciously absorb the rhythm and arrangement of the sounds of the words. Repetition and Exaggeration has always been basic elements of story telling.
Even when telling an old a familiar story from the Bible, you must use imagination and all the storyteller's skills to make it come alive. Use your imagination to make the story come alive as you prepare. Give them personalities...live the story with them...know and feel their emotions...breathe the breathe of life into them, until they become so real to you that you feel like they are people you know. If you are convinced - your listeners will be too.
--------------------------------------------------------------------------------
Developing an appropriate story: Imagination and resources:
Use imagination to create your stories. "Imagination is to paint a picture in the mind, to invent ideas by seeing, because to imagine a thing is to image it." Feed that imagination. "It is reasonable then that the more you see and hear and read and experience and remember, the more the materials you will have on hand with which to feed your imagination. The more you practice the easier it will become." Barrett, pp. 85,86
Bible truths can be made into stories in quite imaginative ways, ways that will cause them to ponder, to apply, to understand their Bible lessons from different perspectives.
Good inspiration for story ideas include the stories of George MacDonald, the Narnia tales of C. S. Lewis, John Bunyun's The Pilgrim's progress, and The Holy war. These men were masters at making Bible teachings come alive. The children's section of your local library is another place for ideas and inspiration in preparing stories.
Pre-teaching...
Sometimes your audience needs to be prepared for the story by giving to them "listening tasks" (listening for certain information, or elements of the story). Perhaps you want them to listen for and respond to a particular word or phrase. Sometimes unfamiliar elements: objects, places, customs, etc. need to be illustrated or explained ahead of the story before puzzled looks or misuderstanding results. Pre-teaching can use a variety of visuals and activities, and can help bring the point into sharper focus.
--------------------------------------------------------------------------------
Effective story telling
Effective storytelling is a fine and beautiful art. A well-developed and presented story can cut across age barriers and hold the interest and reach those who know little of Christian teaching. Our Lord was a master-storyteller as the Parables well testify. This page concerns improving the use of storytelling in Church contexts.
I became involved doing VBS story-telling, started thinking about our methods and did some further study on storytelling as an art. I discovered that when our style of storytelling was at its best, it was because we had maintained some of the basic principles of storytelling, and when we flopped, often we had failed to follow one of these principles. Knowing and applying these basics will strengthen your lessons and Bible stories. On the following pages are concepts, ideas and hints to aid you in effective storytelling whether in Bible classes. Vacation Bible School, or any other Bible teaching situation.
I became involved doing VBS story-telling, started thinking about our methods and did some further study on storytelling as an art. I discovered that when our style of storytelling was at its best, it was because we had maintained some of the basic principles of storytelling, and when we flopped, often we had failed to follow one of these principles. Knowing and applying these basics will strengthen your lessons and Bible stories. On the following pages are concepts, ideas and hints to aid you in effective storytelling whether in Bible classes. Vacation Bible School, or any other Bible teaching situation.
Beginning of story
Beginning a story:
Storytelling is best done in a relaxed atmosphere free of distractions. The audience ought to be comfortable and close. Candle light and campfires are ideal situations for telling stories, but often impractical. The teller needs to give careful attention to the setting before hand - and be prepared to rearrange a room to bring his hearers closer, or use a backdrop or hangings to create atmosphere - especially in classroom settings. Props, costumes, or some getting acquainted patter may also help in getting and keeping attention and creating a mood.
Storytelling traditionally begins with a "Once upon a time..." opening. and then a storyteller’s silent pause to gather his thoughts. The traditional openings, of which there are many (often with responses from the audience), were "rituals" that served as a signal that the teller was suspending "time and space" as we know it and transporting the audience to a world of imagination and play. They identified the teller and established the audience’s commitment to accept for the moment that imaginary world and its "rules". Similar "rituals" also signal the end of the story and their return to reality. Many adults today have forgotten these "rules of the game." There are online lists of Beginnings and Endings.
Some attention keepers:
Many factors affect the attention of your listeners. A storyteller always needs to be sensitive to his audience and may need to regain their attention before continuing.
Involvement or participation. Use volunteer(s) from the audience in your story. Or have the audience participate in hand motions or making sound effects. Or responding with "chants" or refrains
A distinct change in your pace, voice, or mood.
An unusual or unexpected twist in the narration.
Throw-away lines or asides work well as does comic relief.
Be especially prepared to deal with disruptions with groups of children. There is always one or two children that want the attention. Sometimes you can just ignore it; sometimes it make take a stare, or a pause till the disruptive behavior ends, sometimes maybe involving a child in your story - whatever you do - do not speak harshly or in anger, or you will lose the audience.
Concluding:
Once you finish the story - stop! Don't ramble on. Leave their thoughts lingering over it. Don't feel you have to explain everything, or tie together all loose ends. Let them go away thinking about what has been said, and drawing their own meaning from it!
Applause is no measure of the effectiveness of a story presentation. Sometimes it will be exuberant, but other times the audience is quietly savoring and treasuring the story. An attentive audience and the feeling you "told it well" are the best reward you can have.
Finally...and most importantly: The more you practice- the more skilled you will become. Don't be afraid to try different methods. Be creative. As you do learn from your experiences. Expect to flop, the best of us do. Don't be overly self- conscious. Have fun and share the joy of story.
