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American Storytelling
Improving Your Storytelling
The first steps in storytelling are often easy, because we tell stories informally every day. Once you take storytelling into the more formal contexts of performance or occupational uses, however, you may be faced with challenges you hadn't anticipated. You need information that goes beyond the basics. And you need it in a form that does not just tell you what to do but helps you make your own informed decisions. This book is meant for the reader who has already begun to tell stories and is ready to learn more about the art. Instead of rules to follow, it gives you a series of frameworks that encourage you to think on your feet. Doug Lipman has written and taught extensively on the art of storytelling. With the same generosity and warmth that characterize his workshops, he considers the teller's relationship to the story, the teller's relationship to the audience, and the transfer of imagery in a medium that is simultaneously visual, auditory, and kinesthetic.
224 pages, Kindle Edition
First published January 1, 1999
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416 people want to read
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Displaying 1 - 22 of 22 reviews
April 29, 2012
This storytelling book seems to be a little more formal and full-of-itself than the previous ones I've read but it does make some interesting points.
Intro: The author talked about being in the moment when story telling - focus on the story you're telling now, not the way you told it before or will in the future. And don't think you can coast once you "figure it out" b/c there's no such thing. The author mentions a storytelling triangle in which the story, storyteller, and audience make the points of the triangle and are all connected. (However, the story and audience are connected by a dotted line b/c you have no direct control over how the audience connects to the story.)
Chapter 1: Oral language. The author gives ideas for exercises in expressing feeling using only tone of voice and gibberish words. Eye contact "rules" can differ by culture. Dare to pause! Use repetition to emphasize certain things. Keep the "stage" uncrowded b/c it can be hard to do more than 2 characters during storytelling.
Ok, it's quickly becoming obvious that this book is to help experienced professional storytellers hone their craft. It deals with exercises that you might expect for actors to explore their characters' motivations, expectations, etc. So, not really what I expected/needed but there are some useful things.
Chapter 2: Imagery. People store images in different ways, such as visual, auditory, kinesthetic, verbal/conceptual, and olfactory. You can develop some of these senses w/ your storytelling imagery if they're not already strong.
Chapter 3: Imagine certain scenes fully to be able to give more detail if needed (using the senses listed above, although the author recognizes that you'll probably never need to imagine the scene that fully.
Chapter 4: Kinesthetic Imagery. Muscular, movement, posture) The author related an interesting personal story about the expectations and emotions conveyed by his [unintentional] posture during a tense situation.
Chapter 5: What is a story? The format of a story (one climactic ending vs. several stories strung together by a common theme, etc.) can very depending on the culture, etc.
Chapter 6: Learning the Story. This chapter contains an interesting anecdote about learning to tell a personal story, how it develops (i.e. that it is or should be based on the reactions of the audience).
Chapter 7: Discovering the Meaning. The author suggests that we figure out the Most Important Thing (MIT) to help us tell it. The MIT to you could be different than the MIT for someone else and it can change.
Chapter 8: Discovering Structure. There are different ways to outline the story to help you remember it and tell it to emphasize the things you want (depending on your MIT).
Chapter 9: Memorizing. Don't begin by memorizing, try to get the gist first.
Chapter 10: Helper & Beneficiary. Usually the audience is the beneficiary and the storyteller is the helper but the roles can be reversed in situations of therapy or if the storyteller is practicing, etc. The storyteller needs to be clear about the roles up front so there is no confusion. He mentioned a tactic for letting young children know that they were going to have an enjoyable experience rather than be lectured to by doing something silly (like pretend you don't know how to hold your guitar, the book, etc.)
Chapter 11: Four Tasks. Uniting (the audience), Inviting (relaxed confidence), Offering (the story), Acknowledging (your audience).
Chapter 12: Your Effect on Listeners. "Leaning forward" is the term the author uses to indicate that the audience is engaged and on the edge of their seat, esp. in tales of wit and humor. "Leaning Back" is the phrase he uses to express a relaxed, transported state of listening, like to fantasy tales.
Chapter 13: Program Planning. Transitions can unify different stories or distract from it. The author talked about planning the story programs and also about situations where stories just pop into your head at the "wrong" time, when it may actually be the right time for someone.
