Great stories happen to those who can tell them.
Ira Glass (via storytellingquotes)

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Great stories happen to those who can tell them.
Ira Glass (via storytellingquotes)
Microphone mishaps
LESSONS LEARNED FROM MY 1st PAID GIG
The week before my performance, I pop by the venue to meet the organizer in person and get a feel of the place. On stage I see handheld microphones and realize I hadn’t once thought about mics! I’ve never needed to before. They were always just there, over my head. But I don’t see any overhead mics here. When I’m telling a story I walk around and use my hands, I can’t do that with a handheld or mic stand! I need to discuss my mic needs with the organizer. But how do I do that if I don’t know the first thing about mics? I don’t even know what you call a non-handheld mic. So much for being “professional”. I end up using the only ‘technical term’ I’m sure of: “Do you only have handhelds?
“Oh of course. I hadn’t thought of that! You probably need a headset don’t you? I’ll make sure we get a set for you.” Headset! That’s the word! I make a mental note-to-self to ask a theater-technician friend to teach me about microphone types and lighting so that I can avoid unprofessional ignorance in the future. With the mic issue settled, I forget all about microphones and my note-to-self until the day of my show.
Backstage, the sound technician hands me the headset, telling me to slip it behind my right ear, which is covered by a thick sturdy plait. It’s impossible to push the mic over my ear without completely messing up my hair. The tech shakes his head, asks if I jump a lot in my show (no), makes me take a couple of small jumps and concludes that this will sort of do. It takes a few moments on stage before I get used to the headset feeling like it’s going to slip off to one side, but soon I forgot all about it.
That is, until the end of the show, when I raise my glass, and - forgetting the microphone between my mouth and glass - discover just a bit too late that I can’t actually take a sip and instead inadvertently pour the drink down my chin. Not exactly the ending I was hoping for. I really need to work more with mics.
Notes to self
Become more tech-savvy! Ask your theater technician friends to teach you about theater tech stuff! (Seriously, do it already!) Or at least Google search ‘theater mics & lighting for dummies’.
Take microphones into account when styling your hair for a show.
Next time you have to wear a headset, take some time before the show to figure out how to take a sip (or pretend to) without dribbling. Or whatever else it is you need to do in the show that might be hindered by a headset.
Check out other ‘Lessons learned from my 1st paid gig’
Handling hecklers
The running away thing
That sleazy pr-business
Not the ambulance service
Without walls, Outdoor storytelling
The running away thing
LESSONS (in this case NOT-)LEARNED FROM MY 1st PAID GIG
I’m a bolter. As soon as I finish my story, even before the applause sets in, I want to be offstage. I tend to bolt so fast that I can’t help but be clumsy; tripping over pillow-sitters, stepping on feet, not hearing or seeing complimenting audience members. I just want OUT!!
This has a few downsides. To start with, it leads to some pretty inelegant exits. That’s a shame. My story deserves better. Plus it makes me miss out on the applause; it’s hard to appreciate something when you’re pushing your way through a bewildered crowd. I’d like to be able to enjoy the applause, even if just for a moment. And then there’s the fact that it just looks plain weird.
So the last two months I’ve made a point of making myself stay up there beyond the feeling of comfort. That feeling of comfort, by the way, pretty much ends the moment the applause sets in. My last telling went pretty well, I almost made it to applause fade-away! But that was in storyteller’s safe-haven Mezrab. Now I’m preparing to tell a story out in the wild, in a park without walls where hostiles roam the periphery. All things that make me even more likely to bolt. So for the last week I’ve been preparing, repeating over and over to myself that no matter what, I will stay standing in front of the applauding audience. Repeating it up to the moment I walk on stage, reminding myself one last time to not run away. Confident that I can do it!
And then, before I know it, the end of the show is here. I raise my glass, fumble and accidentally pour the drink down my chin. Any thought of staying leaves my mind the moment the drink misses my mouth. I need to be offstage! And I need to wipe my chin. These are the only two thoughts in my mind. Grabbing the thing blocking my chin from a wipe – the headset microphone that is now entangled in my hair – I rush to the side of the stage. Struggling with the entangled headset, I don’t see where I’m going and trip, dripping chin and all, over the edge of the set.
Sigh.