In the end, it is most important that you should tell your story in your own words with sincerity and enthusiasm and....
Tell stories!, Tell stories!! Tell stories!!!
Storytelling is best done in a relaxed atmosphere free of distractions. The audience ought to be comfortable and close. Candle light and campfires are ideal situations for telling stories, but often impractical. The teller needs to give careful attention to the setting before hand - and be prepared to rearrange a room to bring his hearers closer, or use a backdrop or hangings to create atmosphere - especially in classroom settings. Props, costumes, or some getting acquainted patter may also help in getting and keeping attention and creating a mood.
Storytelling traditionally begins with a "Once upon a time..." opening. and then a storyteller’s silent pause to gather his thoughts. The traditional openings, of which there are many (often with responses from the audience), were "rituals" that served as a signal that the teller was suspending "time and space" as we know it and transporting the audience to a world of imagination and play. They identified the teller and established the audience’s commitment to accept for the moment that imaginary world and its "rules". Similar "rituals" also signal the end of the story and their return to reality. Many adults today have forgotten these "rules of the game." There are online lists of Beginnings and Endings.
Some attention keepers:
Many factors affect the attention of your listeners. A storyteller always needs to be sensitive to his audience and may need to regain their attention before continuing.
Involvement or participation. Use volunteer(s) from the audience in your story. Or have the audience participate in hand motions or making sound effects. Or responding with "chants" or refrains
A distinct change in your pace, voice, or mood.
An unusual or unexpected twist in the narration.
Throw-away lines or asides work well as does comic relief.
Be especially prepared to deal with disruptions with groups of children. There is always one or two children that want the attention. Sometimes you can just ignore it; sometimes it make take a stare, or a pause till the disruptive behavior ends, sometimes maybe involving a child in your story - whatever you do - do not speak harshly or in anger, or you will lose the audience.
Concluding:
Once you finish the story - stop! Don't ramble on. Leave their thoughts lingering over it. Don't feel you have to explain everything, or tie together all loose ends. Let them go away thinking about what has been said, and drawing their own meaning from it!
Applause is no measure of the effectiveness of a story presentation. Sometimes it will be exuberant, but other times the audience is quietly savoring and treasuring the story. An attentive audience and the feeling you "told it well" are the best reward you can have.
Finally...and most importantly: The more you practice- the more skilled you will become. Don't be afraid to try different methods. Be creative. As you do learn from your experiences. Expect to flop, the best of us do. Don't be overly self- conscious. Have fun and share the joy of story.
In the end, it is most important that you should tell your story in your own words with sincerity and enthusiasm and....
Tell stories!, Tell stories!! Tell stories!!!
stories of adapting
Adapting to our audiences:
The audience has a very important role in storytelling - for their minds are the canvas on which the teller paints his tale. Oral storytelling involves much interaction between teller and hearer. I have observed that our audiences have lost some of the skills to follow a narrated story and see things in their minds. Storytelling has become more difficult. Attention spans are shorter and more demanding, more sophisticated, yet less able to independently imagine or visualize. People seem to need more visual stimulation.
Take the story as close to them as you can.
Keep it brief and simple- especially for younger children - pare down to the heart of the story.
Stimulate their senses so they feel, smell, touch and listen and see vivid pictures.
Describe the characters and settings, and help them sympathize with the character's feelings.
Aim your story at the younger ones when telling to a audience of mixed ages!
The audience has a very important role in storytelling - for their minds are the canvas on which the teller paints his tale. Oral storytelling involves much interaction between teller and hearer. I have observed that our audiences have lost some of the skills to follow a narrated story and see things in their minds. Storytelling has become more difficult. Attention spans are shorter and more demanding, more sophisticated, yet less able to independently imagine or visualize. People seem to need more visual stimulation.
Take the story as close to them as you can.
Keep it brief and simple- especially for younger children - pare down to the heart of the story.
Stimulate their senses so they feel, smell, touch and listen and see vivid pictures.
Describe the characters and settings, and help them sympathize with the character's feelings.
Aim your story at the younger ones when telling to a audience of mixed ages!
kinds or storiess
There are many kinds of stories you can work with. It is recommended you start with simple folktales, with simple elements.
While traditionally stories were learned by listening, the best source today is the children’s department of the Public Library - particularly in the section (J)398. There you will find all sorts of folk and fairy tales, tall tales, trickster stories, etc. Many stories are on the internet as well. As you browse, look for stories that "touch" you. Start with simple stories, then as your experience grows, be sure to explore and branch out.
With time you will probably find many kinds of tales that will interest you personally. All sorts to choose from including: folktales from many countries and cultures, accumulative stories, droll and humorous tales, traditional fairytales in numerous versions, wish (magic) tales, trickster tales, tall tales, myths, legends and hero tales from the sagas and national epics, animal fables, scary stories, urban legends, Bible and religious stories, literary stories, pourquoi (why?) stories. With time and experience you will want to try a variety of stories and perhaps even branch out into telling your own personal stories or giving Improvisational storytelling a try.
While traditionally stories were learned by listening, the best source today is the children’s department of the Public Library - particularly in the section (J)398. There you will find all sorts of folk and fairy tales, tall tales, trickster stories, etc. Many stories are on the internet as well. As you browse, look for stories that "touch" you. Start with simple stories, then as your experience grows, be sure to explore and branch out.
