What is Storytelling?

A statement by the National Storytelling Network defines Storytelling as an ancient art form and a valuable
form of human expression. Because story is essential to so many art forms, however, the word storytelling
is often used in many ways.
As a result, the National Storytelling Network would like to explain the term as it is used by the growing
and vibrant community of storytelling practitioners in the United States and Canada.
Our hope is to call attention to storytelling as an art worth promoting, and to help those outside the
storytelling community to distinguish storytelling from other, related forms of human expression.
Here is what most of us mean by storytelling:
Storytelling is the interactive art of using words and actions to reveal the elements and images of a story
while encouraging the listeners imagination.
1. Storytelling is interactive.
Storytelling involves a two-way interaction between a storyteller and one or more listeners. The responses
of the listeners influence the telling of the story. In fact, storytelling emerges from the interaction and
cooperative, coordinated efforts of teller and audience.
In particular, storytelling does not create an imaginary barrier between the speaker and the listeners. This is
part of what distinguishes storytelling from the forms of theatre that use an imaginary fourth wall.
Different cultures and situations create different expectations for the exact roles of storyteller and listener
who speaks how often and when, for exampleand therefore create different forms of interaction.
The interactive nature of storytelling partially accounts for its immediacy and impact. At its best,
storytelling can directly and tightly connect the teller and audience.
2. Storytelling uses words.
Storytelling uses language, whether it be a spoken language or a manual language such as American Sign
Language. The use of language distinguishes storytelling from most forms of dance and mime.
3. Storytelling uses actions such as vocalization, physical movement and/or gesture. These actions are the
parts of spoken or manual language other than words. Their use distinguishes storytelling from writing and
text-based computer interactions. Not all nonverbal language behaviors need to be present in storytelling.
Some storytellers use body movement extensively, for example, whereas others use little or none.
4. Storytelling presents a story.
Storytelling always involves the presentation of a storya narrative. Many other art forms also present
story, but storytelling presents it with the other four components. Every culture has its own definition of
story. What is recognized as a story in one situation may not be accepted as one in another. Some situations
call for spontaneity and playful digression, for example; others call for near-exact repetition of a revered
text. Art forms such as poetry recitation and stand-up comedy sometimes present stories and sometimes
dont. Since they generally involve the other four components, they can be regarded as forms of storytelling
whenever they also present stories.

5. Storytelling encourages the active imagination of the listeners.

In storytelling, the listener imagines the story. In most traditional theatre or in a typical dramatic film, on the
other hand, the listener enjoys the illusion that the listener is actually witnessing the character or events
described in the story.
The storytelling listeners role is to actively create the vivid, multi-sensory images, actions, characters, and
eventsthe realityof the story in his or her mind, based on the performance by the teller and on the
listeners own past experiences, beliefs, and understandings. The completed story happens in the mind of the
listener, a unique and personalized individual. The listener becomes, therefore, a co-creator of the story as
experienced.
Storytelling can be combined with other art forms. The fruit born by the vital, contemporary storytelling
movement includes the development of ways to combine storytelling with drama, music, dance, comedy,
puppetry, and numerous other forms of expression. Yet, even as it blends imperceptibly into other arts, the
essence of storytelling remains recognizable as the intersection of the five components included in the above
definition.
Storytelling happens in many situations, from kitchen-table conversation to religious ritual, from telling in
the course of other work to performances for thousands of paying listeners. Some storytelling situations
demand informality; others are highly formal. Some demand certain themes, attitudes, and artistic
approaches. As noted above, the expectations about listener interaction and the nature of the story itself vary
widely.
There are many cultures on earth, each with rich traditions, customs and opportunities for storytelling. All
these forms of storytelling are valuable. All are equal citizens in the diverse world of storytelling.
How to Become a Storyteller

by Flora Joy, florajoy@comcast.net

Every professional storyteller once asked this same question. Even if you are considering becoming a "justfor-fun" storyteller, you are likely filled with some anxieties, apprehensions, and lots of questions about the
process. "How do I begin?" "Will folks laugh at me?" "How do I book my first gig?" "When do I charge?"
And the list of questions goes on and on. All of todays "pros" reached the point of professional status in a
different mannerand all of them jumped many hurdles. We can offer a series of suggestions for how to
begin the process, and you may explore them according to your own interests and needs. Do keep in mind
that they are intentionally generic, but you can "get there" with a combination of these hints and your own
knowledge and experience.
WHAT IS MY FIRST STEP?
Find a story that you feel you will TRULY WANT to tell. If you arent "sold" on the story, it will "show"
when you tell it. Your body language will reflect how much you like (or dislike) the story.
WHERE DO I FIND MY FIRST STORY?
There are several places. Consider the following:
(1) There are many volumes of story collections in the 398.2 sections of practically all libraries. Most
librarians are very eager to assist you in selecting some anthologies that might fit your interests. Also ask

your librarian to show you some popular childrens books as possibilities. Be aware of the fact that you may
find yourself reading dozens (or even hundreds) of stories before one reaches out and "grabs" you.

