Saturday, December 21, 2013

A Story for Solstice: Calling Out a Rising Sun

Altered-Art Solstice by Michelle Buvala
Well, Winter is here in my part of the world. Happy Solstice to You. Here's a story I wrote some time back. It first appeared on my "Calling Out a Rising Sun: Stories for Teenage Guys" CD back in 2006. It was originally written for a multi-mode arts project on "addiction and recovery."

While that project never came to be, some of the stories remained. You can listen to "Calling Out a Rising Sun" now in .mp3 audio when you click on this link here.

Happy Winter to you all. And, Hot Happy Summer to my friends on the other 1/2 of the globe. Peace be upon you.

The is the official blog for K. Sean Buvala, storyteller and storytelling coach.

Thursday, November 28, 2013

The "Talking Turkeys" Story.

Happy Thanksgiving to all my USA friends and family.

For those who don't know, Thanksgiving is a traditional US holiday that focuses on gratitude, family and food. It is much like harvest festivals in other countries. Turkey has been the usual centerpiece dish. is your Turkey Story of the Day, told by me to you.

Click here now to hear "The Talking Turkeys" in an .mp3 audio.

The is the official blog for K. Sean Buvala, storyteller and storytelling coach.

Saturday, October 12, 2013

Storytelling Practitioner: How to Use Stories in a Short Presentation

On Friday I had a follow-up coaching session with a student from one of our Executive Speaking Training Workshops (EST). In these follow-up sessions, I often work with workshop students directly in creating their presentations. The private session is part of the package of the EST registration.

As part of my recent binge of hard-core storytelling-practitioner blog posts, I thought I might share a white-board illustration with you that I created while my client and I were working. She found it useful. I did not intend to use this drawing as a blog post, so you are getting a raw piece of my mind here. Be gentle with any comments about my scribbling drawing skills.

how to tell a story in a presentation illustration
The scribbles in the middle read "facts."

My student, who works in inventory control in a large international business, was trying to create a 10-15 minute presentation. I showed her a model that I sometimes use in my own public speaking. It uses either two or three stories to "bookend" or support factual content.

As you can see from the drawing, I suggest that stories serve two purposes in a short presentation. They are the first high points that bring the energy of a presentation back up. They also serve as frames (or hooks or nets- however you want to read it) for the presentation of facts during her discussion. There is a typical ebb/flow level of energy in presentations as you can see in this white-board picture.

There can be either 2 or 3 short stories in this presentation model. The first "bookend" flow (as drawn on the board) uses two stories and is seen as:

 Story A - Fact Set 1 - Story B- Fact Set 2 - Story A.

This second appearance of Story A is either the same type of additional illustration from Story A or a reminder from a lesson suggested in Story A. So, in a perfect white-board illustration I might have written A1 and A2.

Another way to do this presentation is to have a Story C at the end of the presentation that ties together the other stories and facts. I have noted that in the picture with some after-the-fact text added to the drawing.

Story A - Fact Set 1 - Story B- Fact Set 2- Story C

Of course, you will add your own introductory and closing comments, but for our meeting, we didn't need to write these on the board.

Other thoughts: I assume that you already understand that the stories would be connected to the content presented in the facts, perhaps to illustrate the reward or consequences of paying attention to the facts in the two sets. Also, the stories could be a mix of "real life" stories and a world-tale. One story, especially Story B, might be more of an anecdote and not a full story. It depends on your skill and your situation.

This is a good model for a short 10-15 minutes speech. You would adjust the process based on the time you have to speak. I have written about some other presentation models in the past as well.

I hope this is helpful.

The is the official blog for K. Sean Buvala, storyteller and storytelling coach. Written right out of our offices at Gangplank Avondale.

Monday, September 16, 2013

Storytelling Practitioner: How Does Pacing Work in Oral Storytelling?

I am spending some more time in the hard-core storytelling practitioner mode. My next thought: There are two ways to describe the pacing of your story.

First, pacing refers to how fast your story unfolds. Do you spend more time on some parts of the story and less time on other parts?  You may want to spend more time on one episode, piece or interaction in your story than another. Your audience will help you determine this. Although you may be telling the same story, the differences in your audience will help you to know when to focus more on part A or part B.