With time you will probably find many kinds of tales that will interest you personally. All sorts to choose from including: folktales from many countries and cultures, accumulative stories, droll and humorous tales, traditional fairytales in numerous versions, wish (magic) tales, trickster tales, tall tales, myths, legends and hero tales from the sagas and national epics, animal fables, scary stories, urban legends, Bible and religious stories, literary stories, pourquoi (why?) stories. With time and experience you will want to try a variety of stories and perhaps even branch out into telling your own personal stories or giving Improvisational storytelling a try.
story telling
Storytelling, one of our oldest art forms, has many branches spreading from the trunk. All branches to various degrees are forms of entertainment and information transfer.
The literary tellers include: tellers using rote word memory to remain true to the author's manuscript, tellers who have changed the author's literary language to oral language, tellers who have adjusted the language and added their imbellishments, and tellers who have recast the literary story into a different inventive approach of telling the literary story as personalized experience. Folk Storytellers add into their memory banks a flowing serial image of a story and create the word patterns during the telling of the story. Between these two primary approaches of rote manuscript memory and flowing imagery memory are other approaches I'm aware of, but am unable to understand, other than the teller is unable to memorize words or see an image, but they are talented tellers.
Literary and Folk storytellers also share the same need to understand and develop their talent skills in supporting the storytelling with appropriate vocal and physical body language which I refer to as Para-language. Lack of para-language talent skills, while more subtle then poor word construction and tongue twisting errors, are a major deterent to effective communication.
Storytelling includes tellers who have collected and retold stories from their own culture and from other cultures, and tellers who have creative talents {and those who lack development in creative talent} who develop original stories.
How a story is told has as many paths as there are storytellers. Some tellers come from drama backgrounds and include, as example, monologuest storytellers, others rose from storytelling cultures and family traditions, others simply stepped out on stage and told stories.
Stories arrive from many paths and the tellers have arrived from many paths, but all storytellers have in common the need to expand and develop their speaking talents, for this is a public speaking art form and there are very specific identifiable talent skills to understand and acquire. There are talent skills that need to be used in all lingual communication situations that do not change from one to one communication or from one to a group communication and there are additional lingual talent skills to be used in accordance to the environmental speaking conditions including audience and space.
All lingual storytelling includes both theater of the stage and theater of the mind telling talents. A storyteller who plans to entertain on stage should decide and control the audience's focus - either the action on stage {theater of the stage} or focus the audience on their own mental imagery {theater of the mind}. An audience also can focus on both the teller on stage and their own flowing imagery. There is no right or wrong entertainment between theater of the stage or theater of the mind, but the performing storyteller should have the talent and knowledge to choose which of the two forms to use and when to shift during a telling in lieu of basking in ignorance and letting chance shift between the two entertainment forms.
Diagnosed talent errors are most often a pattern in an aspect of speech or a failure to support the spoken word with appropriate verbal and physical para-language. Patterns and inapt para-language diminish effective communication. The most well known vocal para-language error, for example, is the monotone pattern. Every facet of a teller's voice is either a pattern interfering, or is neutral, or is supporting the flowing moment of the story. Body para-language errors include any unconscious, but controllable physical activity, distracting to a listener that fails to support the flowing moment of the oration.
Actors on stage have planned movements called blocking that supports the play. Storytellers on stage that have not planned their body movements (Blocking) to support the flowing movement of the story either need to be neutral {stand still} or move with a reason. Hand gestures {after one finely learns to get their hands up and communicating} have to be trained to tell the same story or know when to be neutral. In this case neutral can be up in view but motionless waiting for the next que. Eye contact is looking at a member of the audience until you know they know you are looking at them and at random shifting, not head bobbin back and forth or gawking down one's nose unless you are another Pete Seeger.
Boredom - I mean boaring boaring boaring Storytelling is listening to straight narration. "But that's my style I use with kids!" Well look out some day they will become free of their ball and chains and come looking for you! And if they can't find you they take it out on their parents during their teens.
Always substitute at every opportunity Character thinking out loud and Characters in dialogue and learn to change para-language, physical and vocal and Word Per Minute speaking rate with a little accent for each character. It ain't no big deal, just turn your child lose on stage cause if'n your willin' to be a fool, God, well He's willin to make you wise.
The literary tellers include: tellers using rote word memory to remain true to the author's manuscript, tellers who have changed the author's literary language to oral language, tellers who have adjusted the language and added their imbellishments, and tellers who have recast the literary story into a different inventive approach of telling the literary story as personalized experience. Folk Storytellers add into their memory banks a flowing serial image of a story and create the word patterns during the telling of the story. Between these two primary approaches of rote manuscript memory and flowing imagery memory are other approaches I'm aware of, but am unable to understand, other than the teller is unable to memorize words or see an image, but they are talented tellers.
Literary and Folk storytellers also share the same need to understand and develop their talent skills in supporting the storytelling with appropriate vocal and physical body language which I refer to as Para-language. Lack of para-language talent skills, while more subtle then poor word construction and tongue twisting errors, are a major deterent to effective communication.
Storytelling includes tellers who have collected and retold stories from their own culture and from other cultures, and tellers who have creative talents {and those who lack development in creative talent} who develop original stories.