This all but elegant exit leaves me wondering WHAT THE F IS UP WITH THE RUNNING AWAY?! Why am I so afraid of applause? I really need to find a way to stop myself from bolting! Other than tying me to a stage and subjecting me to endless live applause until I break (an idea no one seems to warm up to), I can’t think of any quick and easy solutions. I fear I'm doomed to work through that whole painful keep-on-trying-until-you-get-it right thing.
So I guess this one’s a lesson still not learned. If any readers have insights into why I bolt at the first sound of a clapping hand, or tips on how to get over that, I’d love to hear from you!
Notes to self
Ask others about the running away thing; do they know what it is or how to deal with it?
Check out other ‘Lessons learned from my 1st paid gig’
Handling hecklers
Microphone mishaps
That sleazy pr-business
Not the ambulance service
Without walls, Outdoor storytelling
Not the ambulance service
LESSONS LEARNED FROM MY 1st PAID GIG
About a third of the way into my show, I’m jolted out of my story by a loud shout. I look up to see a man mooning me. I’m halfway through a word, but lose it before reaching the end. The sight of bare white buttocks wiped my brain clean. I have not just lost my spot, I have completely forgotten my whole story. My brain is a void.
Panic!
Now what?!?! I try to remain calm and look for the one friend in the audience who’s seen this story before. Maybe he will somehow magically trigger it all back. Then I realize that I’m holding one arm in the air. My body posture clues me back in! I’m pointing at an imaginary picture on the wall. Which means I’m in Gerhard’s living room and he’s pouring drinks.
Within seconds I’m back on track, so fast that my brain-freeze was hardly noticed. But on the bike ride home I can’t stop thinking about that sinking feeling of utter panic when I thought I’d lost my story. And I’m reminded of what my mother used say in times of stress:
You’re not the ambulance service.
No one’s going to die or suffer terrible consequences if I lose the plot. What’s the worst that could happen? I’d have to admit my mess up, ask the audience to help me out and pick up from there. They’d probably think it’s funny. Any panic I feel, is just my ego acting up.
Notes to self
If you lose your spot, check your physical posture and where you are on stage for clues.
You’re not the ambulance service: if you lose the plot, don’t freak out, it’s human and funny. Plus someone in the audience should remember where you left off.
Check out other ‘Lessons learned from my 1st paid gig’
Handling hecklers
Microphone mishaps
The running away thing
That sleazy PR-business
Without walls, Outdoor storytelling
Handling hecklers
LESSONS LEARNED FROM MY 1st PAID GIG
When I arrive in the park, half an hour before my show, I notice a group of men sitting around some fallen tree trunks. They’re loud, within hearing distance of the stage and look inebriated. They bring to mind the ‘worst show’ horror stories that so many comedians and storytellers share. Stories that often take place in venues where not everyone is expecting a performer to turn up. Like a bar. Or a park…
During the sound-check the tree-trunk gang starts shouting and demanding immediate entertainment. Then one of them - torn jeans, cowboy hat, skimpy leather vest over a bare chest - scrambles up on stage to play his mouth harmonica, to the whooping delight of his friends. I feel a slight pit in my stomach. These guys look and sound like prototype hecklers. The organizer walks up to me, following my gaze. She confirms my fears. That group is beginning to be a problem. They didn’t stop messing with the performers last week.
Backstage I practice some of the standard snarky remarks I’ve learned over the years in the streets of Amsterdam. That’s a plus to living in a city, you learn how to be quick with come-backs. Good thing too, because as soon as I walk on stage, one of the tree-trunk gang – bald, round-bellied, white t-shirt and denim vest – starts walking towards the stage. He has his arms out and is yelling something I don’t quite catch. But his body language says enough, he’s challenging me. So I challenge him back; to come up front, here, with us if he wants to be part of this so much. A few more back and forths later, he saunters back to his gang and their loud chatter.
Things go well for the next ten minutes or so. I’m deep into sharing my story, completely blocking out the constant chatter coming from the tree-trunks when suddenly I’m jolted by a loud call.
HEY!