(2) Look in your own life for any possible personal stories you might want to craft. Be careful, however,
because many new tellers tend to make these personal stories much too loooooonnnnnnggggg for most
audiences. If the stories you tell will likely be ones that you create about your own life, listen to the personal
stories designed by the professionals and see how they have made them appealing to listeners (but dont
replicate their stories).
(3) Examine your own story collections. Even stories you loved as a child may prove interesting
possibilities.
(4) Explore the storytelling material in public domain. These will not need later permissions for you to use
them in your storytelling programs.
(5) Listen to story recordings done by the professionalsBUT dont "borrow" their stories. Theyve put in
countless hours to craft and deliver these stories to perfection, and if you find one you absolutely MUST
learn, then FIRST contact the teller for permission. Honor the answer you receive. This same principle
applies to any copyrighted story.
AFTER I FIND THIS STORY, THEN HOW DO I LEARN IT?
There are several methods used by the pros. Probably the most common is as follows: Read the story over
MANY times until the storys "voice" becomes very familiar. Then practice with the first part of the story
until it feels right coming from YOUR voice. Continue with each section of the story until youve reached
its end.
WHAT ABOUT MEMORIZING THE STORY?
This can get you into DEEP troublealthough it is the method several tellers use. Consider trying to put the
story in your own natural language so that if you ever get "stuck," you can continue with your own
conversational patterns. If you are depending upon strict memorization, something can cause you to "lose
track," then you are in a bind with your listeners. Do keep in mind, however, that literary material should
remain true to the original language. Also, a very few authors will not agree for their stories to be told unless
it is "word for word." If either of these applies to you, then decide whether or not you should select a
different story to learn.
WHEN WILL I BE READY TO TELL MY FIRST STORY?
This depends upon how adventuresome you are. Many storytelling workshop leaders suggest that you "tell
the story to the wall" several dozen times before you have a "real audience." Others suggest that you begin
with a very SMALL audience and admit that your story is a work in progress (so they wont expect
perfection).
BUT IM NERVOUS! WILL THE AUDIENCE LAUGH AT ME?
We will give you an emphatic "NO." They WONT laugh at you. Audiences are on YOUR SIDE. They
WANT you to succeed. They wouldnt be there in attendance if they didnt want to hear some good stories.
However, you WILL have BUTTERFLIES, and you will likely feel lots of apprehensions about your
performance. Please know that this feeling is "human," and even the professionals who have been telling for

YEARS have these same butterflies. JUST ACT CONFIDENT and by so doing, youll give the audience the
feeling that you are in control. Even if you KNOW that your knees are shaking, the audience WONT know
it (unless you "announce" it).
NOW IM READY. WHATS NEXT?
Find listeners who will serve as an audience for your initial storytelling practice. In a non-apologetic
manner, tell these listeners that it is your first performance and that you are honored they will be your
audience. (This sets up a positive mindset for them.) After your story, you might ask these listeners what
they liked about your story and encourage them to discuss your performance with you. When you are ready,
ask them for suggestions that might improve your story delivery. This type of feedback should wait until
YOU are ready for it. Its OK just to "tell" the story a few times without anyones opinion. Many areas
across the nation have local storytelling guilds that are designed specifically for the purpose of helping
tellers fine-tune their performances. Check with us at NSN to see if one is near you.
THEN WHAT?
After you have performed for a few small and comfortable groups, challenge yourself by finding a larger
audience. This could be a local school, a neighborhood scout troop, or a group of people in your community
that would appreciate hearing your stories. Before you tell in these more challenging situations, review the
feedback you received from your smaller groups, and practice, practice, practice, and practice some more.
OK, IVE WORN OUT MY "ONE" STORY.
Find some new stories that appeal to you. Keep reading... and reading... and reading. Have fun in this new
story selection process, but keep in mind that you may have to drop some stories from your repertoire
because you wound up being uncomfortable for some reason when you told them.
NOW IM READY TO CHARGE! HOW DO I DETERMINE A PRICE?
Across the country the fees vary with region and storytelling expertise. Call some tellers who live near you
and ask about the going rates. If youre NEW to the field, you might not be able to ask as much as those who
have been professional for awhile. When asked about your fees, consider responding with, "My standard
price is ($XX), but Im negotiable. How does my suggested price fit your current budget?"
NOW WHAT?
Tell, tell, tell, tell, and tell some more. Its the repeated experiences of telling that allow you to tweak and
refine both your storytelling content and delivery.
Those of us at NSN wish you a long and happy experience with your storytelling. Let us know how we can
be of assistance to you.