How a story is told has as many paths as there are storytellers. Some tellers come from drama backgrounds and include, as example, monologuest storytellers, others rose from storytelling cultures and family traditions, others simply stepped out on stage and told stories.
Stories arrive from many paths and the tellers have arrived from many paths, but all storytellers have in common the need to expand and develop their speaking talents, for this is a public speaking art form and there are very specific identifiable talent skills to understand and acquire. There are talent skills that need to be used in all lingual communication situations that do not change from one to one communication or from one to a group communication and there are additional lingual talent skills to be used in accordance to the environmental speaking conditions including audience and space.
All lingual storytelling includes both theater of the stage and theater of the mind telling talents. A storyteller who plans to entertain on stage should decide and control the audience's focus - either the action on stage {theater of the stage} or focus the audience on their own mental imagery {theater of the mind}. An audience also can focus on both the teller on stage and their own flowing imagery. There is no right or wrong entertainment between theater of the stage or theater of the mind, but the performing storyteller should have the talent and knowledge to choose which of the two forms to use and when to shift during a telling in lieu of basking in ignorance and letting chance shift between the two entertainment forms.
Diagnosed talent errors are most often a pattern in an aspect of speech or a failure to support the spoken word with appropriate verbal and physical para-language. Patterns and inapt para-language diminish effective communication. The most well known vocal para-language error, for example, is the monotone pattern. Every facet of a teller's voice is either a pattern interfering, or is neutral, or is supporting the flowing moment of the story. Body para-language errors include any unconscious, but controllable physical activity, distracting to a listener that fails to support the flowing moment of the oration.
Actors on stage have planned movements called blocking that supports the play. Storytellers on stage that have not planned their body movements (Blocking) to support the flowing movement of the story either need to be neutral {stand still} or move with a reason. Hand gestures {after one finely learns to get their hands up and communicating} have to be trained to tell the same story or know when to be neutral. In this case neutral can be up in view but motionless waiting for the next que. Eye contact is looking at a member of the audience until you know they know you are looking at them and at random shifting, not head bobbin back and forth or gawking down one's nose unless you are another Pete Seeger.
Boredom - I mean boaring boaring boaring Storytelling is listening to straight narration. "But that's my style I use with kids!" Well look out some day they will become free of their ball and chains and come looking for you! And if they can't find you they take it out on their parents during their teens.
Always substitute at every opportunity Character thinking out loud and Characters in dialogue and learn to change para-language, physical and vocal and Word Per Minute speaking rate with a little accent for each character. It ain't no big deal, just turn your child lose on stage cause if'n your willin' to be a fool, God, well He's willin to make you wise.
Prototypical story
Stories exist at (at least) two levels: The underlying event level and the surface manifestation (communication) of the underlying event level.
There are various morphs and variants, but this is an attempt to define the prototypical story. At the underlying event level we have:
One or more protagonists.
One or more goals that the protagonist(s) are pursuing.
A concrete setting (rule-based world) in which the events take place.
One or more events in which the protagonist takes goal-directed action but which results in an unexpected outcome. This outcome is significantly better or significantly worse on some value dimension that what was expected.
Here are some non-stories that lack one of these elements.
A protagonist is an agent that the reader (or listener or watcher) empathizes with. (A narrative description of a sequence of events, even in a concrete setting, does not in itself constitute a story). "Joe woke up. Joe walked into the kitchen. Joe ate a muffin. Joe went to work. Joe came home." This is not a story. It is not crafted so that we care about Joe. We are not really "feeling" or "seeing" the world from his POV.
The protagonist must be pursuing at least one goal that has significant value. (We would not write or find interesting a "story" about someone trying to bite a sandwich UNLESS there were some unusual significance to the action -- it is poison, or they are overcoming a deep-seated food prejudice, or they are paralyzed, or incredibly hungry, etc.) "Joe wanted to eat a sandwich. Joe ate a sandwich. Joe was not quite so hungry afterwards as he had been before."
"A being wanted to live. In order to live, it seemed necessary to take action A. Action A didn't work. It was necessary to take a risky action, B. The being took the action B. The being lived." This is not a story, though it might be an abstract outline for a story.
"Joe needed to win Sally. So, he told her that she meant the universe to him. They were married and lived happily ever after in Phoenix, Arizona on Elm Street." OR "Joe jumped out of the Navy Trainer without his parachute from 20,000 feet. He wanted to live. But he fell to the ground and was killed." No unexpected or unusual outcomes --- no story.
At the surface level, the underlying story may be communicated in various means:
1. a sequence of spoken words and gestures.
2. a written sequence of words.
3. a filmed sequence (which may or may not also include words).
4. a painting (which may or may not have a caption).
5. a photograph (which may or may not have a caption).
6. a still cartoon (which may or may not have written words).
Of course, every sequence of words, painting, cartoon, etc. does not depict a story.
There are various morphs and variants, but this is an attempt to define the prototypical story. At the underlying event level we have:
One or more protagonists.
One or more goals that the protagonist(s) are pursuing.
A concrete setting (rule-based world) in which the events take place.
One or more events in which the protagonist takes goal-directed action but which results in an unexpected outcome. This outcome is significantly better or significantly worse on some value dimension that what was expected.
