The Selkie and Her Children

The Selkie and Her Children: A Story by Sean Buvala. 

Excerpt:

The man looked out toward the beach and there he saw a bonfire and around it were dancing the silhouettes of a woman and her children and as he looked about he saw that there was a pile next to them and so he figured that these must be selkies and that pile was their pelts. He knew that if he took their pelts away from them, they could not return to the water and that he could tell them what to do and so while they were dancing silhouetted against the flame, the man snuck up behind them, grabbed the pelts in his arms, and held them tight.

Immediately, the woman knew that their pelts had been stolen and so she turned to the man and she said, "Sir, please give us those pelts back. We must have them."

He said "No, you are on my land. This part of the land here is mine and you have trespassed upon it. No, you will do as I say."

And she said, "Sir, please, the seas from which we come are rough and dangerous for my children. We need to come here."

And he said, "No. I have told you. Here is what I am going to do. I'm going to take your children and lock them away. You will become my wife and you will do as I say."

She begged the man to return the pelts but he refused. And so, she reluctantly agreed to his terms.

He took the children and he put them in a cellar. There in the cellar, they could not hear the sound of the ocean. There was, however, a window high at the top of the cellar. When he would come back every day bring food to the children, he would open the window and leave it open for an hour. He would then close it, He would leave the cellar, lock the door behind him, leaving the children behind. He forbid the selkie woman from ever going to see the children, lest he take them away in secret to a place she would never know.

He took the pelts that he had stolen from them and he put them in a chest, keeping them under lock and key. The selkie woman, meanwhile, became his wife and, as you can imagine, she was miserable. She did not give him any children of his own. Every day, she would go to the edges of the ocean, sit upon a rock, and simply lament the loss of her sea children.

Watch the video for the entire story.  CC video.

Carving Turnips for Halloween 2008

When I have the time, I like to stay with the old traditional idea of carving turnips and not pumpkins for Halloween. I had time this year.

Jack-O-Lanterns come from a traditional Irish legend using root vegetables instead of soft pumpkins.

Old Jack was a crab and generally nasty overall. If he could steal, he would steal instead of buy. If he could be lazy, he would be lazy instead of work. He would spirit away the money from the church collection plate and blame the boys sitting’ on either side of him. A nasty old man indeed, his heart as hard as the raw turnip, and his soul the color of burnt wood...

To carve turnips, we first needed to gather some turnips. It is hard to find large turnips in my local stores, so we use the rather simple variety you can find at the grocer.

Then, the tops of the turnips are lopped off to make a cap. Be forewarned, turnips are harder than potatoes, not soft like pumpkins. Generally, this is not a job for children, but with careful supervision, daughter #4 (aged 10) joined me.


Old Jack, when he grew very old, was visited by devil, to take him away to his death. After some smooth talking, Jack tricked the devil into climbing an apple tree to get Jack an apple, “for my one last pleasure on earth.” When the devil climbed the tree, Jack made crosses from the twigs and grasses and placed them at the bottom of the tree. Now trapped in the tree, the devil agreed to Jack’s conditions to be set free: The devil would never again try to take Jack away meaning that Jack would live forever.

After some time, Jack grew tired of living and made his way to the gates of heaven. Since he was so wicked and evil, God would not allow him in an sent him on to hell. The devil, remembering Jack’s trickery, told Jack that they had a bargain and that Jack would not even be allowed into hell itself. Jack pleaded, knowing that he would now be condemned to walk the earth forever…”

I sliced up the insides of the turnips with a sharp knife. Then, daughter and I scooped out the insides. Hard work that was. What pulp that didn’t hit the floor or flung out to hit the walls was saved in a big pot, to be boiled and eaten later. Yummy, if you cook them long enough and season them with garlic, lemon, salt and pepper.

Once the pulp is scooped out and we have developed new muscles, it’s time for the carving. There is much less space to work with on a turnip- so if you’re used to the large canvas to create on, this is the time to learn subtle interpretations to express your inner artist. Daughter created the middle carved turnip in the picture at the top of the post, drawing it first out on paper then taking the knife to the turnip. She said she wanted a turnip that had “eyelashes.”