For example, when I tell my version of the "Fisherman and His Wife" to children, I will spend more time on the "funny" parts of the tale such as the fisherman and the fish speak to each other as well as the characteristics of how the wife reacts to each new change. When I tell the story to adult audiences, I will spend more time with the relationship between the fisherman and his wife. Since my stories are in episodes rather than a script, it is easy for me to change the pace at which each segment is revealed.

There is a second way to describe pacing in storytelling.  How fast you speak while telling the story? Mastering intentional pacing can help you create nuances in your story.

When you speak with a slower pace, you might be conveying the ideas of fear, anger, disbelief, astonishment, or awe.

When you speak very quickly you may also be sharing the emotions of fear, anger, excitement, energy, joy, surprise.

You will notice that I listed the words fear and anger for both slow and quick pacing.  Think about the following questions. What (or WHO) makes the difference in how those emotions are conveyed? Does it make a difference in who is being addressed? Does it make a difference in where the action is taking place?

Overall, most new tellers don't think about the ideas of pacing. They simply tell their story, with their pacing based on whether they are having trouble remembering the episodes (slow pacing) or just trying to get all the words out of their brain (fast pacing).

 Rather than just let your words fall randomly from your mouth, make intentional choices about how fast your characters speak

Sean Buvala is a storytelling coach and practitioner. He's the creator of the Storytelling 101 Elearning kit.

Monday, September 02, 2013

Storytelling: The Original Social Media (Tshirt Edition)

Isn't this the truth? The first true way to gather community was (and is) storytelling. Social interactions, education, training, passing on values and more come from the "social media" of stories and storytelling. We are just having some fun with a few Tshirt designs. Here's the first in the series. You can pick up this version until September 9, 2013. After that, you can sign up for the update list when new shirts in the series get released.
Store link is:

The is the official blog for K. Sean Buvala, storyteller and storytelling coach.

Saturday, July 27, 2013

Storytelling Practitioner: Introducing Characters in Storytelling

Continuing my blog posts where I become your hard-core oral-storytelling practitioner, let’s talk about introducing characters in storytelling. I am writing about how to bring a character (person, animal, being) into your oral storytelling.

To consistently illustrate the techniques, I’m using the image of Jack, of “And the Beanstalk” fame, for this article. This process applies to any and every setting where you are telling stories, from business to bassinet.

1. Go with the literal “story” introduction.
Introducing Characters: Meet Jack
 Go old-school on your audience with the time-worn phrase. You know this one already.

“Once Upon a Time, there was a boy named Jack who lived with his mother in a very small house.”

Here you get right to the point, no need for the audience to catch up with you. Your audience does not need to guess what you are talking about as you lay out the scene. However, the “Once Upon a Time” lead-in will most likely cause your audience of business or teenage folks to mentally leave the room.

2. Use a situational introduction.

Start your story from anywhere but an expected beginning and put Jack in a situation that is from the depths of your story:

“From the middle of the tree-thick, reaching-to-the-heavens beanstalk, young Jack looked down upon the boyhood home that he still shared with his mother.”

Here the audience needs to work a bit harder as you give them something to process.

3. Share your character’s internal monologue.

We all have some type of self-talk. Share Jack’s in a manner like this:

“’What happens if I fall off this crazy plant? It was only a pile of beans yesterday. Mama is right: maybe I do need to think before I act.’ said the teenage Jack to himself, as he climbed the giant beanstalk growing outside the kitchen window of the cottage where he lived with his poor mother.”

Here you let us into the thinking patterns of your character, in most cases sharing with us their struggles. This type of intro is better for older audiences that have good abstract thinking skills.

4. Let another character talk to or about the character.

Let one character speak to another character about what they see, hear and feel.

“’ Jack, in your whole 12 years of your life, you have never done something this foolish. When you come down, I am locking you in your room for the rest of your life!’ screamed Jack’s mother as she stood outside of their small cottage. She was concerned, after all, as it was not every day that a boy could climb a beanstalk that reached to the sky.”