Here are some non-stories that lack one of these elements.
A protagonist is an agent that the reader (or listener or watcher) empathizes with. (A narrative description of a sequence of events, even in a concrete setting, does not in itself constitute a story). "Joe woke up. Joe walked into the kitchen. Joe ate a muffin. Joe went to work. Joe came home." This is not a story. It is not crafted so that we care about Joe. We are not really "feeling" or "seeing" the world from his POV.
The protagonist must be pursuing at least one goal that has significant value. (We would not write or find interesting a "story" about someone trying to bite a sandwich UNLESS there were some unusual significance to the action -- it is poison, or they are overcoming a deep-seated food prejudice, or they are paralyzed, or incredibly hungry, etc.) "Joe wanted to eat a sandwich. Joe ate a sandwich. Joe was not quite so hungry afterwards as he had been before."
"A being wanted to live. In order to live, it seemed necessary to take action A. Action A didn't work. It was necessary to take a risky action, B. The being took the action B. The being lived." This is not a story, though it might be an abstract outline for a story.
"Joe needed to win Sally. So, he told her that she meant the universe to him. They were married and lived happily ever after in Phoenix, Arizona on Elm Street." OR "Joe jumped out of the Navy Trainer without his parachute from 20,000 feet. He wanted to live. But he fell to the ground and was killed." No unexpected or unusual outcomes --- no story.
At the surface level, the underlying story may be communicated in various means:
1. a sequence of spoken words and gestures.
2. a written sequence of words.
3. a filmed sequence (which may or may not also include words).
4. a painting (which may or may not have a caption).
5. a photograph (which may or may not have a caption).
6. a still cartoon (which may or may not have written words).
Of course, every sequence of words, painting, cartoon, etc. does not depict a story.
Propoties of stories
My own interest in stories derives from a dissatisfaction with the standard logic-based models of knowledge that one finds in the more formal branches of AI and related fields. I thought stories could make a better basis for a theory of mind and memory.
So, here's what I consider to be the salient characteristics of stories, from this cognitive perspective:
Concrete: they deal with specific people, things, and events, rather than abstract concepts.
Temporal: stories consist of events unfolding in time
Purposeful: stories usually deal with agents who have goals that they try to realize, obstacles or conflicts they encounter, and (sometimes) solutions or resolutions
These characteristics contrast sharply with the logicist view of knowledge as abstract detached facts about value-free categories. They also seem to be linked to deep properties of cognition, ie, episodic memory, prototype-based representation, and social cognition.
It's also interesting to think about this in light of Ong's work. Stories are the basis of oral culture, whereas the more abstract forms of knowledge only come into being with the invention of writing and print.
So, here's what I consider to be the salient characteristics of stories, from this cognitive perspective:
Concrete: they deal with specific people, things, and events, rather than abstract concepts.
Temporal: stories consist of events unfolding in time
Purposeful: stories usually deal with agents who have goals that they try to realize, obstacles or conflicts they encounter, and (sometimes) solutions or resolutions
These characteristics contrast sharply with the logicist view of knowledge as abstract detached facts about value-free categories. They also seem to be linked to deep properties of cognition, ie, episodic memory, prototype-based representation, and social cognition.
It's also interesting to think about this in light of Ong's work. Stories are the basis of oral culture, whereas the more abstract forms of knowledge only come into being with the invention of writing and print.
Perceptions of stories
It seems that we might think about a:
1. Story as Written (spoken)
2. Story as it "is"
3. Story as perceived/experienced
The last depends on set and setting so that the experience of a critic reading a story is quite different from the experience of someone "openly" listening. So too, a story within "Alice in Wonderland" is certainly experienced differently depending on age. A consultant in their office hurriedly "reading through" a bunch of stories to find the one that is most relevant will certainly have a different experience than someone lounging in a bar hearing the same story.
It also seems clear that a story "exists" or can be analysed and defined on various levels. At one (superficial) level, a story is a sequence of interrelated sentences, words, and phrases. In another sense, a story can be thought of as a (pre-computer) simulation or virtual realty device. It essentially allows someone who was not present at an event to "live through it" at least in schematic form -- seeing, hearing, thinking and feeling what the teller saw, heard, thought, and felt. A story is a way to express general (universal?) truth through the use of specific instances. You can write a story about anything.... the letter "P" on your keyboard or an International Terrorist Attack, because if it's a good story, it will "really" be about what it is like to be human in either case.
1. Story as Written (spoken)
2. Story as it "is"
3. Story as perceived/experienced
The last depends on set and setting so that the experience of a critic reading a story is quite different from the experience of someone "openly" listening. So too, a story within "Alice in Wonderland" is certainly experienced differently depending on age. A consultant in their office hurriedly "reading through" a bunch of stories to find the one that is most relevant will certainly have a different experience than someone lounging in a bar hearing the same story.