With the face carved, we smoothed out the bottom of the inside of the turnip and added candles.


Jack asked the devil what he was going to do wandering the earth forever. He pleaded that his eyesight would fail and he would not even be able to see where he was walking. Hearing that plea, the devil picked up a burning ember and tossed it to Jack, telling him to use that to light his path. Jack returned to earth and stuck that ember into a stolen turnip he carved himself. And to this day, we carry these lit turnips around to remind us of the evil ways of the devil and Jack.


When night fell and the Treat Trickers descended on the neighborhodd, we lit the display of real jack-o-lanterns for all to see.

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

Adapting a World Tale for Corporate Storytelling

You are not limited to the personal stories of yourself and others in corporate storytelling. Why not call upon the power contained in a few centuries worth of stories?

When you speak in public, you want your audience to be immersed in your subject and able to hold on to your message well after you finish speaking. This desire and need actually applies to storytelling in nearly any situation, from classroom to boardroom to sanctuary to platform.

Mixing in some good myths, legends, fables or fairytales into your public speaking can enhance the character of your presentation. In addition, with this business storytelling technique, you will connect at a much deeper level with your audience than you can when you use personal stories alone.

I call these types of stories “world tales.” However, it is hard to just pick one up from any source and use it. It takes some adjusting, rewriting and customizing. Let me give you an example.

I recently had the chance to coach a client who wanted to add more storytelling to her presentation. She knew that she already had enough personal stories, but wanted “something more” to round out her presentation.

My first coaching comment for her was that it was good for her to recognize that there can be too many personal stories in a presentation. It was also good for her to recognize that stories need depth. It is hard to have depth when you are telling many stories of other people. Those stories of others are more anecdotes than they are storytelling. Therefore, she was well on her way to making a solid presentation with a solid use of personal storytelling balanced with a few “world tales.”

She was looking for a story that demonstrated the dangers of staying in the same old place, staying in the same old rut. She had a very specific audience in mind and was finding it hard to get just the right story.

After listening to her, I started to research stories. Research is one of my corporate-storytelling coaching duties. I found for her a perfect Aesop Fable. In one of its original complex-language forms, it appears like this:

TWO FROGS were neighbors. One inhabited a deep pond, far removed from public view; the other lived in a gully containing little water, and traversed by a country road.

The Frog that lived in the pond warned his friend to change his residence and entreated him to come and live with him, saying that he would enjoy greater safety from danger and food that is more abundant. The other refused, saying that he felt it so very hard to leave a place to which he had become accustomed.

A few days afterwards, a heavy wagon passed through the gully and crushed him to death under its wheels.

When I suggested this tale to my coaching client, she shot back with some measure of repulsion. “There is no way I could use a story like that. They will never get over the frog being ‘crushed to death’ in the story. I don’t think you understand what I need.”

Already rather sure of what she would say, I asked her if the message of the story worked for her presentation. “Of course it would. It would do that, but I can’t talk about dead frogs!”

I suggested to her that one of the keys to using world tales is the ability to adapt a story to fit your presentation. I told my client that I would adapt this story for her as part of our coaching time. She agreed.

In about an hour, I adapted the story for her specific needs. The first draft of the new version looked like this:

Once, there were two frogs. One lived out in the country in a clear, clean pond and had everything that she wanted. She was so happy to be in the outdoors. Her sister, however, lived in the big city in a little canal by the side of the road- where it was busy and dangerous.

One day the country frog visited her sister in the city. The city frog complained about how noisy it was in the city and how hard it was to see the moon at night because of all the tall buildings.

The country frog then told her, "It sure is dangerous here. Why don’t you come out to the country with me and live free and happy? I can see the moon anytime I want."

"No," said the frog that lived in the city, "I heard there are many snakes out there, and there’s all that mud, and besides, it takes so much energy to move out from my home. I’ll just stay here; at least the canal always has water in it."