Chapter 14: Developing Audiences for your needs. You need different types to practice on.
Chapter 15: Your Voice. Yawning heals. We have a lot of ingrained habits we need to be aware of. Don't forget to do vocal warmups.
Chapter 16: Performance Anxiety. It can be good if it energizes/excites you but too much will produce fear. This chapter discusses processing fear and speaking to common worries (like if you forget everything, just move on, memorize sayings like "But what you don't know about ____ is _______" and if you really forget everything, go to another story by saying, "Let's leave Jack for a minute..." and start something else.
Chapter 17: Support Team. This can consist of hired help, parallel playmates (like someone you get together w/ to write w/, even if working on separate projects), barter buddies (someone you trade favors w/).
Chapter 18: Flexible Shifting of Attention. 4 layers = story, audience, yourself, and judgement. These can change depending on the story, audience (e.g. preschoolers vs. adults), etc.
Chapter 19: Balancing the Details w/ the Goals. Think in the present, keep the MIT in mind, be present emotionally, show how much you love the story, offer the story as a gift to the audience.
The book also includes an appendix w/ links to story telling organizations, websites, etc. Bibliography, notes, etc.
Intro: The author talked about being in the moment when story telling - focus on the story you're telling now, not the way you told it before or will in the future. And don't think you can coast once you "figure it out" b/c there's no such thing. The author mentions a storytelling triangle in which the story, storyteller, and audience make the points of the triangle and are all connected. (However, the story and audience are connected by a dotted line b/c you have no direct control over how the audience connects to the story.)
Chapter 1: Oral language. The author gives ideas for exercises in expressing feeling using only tone of voice and gibberish words. Eye contact "rules" can differ by culture. Dare to pause! Use repetition to emphasize certain things. Keep the "stage" uncrowded b/c it can be hard to do more than 2 characters during storytelling.
Ok, it's quickly becoming obvious that this book is to help experienced professional storytellers hone their craft. It deals with exercises that you might expect for actors to explore their characters' motivations, expectations, etc. So, not really what I expected/needed but there are some useful things.
Chapter 2: Imagery. People store images in different ways, such as visual, auditory, kinesthetic, verbal/conceptual, and olfactory. You can develop some of these senses w/ your storytelling imagery if they're not already strong.
Chapter 3: Imagine certain scenes fully to be able to give more detail if needed (using the senses listed above, although the author recognizes that you'll probably never need to imagine the scene that fully.
Chapter 4: Kinesthetic Imagery. Muscular, movement, posture) The author related an interesting personal story about the expectations and emotions conveyed by his [unintentional] posture during a tense situation.
Chapter 5: What is a story? The format of a story (one climactic ending vs. several stories strung together by a common theme, etc.) can very depending on the culture, etc.
Chapter 6: Learning the Story. This chapter contains an interesting anecdote about learning to tell a personal story, how it develops (i.e. that it is or should be based on the reactions of the audience).
Chapter 7: Discovering the Meaning. The author suggests that we figure out the Most Important Thing (MIT) to help us tell it. The MIT to you could be different than the MIT for someone else and it can change.
Chapter 8: Discovering Structure. There are different ways to outline the story to help you remember it and tell it to emphasize the things you want (depending on your MIT).
Chapter 9: Memorizing. Don't begin by memorizing, try to get the gist first.
Chapter 10: Helper & Beneficiary. Usually the audience is the beneficiary and the storyteller is the helper but the roles can be reversed in situations of therapy or if the storyteller is practicing, etc. The storyteller needs to be clear about the roles up front so there is no confusion. He mentioned a tactic for letting young children know that they were going to have an enjoyable experience rather than be lectured to by doing something silly (like pretend you don't know how to hold your guitar, the book, etc.)
Chapter 11: Four Tasks. Uniting (the audience), Inviting (relaxed confidence), Offering (the story), Acknowledging (your audience).
Chapter 12: Your Effect on Listeners. "Leaning forward" is the term the author uses to indicate that the audience is engaged and on the edge of their seat, esp. in tales of wit and humor. "Leaning Back" is the phrase he uses to express a relaxed, transported state of listening, like to fantasy tales.
Chapter 13: Program Planning. Transitions can unify different stories or distract from it. The author talked about planning the story programs and also about situations where stories just pop into your head at the "wrong" time, when it may actually be the right time for someone.