It also seems clear that a story "exists" or can be analysed and defined on various levels. At one (superficial) level, a story is a sequence of interrelated sentences, words, and phrases. In another sense, a story can be thought of as a (pre-computer) simulation or virtual realty device. It essentially allows someone who was not present at an event to "live through it" at least in schematic form -- seeing, hearing, thinking and feeling what the teller saw, heard, thought, and felt. A story is a way to express general (universal?) truth through the use of specific instances. You can write a story about anything.... the letter "P" on your keyboard or an International Terrorist Attack, because if it's a good story, it will "really" be about what it is like to be human in either case.
how to write story
Defining story
A story is... "that which has a beginning, a middle, and an end. A beginning is that which does not itself follow anything by causal necessity, but after which something naturally is or comes to be. An end, on the contrary, is that which itself follows some other thing, either by necessity, or as a rule, but has nothing following it. A middle is that which follows something as some other thing follows it. A well-constructed plot, therefore, must neither begin nor end at haphazard, but conform to these principles."
-- Aristotle, Poetics
Intuitively we all know what a story is, although we may not be able to articulate all its elements. Generally, story is an organization of experience which draws together many aspects of our spatial, temporal, and causal perception.
In a story, some person, object, or situation undergoes a particularly type of change, and this change is measured by a sequence of attributions which apply to the thing at different types. Story is a way of experiencing a group of sentences, or pictures, or gestures, or dance movements, etc., etc., which together attribute a beginning, middle, and end to something. But typically this beginning, middle, and end are not contained in discrete elements but rather in the overall relationships established among the totality of elements. For example, the first scene of a film is not in itself the “beginning.” It acquires that relationship together in combination with other scenes and in relation to their scenes. Although a scene, or sentence, or page being physically first may be necessary to include it in the beginning, it is not sufficient since a beginning must also be judged to be a proper part of an ordered sequence or pattern of other elements.
Stages of story
What exactly is this pattern? Story theorists argue that a story consists of 5 stages:
a state of equilibrium
disruption of equilibrium
recognition of the disruption
effort to restore state of equilibrium
results of that effort, typically another state of equilibrium
These stages are not random but are produced according to the principles of cause and effect. Mere coincidence may play a part -- but only a very small part -- of what we know as “story.” Cause and effect are the essential rules of process in what we know as story. Events must flow naturally and logically from previous events, based upon what we know of he laws of nature and the way people generally behave.
Cause and effect
When “cause and effect” is violated, story is diminished, sometimes to such an extent that the audience no longer wishes to allocate attention and processing energy. It is likely that all of us at some time has stopped watching a film, or stopped reading a novel, or stopped being engaged by some kind of story because the unraveling of events was marred by faulty cause and effect. That process must ring true.
But to understand the power of story, one needs to know about a broader concept: cognitive schema.
Chunking
When exploring mental processes, we begin with the fact that our brains have severe capacity limitations both in terms of our attention and memory. For example, our short-term memory is said to be able to manipulate only about 5 to 9 “chunks” of data. But by “chunking,” we are able to remember more smaller pieces than by not chunking. For example, the word “red” counts as one chunk, but the letters “edr” count as three chunks. Given a list of 20 letters to remember, one would no doubt have great difficulty recalling them individually.
A story is... "that which has a beginning, a middle, and an end. A beginning is that which does not itself follow anything by causal necessity, but after which something naturally is or comes to be. An end, on the contrary, is that which itself follows some other thing, either by necessity, or as a rule, but has nothing following it. A middle is that which follows something as some other thing follows it. A well-constructed plot, therefore, must neither begin nor end at haphazard, but conform to these principles."
-- Aristotle, Poetics
Intuitively we all know what a story is, although we may not be able to articulate all its elements. Generally, story is an organization of experience which draws together many aspects of our spatial, temporal, and causal perception.
In a story, some person, object, or situation undergoes a particularly type of change, and this change is measured by a sequence of attributions which apply to the thing at different types. Story is a way of experiencing a group of sentences, or pictures, or gestures, or dance movements, etc., etc., which together attribute a beginning, middle, and end to something. But typically this beginning, middle, and end are not contained in discrete elements but rather in the overall relationships established among the totality of elements. For example, the first scene of a film is not in itself the “beginning.” It acquires that relationship together in combination with other scenes and in relation to their scenes. Although a scene, or sentence, or page being physically first may be necessary to include it in the beginning, it is not sufficient since a beginning must also be judged to be a proper part of an ordered sequence or pattern of other elements.
Stages of story
What exactly is this pattern? Story theorists argue that a story consists of 5 stages:
a state of equilibrium
disruption of equilibrium
recognition of the disruption
effort to restore state of equilibrium
results of that effort, typically another state of equilibrium
These stages are not random but are produced according to the principles of cause and effect. Mere coincidence may play a part -- but only a very small part -- of what we know as “story.” Cause and effect are the essential rules of process in what we know as story. Events must flow naturally and logically from previous events, based upon what we know of he laws of nature and the way people generally behave.
Cause and effect
When “cause and effect” is violated, story is diminished, sometimes to such an extent that the audience no longer wishes to allocate attention and processing energy. It is likely that all of us at some time has stopped watching a film, or stopped reading a novel, or stopped being engaged by some kind of story because the unraveling of events was marred by faulty cause and effect. That process must ring true.
But to understand the power of story, one needs to know about a broader concept: cognitive schema.
Chunking
When exploring mental processes, we begin with the fact that our brains have severe capacity limitations both in terms of our attention and memory. For example, our short-term memory is said to be able to manipulate only about 5 to 9 “chunks” of data. But by “chunking,” we are able to remember more smaller pieces than by not chunking. For example, the word “red” counts as one chunk, but the letters “edr” count as three chunks. Given a list of 20 letters to remember, one would no doubt have great difficulty recalling them individually.