The country frog returned to her home, where she was always happy and free. The next day, the city frog was caught up in a net by a small child, who took her home and put her in a big jar where she was kept with water and fed every day. There the frog remained for the rest of her life, never seeing the moon again, but she did have a never-ending supply of dead flies.

You will notice that I took the essential “core” of the story and adapted it to fit the needs of my client and her audience. I kept the essential concept of taking the safe path vs. risk taking, keeping the idea of staying in a canal/rut/gully to fit well into her need to talk about “getting out of your rut” in her upcoming presentation.

I also had to address her concern about her perception of the violence in the story while still keeping the idea that the frog’s failure to break free of the “rut” would result in frustration and death. I substituted the finality and violent image of a squished frog to that of a captured frog. Who knows, perhaps some day the captured frog could be freed?

I have not shared with you the final version of the story as my client further adapted my first draft to fit her audience. Once she saw that she was not limited to the version she did not like, she quickly used my draft to develop a story that she loved and would be unique to her individual presentation.

When a person objects to a “world tale” in their work, it is most likely because they object to the single version of the story they have discovered. Although it may take some time to develop a new version of a story from the base idea of the tale, it is well worth it. “World tales” allow you, as the speaker and presenter, to tap into the deeper meanings that have made such stories a staple for many different cultures for many centuries.

Take a chance with stories! In the end, do you want your audience to feel connected to you, to have the “aha!” moment that such stories create? Mix in and explore the power of the “world tale” to magnetically attract your audience to your message.

To learn more about creating stories such as the world tales, attend our “Ancient Secret of Public Speaking” workshop. For information, visit http://www.executivespeakingtraining.com.

C.2008 The official blog for K. Sean Buvala, storyteller and storytelling coach. Photo used under CC license from this site.

Special Enchanted Edition Podcast: A Storyteller Looks at the Enchanted Movie

What really would happen if fairy tale characters took the leap into our world? Would modern Americans be ready for all that darkness? The premise of Disney’s newest movie "Enchanted" gets a fresh look with Storyteller.net director and professional K. Sean Buvala in our latest edition of our podcast at storytellerpodcast.net.

Listen to the podcast now when you click here right now!

Avondale, AZ November 18, 2007- "Fairy tales showing up in the middle of modern life? That’s not new. They’ve been there, in all their twisted goodness, since the beginning of humanity. Fairy tales have been making the leap into the ’modern world’ since human beings first experienced their imagination and understood the differences of good and evil," so says Sean Buvala, a full-time professional storyteller and director of the premier Internet storytelling site, Storyteller.net. And he ought to know. He’s been travelling the United States for more than 21 years sharing tales with adults, teens and children.

In the latest Podcast at Storyteller.net, Buvala discusses the role of darkness and challenge in fairy tales. "In the new Disney movie, ’Enchanted,’ the characters get trapped in modern day situations and the movie appears to ask the ’what if’ question. Stories, and fairy tales in particular, however, have been asking that same ’what if’ question for hundreds of years. What if we were confronted between the choices of morality, doing what is right and selfless behavior and the more appealing less sociable behaviors? These confrontations are the core of the meaning of fairy tales."

In a genre-busting premise, "Enchanted" puts the pure-love and doe-eyed behaviors of its main characters in the midst of our own seen-it-all society. However, Buvala says these calm, loving behaviors would be nearly unknown to fairy tale characters if they came to life. "In the real versions of fairy tales, there is very little of these types of Disney-nice actions. Rather there are behaviors of deceit, treachery, child abuse, punishment, rewards and swift justice. Fairy tales aren’t the politically correct or sanitized stories of animation. They’re hard-core, ’act right or else’ ultimatums in many cases. Children punished by death, people doomed to walk the earth as ghosts for stealing pennies and losing true love for minor infractions: these would be the behaviors fairy tale characters would expect to see in modern life."