I look up to see the round-bellied bald man squatting on a tree trunk, his jeans pulled down around his ankles, his white buttocks reflecting in the sun. The tree-trunk gang let out a roaring laugh making several audience members turn their heads and send angry annoyed looks in their general direction. I’m mid-word and for a moment and completely forget what I’m saying. But I catch myself and go on as if nothing happened. My lack of reaction seems to discourage the hecklers. They stay quiet until just before the end of my show, but that bit’s interactive anyway.
Even though they didn’t really effect my show, the hecklers stick in my mind. By the end of the day I can’t help but wonder if maybe I should have tried to take control of the situation as soon as I identified it, instead of sitting back and worrying. What if I’d gone over and introduced myself? What if I’d tried to get to know the tree-trunk gang and invited them to come sit closer and watch my show? They might not have. And it might not have stopped them from heckling me. But it might have. And that makes it worth a try. Even if just to give myself the feeling that I did what I could to create the best environment for my story.
Notes to self
Take responsibility for co-creating the best possible environment for your story!
Next time, try befriending possible hecklers.
Check out other ‘Lessons from my 1st paid gig’
Microphone mishaps
The running away thing
That sleazy pr-business
Not the ambulance service
Without walls, Outdoor storytelling
That sleazy PR-business
LESSONS LEARNED FROM MY 1st PAID GIG
Crowd-wise this gig is looking to be a bit of a horror-story. It’s insanely quiet in the park. The organizer had said she expected eighty to a hundred people, but there are just about twenty here. The start of the school holiday, last Friday, explains the low turnout, but it’s still a disappointment to all involved. We decide to postpone my performance another fifteen minutes, hoping that some passersby will join us. The organizer, ever persistent, walks off to invite random park visitors to watch my show. By the time I walk on stage, she’s rustled up more people, creating an audience of about thirty. That's excluding the park visitors sitting further afield who would rather drink beer, chat, chase Pokémons or watch their offspring dig in the sandbox.
About a third of the audience are friends and acquaintances of mine. They are here because I invited them. It was all very last minute. I knew for weeks that I should have been promoting my show, but somehow I couldn’t get myself to do anything. There’s something sleazy about promoting yourself. I’ve never felt comfortable with it and so spend weeks agonizing over who exactly to send an email to and what to say in it, followed by days wondering if maybe I haven’t just left it too late. Finally I push through and send the darn things. Five days before my show.
The first and only other time I promoted a performance, I sent out a general email to friends, family, colleagues, neighbors, etcetera. I bcc’d about sixty people and five turned up to the show. This time, following the advice of Farnoosh, one of my storytelling teachers, I send mostly personal emails and invite less folk, about twenty-five. But more turn up; ten in total! It looks like Farnoosh was right: the personal invite works a lot better!
But that’s not what strikes me the most about this experience. What struck me the most was the disappointment the organizer, the venue-volunteers and the sound-guy expressed over the limited turn-out. Only then did I fully understand that this isn’t my show, it’s our show. It matters to them as much as it does to me. They want this afternoon to be success just as much as I do, maybe even more, it’s their venue after all. That’s when I realize that it’s not about promoting myself. I’m promoting the thing that happens when I join forces with others and we create something together. That realization makes promoting my shows feel a lot easier and less sleazy. I think I’ll send out more personal emails next time. And who knows, even give people more than five days notice.
Farnoosh was one of my teachers during the 2016 Professional Storyteller Course at the Mezrab Storytelling School. A truly great school!!
Notes to self
Stop freaking out about promoting yourself. You’re not. You’re promoting a show of which you are only a part.
Send personal invites to shows.
Check out other ‘Lessons learned from my 1st paid gig’
Handling hecklers
Microphone mishaps
The running away thing
Not the ambulance service
Without walls, Outdoor storytelling
Without walls, Outdoor storytelling
LESSONS LEARNED FROM MY 1st PAID GIG
Storytelling in a park is very different to storytelling inside. Mainly because there are no walls. This may seem like an obvious observation. And I had thought about it beforehand. About how mainly families with small children visit parks and I worried that those little ones would scream in disappointment when they saw I wasn’t a kids’ show. I realized that certain bits were not really suitable for children and that the audience would not hear me well or get distracted. And so I cleaned up the cuss-words in my story, replaced the whiskey for the young audience member at the end of my show with an apple juice, did extra voice exercises and emotionally prepared myself for a distracted audience.