5. Compare the character to the audience.

Think about how the audience can relate to some aspect of the character and use that to connect the story to their experiences. For an audience of kids,

“Twelve-year-old Jack, in my story, may be just like you. He wanted to experience fantastic things. When he looked out the window of the cottage he shared with his mother, he saw the bottom of a giant beanstalk, thick as a tree and reaching to the sky. It was time for this poor boy to have an amazing adventure.”

Business Example.

Okay, you have twisted my arm. Here is one business introduction tied to the examples above. Remember, this is a hypothetical situation and I am writing words intended to be spoken aloud, not read.

“My client, Jerry Johnson, was leaning over the intensive-care hospital bed of his 25-year-old wife thinking that this type of illness only happened to ‘old people.’ It was really hard to clear his head of the ambulance siren from two hours ago and the beeping medical devices now.”

Do not get caught up in the formulas presented here, especially for business or corporate storytelling. They are guides. There for everyone. Overall, your stories for business don't need to follow some "mythic journey." I will be writing more about that soon.

So, have we been introduced?

This is the official blog of storyteller K. Sean Buvala. Learn more about his latest workshop at Photo: Public Domain

Saturday, July 13, 2013

Storytelling Practitioner: Eye-Contact Basics Review

I remember seeing the "Helllo, Dolly!" musical in Phoenix presented by a Broadway touring company. Carol Channing, who was so closely associated with the role of Dolly, was the lead of that tour. During the applause at the end of one song, she looked up to my balcony seat and smiled at me. It seemed that she held that glance for several seconds and then moved on. It was such a striking moment for me that even twenty-five years later I can remember this look from Ms. Channing.

Learn to Use Eye Contact in Storytelling.
I know that, because of the lighting in the theater, she could not actually see me, but she knew someone was up there in the front row of the balcony, so she created a moment of eye contact wherein the person in that seat would feel like she was engaging them directly. It worked.

Storytelling is an art form and communication technique that requires the presence of an audience. If you cannot look your audience in the eye while you are speaking, you are not storytelling. You might be doing any of a dozen other good-and-wonderful art forms or communication methods but it isn’t storytelling. Storytelling requires a present audience.

Since your audience is right there with you, you will need to look at them. Here are six things you need to know about eye contact.

1. Remove your sunglasses from your face, hat from your head and hair from your eyes. Unless you have a medical reason for wearing any of those vision-blocking items, be sure your audience can see your face.

2. Meet and greet the group as people arrive for your presentation. However, in modern times and especially as a storyteller, be available to the audience as they arrive. Simple questions such as "How are you?" and "How did you find out about this event?" are good ways to break the ice with folks. Shaking some hands, introducing yourself and asking a simple question is a good way to establish rapport that you will want while you tell stories.

3. As you tell stories, look at your audience. Do not look over the heads of the audience or look at the back of the wall. Look into the eyes of your listeners. Linger a moment at each pair of eyes and then move on. You might want to seek out some of the folks from step two that you established a good rapport with. If an audience member reacts positively to your look, you might want to come back to them. If an audience member looks away or otherwise reacts uncomfortably, just move on. There are many reasons that people will and will not look at you. Do not make it your crusade to force people to look at you.

4. Sometimes holding the gaze of an audience member as you deliver an especially important line in your story can be very effective. As well, a long and non-threatening gaze can help settle an especially rambunctious child or teen.

5. When looking at your audience, try to avoid moving your head and eyes in any particular pattern.

6. If you are a parent telling stories to your children, know that looking them in the eye is a precious gift. This eye contact is probably the most important storytelling technique you will learn in these lessons.

Although my experience in the theater so many years ago was in a large crowd, I can think of other times when a speaker in our small group used the same eye-contact power. To improve your storytelling, looking at your audience members is a powerful tool to creating memorable presentations.

Sean Buvala takes a no-nonsense approach to teaching storytelling and has done so since 1986. He's a big believer in less-theory and more action when it comes to business storytelling. Get his "Learn Storytelling" ebook and coaching kit to learn more. 

Thursday, July 11, 2013

A Look Inside my "Learn Storytelling" Kit and Coaching

I created a "walk through" video to tell people more about my Storytelling 101 Ekit. Just gives folks a better understanding of what we cover in my essential "learn storytelling" kit that I've put together. The kit is at ****** The is the official blog for K. Sean Buvala, storyteller and storytelling coach.