The irony of a Disney movie parodying the contemporary understanding of fairy tales is especially fun for Sean Buvala. "The Brothers Grimm would not even recognize the Disney animated versions of ’Sleeping Beauty’ or ’Cinderella.’ In many ways, it seems that Disney made ’Enchanted’ to poke fun at the one-dimensional nature of fairy tale characters. However, those wide-eyed people in our imaginations are Disney’s own spawn. They must be having a fun time ’dis" Enchanting their own dragons."

Sean goes further in depth regarding fairy tales in modern life and examines the power a genuine storyteller has with a live audience in the latest podcast at Storyteller.net. The free-of-charge podcast can be found on the front-page of the website at www.storyteller.net or maybe be downloaded at www.storytellerpodcast.net.

Will Buvala be seeing the "Enchanted" Movie? "I’ll be in the Disneyland area next week. Maybe I’ll go see it right there in the Downtown Disney attraction," the nationally travelled storyteller says with a wicked grin.

CONTACT INFORMATION:
K. Sean Buvala
Storyteller.net
623.298.4548
sean@storyteller.net
http://www.storyteller.net
http://www.arizonastorytelling.com
http://www.storyteller.net
http://www.seantells.com

# # #

September 2007 Podcast from Storyteller.net

Our latest Storyteller.net free podcast is now available. The podcast features excerpts from Storyteller.net director Sean Buvala’s keynote presentation to the Avondale School District’s Staff Gathering. Some 700 people enjoyed Sean’s stories and commentary. The September 2007 podcast includes the stories "The Emperor and the Dragons," "Catching Fire," "The Story that Does Not End," "Crow can Taste Good." There’s a "coaching moment" on how to get people to turn off their cell phones, too. Sponsored by Storytellingproducts.com. This pod cast features storytellers Sean Buvala and Buck P. Creacy.

Listen in when you click here now. You can find the podcast at Itunes. You can find our previous podcasts at this link here.

The CDs and books mentioned in the podcast can be found by clicking these links:

Eleven Nature Tales by Pleasant Despain

Three Minute Tales by Margaret Read MacDonald.

Heart Stories From the Wrong Side of Town by Buck P. Creacy

Seven Ravens: Unvarnished Tales from the Brothers Grimm by K. Sean Buvala

Red Pen Storytelling Tool

Crafting a story is an essential skill for both beginning and experienced tellers. Crafting, much like sculpting, involves knowing what to trim away and what to keep. 

For storytellers, our sculpting tools should include the red “cross it out” pen. In my youth, I once heard an old comedy album where the comedian said, “When you are trying to tell a story, try having a point. It makes it so much more interesting for an audience.” I’ve attended several storytelling events of late that bring that old comedy routine to mind. 

I’ve wanted to hand the tellers a giant red pen, hoping they’d cut out, cross out and eliminate the bloatedness of their tales. Although it’s not always possible to have a clear-cut point in telling folktales or world myths, storytellers need to know “why” they are telling any particular story. If not, stories end up as rambling and meandering exercises in hearing ourselves talk. When that happens, the stories lose interest, and our audiences just lose interest. 

Doing the red pen routine with personal tales is easier, so let’s begin there. 

First, understand that storytelling is an audience-centered art form. It’s not a form of therapy for the storyteller. 

 Grab yourself a piece of paper and do this exercise with me. 

First, choose a personal tale from your repertoire. 

Then imagine the type of audience you’ll be telling to and with. 

With those thoughts in mind, ask yourself, "why am I telling the story?" What is my point? Identify this first thought, this singular crystal-clear point, and write it across the top of the paper. Use large, bold letters. 

 Underneath those big bold letters, write an outline your story. What’s first, second, third.....sixth, etc? Try to include all the elements of your typical telling of that story, including those tangential side trips you might be normally inclined to make. 

Now comes the step so many tellers are unwilling to make. Grab your red pen. Re-read your main point. Go down your outline and ask yourself for each numbered item, “Does this item illustrate or lead to my main point?” If it does not, cross it out. 