Thinking of stories
A fundamental way of organizing data
Story has existed in every known human society. Like metaphor, it seems to be everywhere: sometimes active and obvious, and at other times fragmentary, dormant, and tacit. We encounter it not just in novels and films and conversations, but also as we look around a room and see objects that have history, or wonder about an event or think about what to do next week. If you were to personally count every instance of story that you encounter in the course of a day, the number would not be just one or two but likely in the dozens, if not greater. One of the important ways we perceive our environment is by anticipating and telling ourselves mini-stories about that environment based on stories already told. Make stories is a strategy for making our world of experiences and desires intelligible. It is a fundamental way of organizing data.
Stories abound in all professions
Story principles have been found in the work of a wide range of professionals, including attorneys, historians, biographers, educators, psychiatrists, and journalists. Thus, story should not be seen as exclusively fictional but instead should merely be contrasted to other ways of assembling and understanding data
Story has existed in every known human society. Like metaphor, it seems to be everywhere: sometimes active and obvious, and at other times fragmentary, dormant, and tacit. We encounter it not just in novels and films and conversations, but also as we look around a room and see objects that have history, or wonder about an event or think about what to do next week. If you were to personally count every instance of story that you encounter in the course of a day, the number would not be just one or two but likely in the dozens, if not greater. One of the important ways we perceive our environment is by anticipating and telling ourselves mini-stories about that environment based on stories already told. Make stories is a strategy for making our world of experiences and desires intelligible. It is a fundamental way of organizing data.
Stories abound in all professions
Story principles have been found in the work of a wide range of professionals, including attorneys, historians, biographers, educators, psychiatrists, and journalists. Thus, story should not be seen as exclusively fictional but instead should merely be contrasted to other ways of assembling and understanding data
Economic Development story
Economic Development
There is new syndicated content from Story City Weather.
Story City is located in central Iowa on Interstate 35, only 45 minutes north of Des Moines and 10 minutes north of Ames and Iowa State University. Industrial parks, shopping malls, and several restuarants are located on the interstate, with a vibrant downtown located less than two miles west of I-35. US Hwy 69 is located one mile west of the downtown.
Story City Economic Development Corporation works directly with the State of Iowa and City of Story City to design an incentive package that best suits prospective developers. This 12-person board is experienced in working with a variety of industries and business sizes.
There is new syndicated content from Story City Weather.
Story City is located in central Iowa on Interstate 35, only 45 minutes north of Des Moines and 10 minutes north of Ames and Iowa State University. Industrial parks, shopping malls, and several restuarants are located on the interstate, with a vibrant downtown located less than two miles west of I-35. US Hwy 69 is located one mile west of the downtown.
Story City Economic Development Corporation works directly with the State of Iowa and City of Story City to design an incentive package that best suits prospective developers. This 12-person board is experienced in working with a variety of industries and business sizes.
story of city
About Story City
Story City is a progressive and active community offering a quality mix of retailers, restaurants, industries, and service businesses, as well as a variety of year-round festivals and events. Families, volunteers, businesses, and community organizations work together to complement the exceptional school system, dynamic employment market, beautiful surroundings, diverse recreational opportunities, and friendly people.
Story City offers a full calendar of activities that highlight assets of the community and enhance the quality of life for its residents and visitors. Distinctive features like the 1936 Swinging Bridge, 1913 Story Theatre/Grand Opera House, 1903 Bartlett Museum and Carriage House, and the 1913 Herschell-Spillman Antique Carousel offer a unique glimpse into Story City's history and preservation of small town life. Come see what's going on in Story City!
Location
Story City is located in Central Iowa on Interstate 35, 45 miles north of Des Moines and only 10 miles north of Ames and Iowa State University. Industrial parks, shopping mall, and several restaurants are located on the interstate, with a vibrant downtown located less than two miles west of Interstate 35. US Highway 69 is located one mile west of the downtown.
Business Climate
Story City has a mix of small and large industries, employing over 1,200 from Story City and surrounding areas. In addition, smaller businesses include an outlet shopping mall, antique mall, service businesses, variety of retail shops, and restaurants. Most businesses are locally owned and operated
Story City is a progressive and active community offering a quality mix of retailers, restaurants, industries, and service businesses, as well as a variety of year-round festivals and events. Families, volunteers, businesses, and community organizations work together to complement the exceptional school system, dynamic employment market, beautiful surroundings, diverse recreational opportunities, and friendly people.
Story City offers a full calendar of activities that highlight assets of the community and enhance the quality of life for its residents and visitors. Distinctive features like the 1936 Swinging Bridge, 1913 Story Theatre/Grand Opera House, 1903 Bartlett Museum and Carriage House, and the 1913 Herschell-Spillman Antique Carousel offer a unique glimpse into Story City's history and preservation of small town life. Come see what's going on in Story City!
Location
Story City is located in Central Iowa on Interstate 35, 45 miles north of Des Moines and only 10 miles north of Ames and Iowa State University. Industrial parks, shopping mall, and several restaurants are located on the interstate, with a vibrant downtown located less than two miles west of Interstate 35. US Highway 69 is located one mile west of the downtown.