But I was in no way prepared for what it felt like to see a row of five friends turning their heads away from me looking stage-left at something I couldn’t see, while behind them the majority of the audience lay back and looked dead, with beyond them beer drinkers loudly chatting, cyclists and runners zipping by nearly running into Pokémon hunters blind to world, toddlers screaming in a sandbox, hecklers yelling from behind tree trunks, boys playing football and a bald man mooning me. When there are walls the most distracting things are someone getting up to go to the toilet, a phone ringing or a glass breaking. I was not prepared for this level of distraction
I also wasn’t prepared for what happened when I saw the row of friends all look in another direction while I stood there telling them a story. It awoke my inner-toddler. I had an incredible urge to stamp my foot, yell their names and throw something at them. My inner grownup really had to step-up to prevent inner-toddler from stopping the show and asking them – insert whiny voice – what’s so much more interesting than me? Luckily while this was happening, two grey haired ladies cycling by, stopped to listen, then locked their bikes and slipped into some deckchairs to – insert excited voice – listen to me!
Those deckchairs also threw me. When I first saw them, I was super excited. Especially as the day turned out luxuriously warm and sunny. I could just imagine lying back, basking in the warm sun, listening to a story and was almost envious of my audience. Not once did it occur to me that this would leave me standing on a stage telling a story to people who for the most part looked like they were asleep. Or dead.
But dead audience members, screaming toddlers, near bike accidents and bare bottoms did not in the end effect my show in a way that others noticed. And I’m already looking forward to the next telling in a park and to putting to use what I learned from this one. All in all, it was fun and exciting. And some distractions were heartwarming. Like the tiny boy in the front row, looking up at me with big eyes like I was the most interesting thing in the universe. Right up to the end, long after all the other children had given up on my grown-up story and gone elsewhere to play, he continued to watch me, fully engrossed. He made me feel so relieved that I had thought to replace the whiskey with apple juice. His huge shy smile, when he walked up to the stage to get that glass of juice from me, made for the most uplifting moment of my day.
Notes to self
Prepare for what’s beyond the audience. If possible visit the outdoor venue beforehand to get a feel of the place and its sounds and sights.
Be prepared for your inner toddler, she’s just your ego trying to pull you out of the moment.
Avoid deckchairs! Especially on sunny summer days. How? Hide them? Put thumb tacks on the seats? Must find a legal solution to this problem…
Check out other ‘Lessons learned from my 1st paid gig’
Handling hecklers
Microphone mishaps
The running away thing
That sleazy PR-business
Not the ambulance service
My first professional performance!
I just performed my first PAID gig, at Noorderparkkamer, Amsterdam! And sent my first invoice as a storyteller! So I guess that means I can now officially call myself a professional storyteller, aka someone who’s paid to tell stories. Ok, I'll admit to being a professional storyteller without much work and one who’s not able to live off her profession (Yet!), but a professional storyteller none the less.
Whoop!
Step one of my quest completed! And what an exhilarating, but also scary experience it was! It went well, but there were also a lot of ‘opportunities to learn’. I come out of it all feeling content and excited to process everything I’ve learned. So best to expect several posts with lessons learned the next few days! Looking back now, I think the most important lesson learned is that I can take more responsibility for my show than I realized before. I can get cracking on moving stage pieces if necessary, go find that glass of water or try to involve potential unruly audience members and do whatever else is needed to make my show the best it can be. As for the other lessons learned, keep an eye out on the list below. I’ll add posts as they come along.
Check out my ‘Lessons learned from my 1st paid gig
Handling hecklers
Microphone mishaps
The running away thing
That sleazy pr-business
Not the ambulance service
Without walls, Outdoor storytelling
Storygasms
Here’s something no one warns you about when you’re starting out as a storyteller: storygasms. The first one caught me completely off guard. It happened on Friday the 13th, November 2015. I had been telling my first story in front of a proper audience. It was an amazing experience. I was truly in the moment. The rest of the world disappearing, leaving just me and the audience. Their aws and giggles feeding my story, keeping me grounded and true to myself. An unusually deep feeling of interconnectedness. And then, when I walk off stage…
I’m buzzing with energy. Everyone seems amazing! Adrenaline’s pumping through my body. Everything’s great! I feel like running around the block a thousand times. Like I should be leaping over tall buildings in a single bound and saving the planet from destruction. Superwomaaaaaaaan!