 This is where some storytellers start reaching for the oxygen mask. “But, what you want me to cut out is (funny, cute, touching, meaningful, pretty, insightful, witty, makes my grandma laugh, tells people I love dogs, will save the world, etc). I couldn’t cut out that part.” 

Yes, you could. 

Yes, you should. 

If it does not move your story towards your main point for the audience you are addressing, draw a line and drop it from your story. Most likely, the parts you’ve redlined are or could become stories in their own way. 

 The process I have just described is a good exercise to do with your storytelling coach. Ask that person to help you identify and redline the excessive parts of your story that drag down your work. One of the challenges with storytelling as an art form is our excessive focus on internal (“How does your storytelling make you feel?”) coaching, so it may be hard to find a mentor that will be honest with you. 

You should assure your coach that having an opinion is okay. 

 This ability to redline one’s work to focus on the audience's needs is essential for good storytelling. Tellers unwilling to redline their stories just leave me wishing for the door. 

A storyteller who tells a story that has been redlined and crafted leaves me wishing for more of their craft. Isn’t that the goal- building a love for stories and storytelling in our audiences

May 2007 PodCast Posted

Here's another storytelling Podcast from Storyteller.net and some of our storytellers. You'll hear Brother Sun, Sister Moon do their version of "The Virgin Queen." You'll hear a coaching moment recorded live at on of my workshops. You'll also hear Eva Grayzel do her musically enhanced version of "The Stone Cutter." Come listen now. Click Here to listen.

Brought to you by our sponsors at storytellingproducts.com and fulltimestorytelling.com. Thanks for listening.

Business Storytelling: Are You Ready for Five Minutes of Fame?

Here is my latest challenge for you.

Let's pretend that the Woman who runs the World's Largest Afternoon Talk (WLATS) show wants to talk about your business on Her show. You Know Who I mean. She is going to randomly pick an employee from your organization to speak.

Let's pretend that YOU have been chosen to represent your company on Her WLATS show. You will have only 5-10 minutes on the show to share your experience and to convince people that they should be calling your company for their needs. Like it or not, 10 minutes on that show can translate into bazillions of contacts. So, you have 5-10 minutes to grab the attention of the audience.

What would you say? If you said you'd talk about your financial security, how nice your buildings are and your 24 hour service, then you lose. All of your competitors say they have those, even if they don't.

You've got 5-10 minutes. What story, the one that touches the heart and imagination of the audience, will you tell? Stop now and choose one. If you have taken my training work, you have your Intentionality Journal to help you. My training courses give you tools that work.

Side note for some of you: This is *not* an exercise in the "elevator speech" process. "Elevator speeches" are dead. Relationships are alive. Stories build relationships.

1.Choose your story.

2.Choose your point.

3. Choose where the story will start.

4. Choose the other episodes that help you get your point across.

5. Choose the ending. Maybe you go back to the opening sentence to close?

6. Find someone and tell them your story. Open your mouth and tell the story. The only way to learn is to do it.

This exercise is for everyone in your company. It is for the Executive Team. It is for the new cashier who was just hired this week.

"Hah Ha, Very funny. WLATS is going to randomly pick an employee? Oh, that will never happen." you say. Do you want to bet? It is already happening every day. Potential customers, guests and potential employees randomly meet your staff every day. Are all of your current staff ready to tell a story or two?

Executive People: Will you model your 5-10 minute talk-show story for the rest of your company within the next seven days?

April 2007 Podcast is Here!

I’ve posted our latest podcast from Storyteller.net and Seantells.com. The link is below or you can find it on Itunes. You can also find it on my Myspace page.

We did something a little different with this podcast. I recently spent a day as guest artist in a 7th grade classroom. That’s with young people about 12 and 13 years old. I recorded large portions of the day. I’ve narrowed those recordings down to a 35 minute podcast. There are four stories in there and a coaching moment. Even the coaching moment comes from the day with the kids.