Business Climate
Story City has a mix of small and large industries, employing over 1,200 from Story City and surrounding areas. In addition, smaller businesses include an outlet shopping mall, antique mall, service businesses, variety of retail shops, and restaurants. Most businesses are locally owned and operated
story about sports
John Daly has prompted his followers on Twitter to complain to a Florida sportswriter whose story published Tuesday outlined the golfer's lengthy PGA Tour disciplinary file, as reported from public court documents.
Daly referred to Florida Times-Union golf writer Garry Smits as a "jerk" and posted the writer's personal cell phone number.
"here's the JERK who writes NON-NEWS article on debut of my show -- CALL & FLOOD his line & let's tell him how WE feel," Daly said on Twitter.
He added two tweets on the matter, saying "this isn't journalism, it's paparrazi -- like gossip." In a later post, he again ran Smits' phone number.
The paper had been granted access to Daly's PGA Tour disciplinary file as part of a lawsuit Daly filed in 2005, accusing the Times-Union of libel.
The lawsuit was thrown out and when Daly's appeal was rejected late last year, the information became public record.
Smits said he attempted to reach Daly or his representatives for two weeks before the story was published, but received no response. Daly's agent, Bud Martin, was unable to be reached Wednesday morning -- by which time, the tweets had been removed.
Within a few hours of the post, Smits said he had received more than 30 messages on his cell phone. "None of them were threatening,'' he said. "It's not unlike anything I would get after covering the Florida-Georgia game.''
Daly removed the tweets by midmorning Wednesday. He did not return a voice mail left for him, although he said in a text message to The Associated Press, "Gary left his cell number and e-mail address from phone number he left in the article public record far as I'm concerned." He did not answer the phone after the AP received his text.
The Daly story detailed numerous issues the PGA Tour had with the golfer over the years, including six suspensions, 11 citings of "conduct unbecoming a professional," and 21 times in which Daly was cited for failing to give full effort. The PGA Tour also on seven occasions ordered the two-time major champion to undergo counseling or seek alcohol rehabilitation.
The PGA Tour said it would have no comment on Daly's tweets.
Daly, 44, has five PGA Tour victories, but none since 2004 and has spent the past several seasons playing on sponsor exemptions because he has failed to retain exempt status
Daly referred to Florida Times-Union golf writer Garry Smits as a "jerk" and posted the writer's personal cell phone number.
"here's the JERK who writes NON-NEWS article on debut of my show -- CALL & FLOOD his line & let's tell him how WE feel," Daly said on Twitter.
He added two tweets on the matter, saying "this isn't journalism, it's paparrazi -- like gossip." In a later post, he again ran Smits' phone number.
The paper had been granted access to Daly's PGA Tour disciplinary file as part of a lawsuit Daly filed in 2005, accusing the Times-Union of libel.
The lawsuit was thrown out and when Daly's appeal was rejected late last year, the information became public record.
Smits said he attempted to reach Daly or his representatives for two weeks before the story was published, but received no response. Daly's agent, Bud Martin, was unable to be reached Wednesday morning -- by which time, the tweets had been removed.
Within a few hours of the post, Smits said he had received more than 30 messages on his cell phone. "None of them were threatening,'' he said. "It's not unlike anything I would get after covering the Florida-Georgia game.''
Daly removed the tweets by midmorning Wednesday. He did not return a voice mail left for him, although he said in a text message to The Associated Press, "Gary left his cell number and e-mail address from phone number he left in the article public record far as I'm concerned." He did not answer the phone after the AP received his text.
The Daly story detailed numerous issues the PGA Tour had with the golfer over the years, including six suspensions, 11 citings of "conduct unbecoming a professional," and 21 times in which Daly was cited for failing to give full effort. The PGA Tour also on seven occasions ordered the two-time major champion to undergo counseling or seek alcohol rehabilitation.
The PGA Tour said it would have no comment on Daly's tweets.
Daly, 44, has five PGA Tour victories, but none since 2004 and has spent the past several seasons playing on sponsor exemptions because he has failed to retain exempt status
About story
Stories and poems that have a familiar structure can create a supportive context for learning about the writing process, building students' background knowledge, and scaffolding their creation of original stories. In this lesson for students in second or late first grade, teachers help students explore the concepts of beginning, middle, and ending by reading a variety of stories and charting the events on storyboards. As they retell the stories, students are encouraged to make use of sequencing words (first, so, then, next, after that, finally). A read-aloud of Once Upon a Golden Apple by Jean Little and Maggie De Vries introduces a discussion of the choices made by an author in constructing a plot. Starting with prewriting questions and a storyboard, students construct original stories, progressing from shared writing to guided writing; independent writing is also encouraged.
1.Storyboard is a prewriting technique that combines children's love of drawing with their ability to tell and write stories.
2.Many authors use storyboards to plan and create stories.
3.Storyboards help students to sequence the events in their stories.
1.Storyboard is a prewriting technique that combines children's love of drawing with their ability to tell and write stories.
2.Many authors use storyboards to plan and create stories.
3.Storyboards help students to sequence the events in their stories.
Thursday, July 15, 2010
story
About story many people are very curious to learn about new type of story.People want to know many things from story and they can make there language also.
Subscribe to:
Posts (Atom)