Chapter 14: Developing Audiences for your needs. You need different types to practice on.
Chapter 15: Your Voice. Yawning heals. We have a lot of ingrained habits we need to be aware of. Don't forget to do vocal warmups.
Chapter 16: Performance Anxiety. It can be good if it energizes/excites you but too much will produce fear. This chapter discusses processing fear and speaking to common worries (like if you forget everything, just move on, memorize sayings like "But what you don't know about ____ is _______" and if you really forget everything, go to another story by saying, "Let's leave Jack for a minute..." and start something else.
Chapter 17: Support Team. This can consist of hired help, parallel playmates (like someone you get together w/ to write w/, even if working on separate projects), barter buddies (someone you trade favors w/).
Chapter 18: Flexible Shifting of Attention. 4 layers = story, audience, yourself, and judgement. These can change depending on the story, audience (e.g. preschoolers vs. adults), etc.
Chapter 19: Balancing the Details w/ the Goals. Think in the present, keep the MIT in mind, be present emotionally, show how much you love the story, offer the story as a gift to the audience.
The book also includes an appendix w/ links to story telling organizations, websites, etc. Bibliography, notes, etc.
December 20, 2012
This has some good tips in it, but I'm wondering if it is basic enough for the class I'm teaching. I feel a little overwhelmed at the moment. I'll be able to pull some sections of it into our discussion, especially on "What is a Story?" and "Learning the story."
Good resources to return to:
storynet.org
Good resources to return to:
storynet.org
December 27, 2010
This book is aimed at the reader who has already had some experience with storytelling and is ready to learn more. Given the authors professional background, much of the book is focused on 'performance storytelling' so may not seem all that relevant to those that are interested in storytelling in other settings (particularly business/organisations). However, I particularly enjoyed the chapters on 'What is a Story?', 'Learning the Story' and 'Discovering the Meaning'. The information in these chapters is valuable and applicable to all storytelling, regardless of the context/environment. Compared to 'The Story Factor', 'Improving your Storytelling' is a more practically focused book and offers more 'how-to' type information.
My notes from the book can be found on Webby Clare.
My notes from the book can be found on Webby Clare.
May 9, 2022
Can anyone learn to be a storyteller? Doug Lipman believes so because we all tell stories about our lives every day. His book, Improving Your Storytelling, is a helpful guide for developing a story and learning to captivate an audience. The book thoroughly walks through storytelling from the abstract, imagination, imagery, and discovering a story's Most Important Thing, to the practical aspects of structure, memorization, and overcoming performance anxiety. I appreciate how comprehensive Lipman's books, and how he offers expertise on the smallest of details. I also enjoyed the information provided about storytelling organizations and topics and websites for further study. However, the one drawback of this book is that it is so in depth that it can be overwhelming, and easy to lose track of really useful practices in the vast amount of other info. That is a very mild critique, though, and if you are looking for storytelling insights and tips, then this book is worth your time.
Read
April 14, 2021This informational book tells of all that is needed to tell good stories. You will find, however, there is nothing in it regarding how to create a good story. Instead, Doug Lipman, a storyteller by profession, teaches us the other skills. A storyteller may use the same story for years but may never tell the same one twice. They must be like a skipper reacting to local weather conditions in order to succeed with their audience. The tips in this book are aimed for storytellers of a professional nature but there is knowledge to be gained by any open-minded reader of the book. I found advice on speaking, preparing speeches, conversations and so much more. Plus, I am excited for having come across the story of The Stonecutter.
March 22, 2019
Language: PG (1 swear, 0 "f"); Mature Content: G; Violence: G
Lipman explains storytelling processes and purposes in ways that are easy to understand. With all the tips and experience that he shares, even professional storytellers will have a hard time not finding something to improve while reading. Just because professional storytellers will learn from it doesn't mean that the amateur can't -- any level of storyteller can apply these principles to become better tellers.
Lipman explains storytelling processes and purposes in ways that are easy to understand. With all the tips and experience that he shares, even professional storytellers will have a hard time not finding something to improve while reading. Just because professional storytellers will learn from it doesn't mean that the amateur can't -- any level of storyteller can apply these principles to become better tellers.