You’ll hear this again on the podcast, but I wanted to talk a bit about this here. As you know, those of you who have taken my storytelling training or coaching, that although you as a teller and your stories may remain consistent, when you change your audience you change your style. So for this group, I was speaking specifically to a small group (25 or so kids) in a small room. It was a close and intimate environment as oppsed to a big stage or an entire school assembly. The kids had also just finished a week of Arizona's mandatory testing, so they, and the teachers in the school, were pretty exhausted. We like to describe these mandatory tests as "no child left untested." We had a casual, informal day together.

The risk anyone takes when they put forth recordings of themselves is that the listeners will think, “Oh, that is the way they always tell.” That’s simply not true of any storyteller anywhere. Well, at least the ones who understand their craft.

As you listen to this piece, keep the above paragraph in mind. Like all tellers, I have a variety of styles to choose from (and have chosen from) when my audience is 2 or 2000, aged 12 or 72, big stage or small classroom.

And, before you write me (ha ha!) about the Hades and Demeter comment, please know that I know it’s Persephone that brings the Spring, not her mother.

Our podcasts are sponsored by StorytellingProducts.com. Please stop by and support our work by purchasing a CD or Book from there. Thanks.

I hope you enjoy this month’s podcast. Click here to get it now.

Happy Birthday to Storyteller.net

Happy Birthday to us at Storyteller.net. This month, April 2007, Storyteller.net turns 10 years old! Ten years is forever in Internet terms. Excuse me for a moment as I enjoy this. It is rare to read a note from me that is so "yay for us" in nature, but I think we deserve it this time around.

I am proud of what we have done and what we have achieved. Others have said, and I agree, that Storyteller.net has helped storytelling move forward not only on the Internet but in the world community as well. I had already been working nationally as a storyteller for 10 years when we created Storyteller.net. As a pro, I knew what needed to happen on the Internet for storytellers and was fortunate to be able to create that. Storyteller.net has never been "Sean's site." Rather, it's been "our site," tellers both near and far, since the beginning. Our remake in 2002 just made a good thing better. Storyteller.net has been a labor of love for many years, a gift to tellers and our guests.

We were the first to offer a comprehensive online directory for storytellers initially at no cost and now just $25 per year. More than 400 tellers have used or are using our services and we're glad to have given you a home. We've watched tellers transition and grow from simple, beginning local tellers to some of the best nationally-travelled tellers in the business. What a joy that has been.

We were the first to offer a diverse collection of online audio stories, free for listening for audiences all over the world. There's also a growing collection of written stories on our site. We were the first with an online, no-charge events calendar.

We've had two editions of the Storyteller.net store, with our current store at StorytellingProducts.com going strong. Again, if memory serves me correctly, we were the first to offer the ability for national online sales to the local tellers of the world. There's some imitators coming along, but we were the first to "level the playing field" for storytellers everywhere.

We were the first to offer the pod-cast like Amphitheater with storytelling interviews and performances. Yep, we were doing "podcasts" before they even had a word to describe "podcasts." I remember my business partner telling me that I was "crazy" to do those Amphitheaters and then several days later saying he thought the idea would prove to be brilliant. Little did we know that what we were doing was very far ahead of the Internet pack.

In ten years, we've had a variety of other firsts. I always enjoy reading when another storytelling organization or individual promotes their idea as "the first ever..." when we've been doing it since 1997. Lots of people imitate our model. We're pleased to be able to have offered so much, usually at no or very little cost, to so many people. Thousands of people each week come and take advantage of everything we have at Storyteller.net. We're glad you are here.

Watch for more changes in this our 10th Anniversary year. Over the coming weeks and months, we'll be sharing with you reviews and comments from our guests and members. We'll also be introducing new features to help you learn more about the Art of Storytelling. We have a live event (they call it "brick and mortar" in 'Net lingo) in the works that I think will be one more risk-taking, cutting-edge offering from Storyteller.net, one we hope will help change the way we all think about the nature of storytelling and who the "best" in storytelling are or will be. Whew! I am nervous just typing that one out!

I think you'll be pleased, tickled and challenged by what's over the bend for the next ten years.

Thanks for indulging me in this birthday letter.

Thanks for being with us.