June 3, 2020
Definitely not aimed at beginners, and spends rather a lot of time on storytelling as a self-help therapy to uncover and release the storyteller's suppressed emotional traumas.
Nonetheless, Lipman provides many practical tools for preparing, analysing, learning and telling stories to different audiences. Even a beginner - in which category I certainly reside - can learn a great deal from this book.
Nonetheless, Lipman provides many practical tools for preparing, analysing, learning and telling stories to different audiences. Even a beginner - in which category I certainly reside - can learn a great deal from this book.
April 8, 2018
If you tell stories this is worth the time to read.
Very thought provoking about what is happening within you as you prepare and tell a story. Maybe more importantly it will help you look beyond the telling of the story and its potential for impact including on the teller.
There is also basic information on how to put a story together and prepare to tell it.
Very thought provoking about what is happening within you as you prepare and tell a story. Maybe more importantly it will help you look beyond the telling of the story and its potential for impact including on the teller.
There is also basic information on how to put a story together and prepare to tell it.
March 16, 2019
Great overview
Loved all the specific examples and suggestions d. Super helpful to read when you have a specific story in mind that you want to tell and an audience in mind.
Loved all the specific examples and suggestions d. Super helpful to read when you have a specific story in mind that you want to tell and an audience in mind.
March 25, 2019
Read for IS409 - Storytelling.
December 26, 2019
An insightful look into the life and craft of a professional storyteller. Lipman does a great job of distilling the craft into actionable steps to enhance your storytelling.
May 20, 2021
Useful resource for teachers, librarians, parents, or those hoping to improve their public speaking storytelling. Lipman reminds us that storytelling plays a vital role in our everyday lives, not just in times of pure entertainment. Big fan of storytelling for justice.
February 3, 2015
This book has a lot to teach about how to become a better storyteller, mostly in a more or less professional setting. The author shares his knowledge about the triangle of storytelling: the story itself and how you can make it fully yours, you yourself, and the audience and how to connect with the audience. You can tell this book was written from experience and not from research. Expect few references to other materials and mostly stuff learned while doing - which is perfectly legit by the way. The chapters on body language and transfer of imagery were most helpful to me. The tone and writing of the book could use improvement (it's rather formal and somewhat know-it-all) but the info is solid.
May 13, 2016
I'm no professional storyteller by any means, but I did appreciate diving into the world that Doug Lipman lives in. He discusses in detail how the storyteller, the story, and the audience interact in a single storytelling event. He also gives advice on how to improve.
I appreciate Lipman's chapters on picturing the scene, the Most Important Thing (MIT), story structure, and relating to the audience. I primarily read from a perspective of storytelling through video, but I think there are principles at work in his view of storytelling that work across genres. I liked this book; I'm glad I read it.
I appreciate Lipman's chapters on picturing the scene, the Most Important Thing (MIT), story structure, and relating to the audience. I primarily read from a perspective of storytelling through video, but I think there are principles at work in his view of storytelling that work across genres. I liked this book; I'm glad I read it.
December 18, 2011
Another excellent resource from Doug Lipman (see his Storytelling Coach book for a great read on how to help others learn to tell stories). Doug uses five sections to address the many dimensions of storytelling: 1) Transfer of immagery, 2) your relationship to the story, 3) your relationship to your listeners, 4) your relationship to yourself, and 5) putting it all together.
An easy to read and understand guide to becoming a better performer.
An easy to read and understand guide to becoming a better performer.
December 21, 2016
I read this as a way to improve my storytelling, not as a professional storyteller, but as a non-profit worker. I definitely enjoyed the way a multitude of subjects were presented, and the tips that came with it.
November 12, 2012
A practical and psychological approach to storytelling. Very handy to have around, good advice and rather therapeutic to read.
January 24, 2013
Read Pages 11-109 for class
January 16, 2016
Intended for established telelrs who seek to improve their craft rather than beginners.
Not what I need for introductory workshop.
Not what I need for introductory workshop.
June 23, 2013
This is a smooth read. It feels like butter for the storyteller's soul.
October 14, 2015
lots of great tips and exercises
Want to read
April 7, 2017Looks like a good overview for storytelling and really readable.
Displaying 1 - 22 of 22 reviews