I’ve felt this once before, after jumping out of a plane with a parachute. I was filled with so much adrenaline then that I couldn’t stop talking for three hours straight, until I fell into a sudden deep thirteen hour sleep. They called that an airgasm. So I guess this must be a storygasm.
For awhile there I thought that storygasms were what happened when you tell a good tale. But even though I kept telling good stories, non of them were followed by anything remotely as exciting as what followed on that first storytelling. Not even the ones where I was ‘in the moment’. And so I thought, maybe it only feels like that the first time. But almost eight months later, on another Friday night, I told a story about a suitcase. And there it was again, that perfect spot in storytelling. Completely in the moment. Completely in connection with the audience. Their laughter and shocked ohs feeding me. Our energies bouncing off each other. They creating the story as much as I was. And after the show…
I’m buzzing with energy. Everyone seems amazing! Adrenaline’s pumping through my body. Everything’s great! I feel like running around the block a thousand times. Like I should be leaping over tall buildings in a single bound and saving the planet from destruction. Superwomaaaaaaaan!
Outside I run into Raphael, the most direct of my former storytelling teachers. He takes one look at me: “You look like you’re on drugs.” Storygasms, better than drugs!
But harder to score (at least if you live in Amsterdam). Storygasms are tricky, like orgasms, in that you have to hit the perfect, but elusive spot to make them happen. It’s not just about me, the storyteller, being in the moment. The audience needs to be there with me too. That perfect balance where our real worlds fade away and the whole audience is running down the street with me, desperately hoping that I will find my lost suitcase. They aren’t listening to my story anymore, they are in it. When it doesn’t happen, the audience will enjoy a good story, laugh and clap. That’s a good show. But when it happens, the same story will lead to a room full of people throwing their arms in the air in a roaring cheer. That’s a storygasm show!
And the great thing about storygasms is that, unlike orgasms, they always come with applause and cheers. And usually a few free drinks after the show too.
Raphael was one of my teachers during the 2016 Professional Storyteller Course at the Mezrab Storytelling School. A truly great school!!
A quest is born
There are more than a hundred people in the audience. The ones in front lounging on pillows, behind them rows on benches and chairs, and behind them people piled with pillows on tables or perching on barstools. They’re eating mom or dad’s soup, finishing off the last pieces of passion fruit cheesecake, drinking tall glasses of hot mint tea or fresh cool beers. It’s True Story Night at Mezrab, Amsterdam and I’m about to tell a story in front of an audience for the very first time.
Breath. Let go. Be yourself.
I repeat these words to myself as I clamber over the pillow-sitters and turn around to face the audience. I start telling my story, but it doesn’t feel right. My shoulders feel tense. My voice is slightly strained. I’m not letting go. I’m not being myself!
Breath.
I keep talking and plant both my feet firmly on the ground.
Let go.
I look around the room at the audience.
Be yourself.
I catch the eye of a friendly face and continue my story; for this moment I’m telling it just to her.
Breath.
Slowly I sink into myself. I look around at other audience members. My shoulders feel looser. It feels like I’m talking to friends now…
Applause!
And even two whoops!! My hands are shaking as if all the nervousness is coming out afterwards. That was the most amazing experience! For the last few months I’ve been telling people I’m thinking about becoming a storyteller. But on the stage that night, I felt like I was stepping into a self I was always meant to be. Like a parched fish finding water. And I realized, there is no thinking about it. I’m not trying to become a storyteller. I always have been. No wonder friends and family rarely seem surprised when I tell them about my life changing plans. That night I went to sleep knowing that the real challenge is not the storytelling, it’s figuring out how to convince other people to pay me to do what I love doing.
And so began my quest to become a professional storyteller.
Want to hear the story that started this quest? Click here to listen to my story Flipsides (short version), my story starts @ 3.10 mins.
Insanity a plus
It’s my first week of full-time storytelling school. We’re learning to break stories down to their essence and then build them up again from our own experiences; make age-old tales our own.
I’m not sure I should be doing this. I’m still not fully recovered from a pretty bad mental breakdown. Still in therapy. Still more than overwhelmed by life. I’ve lost the ability to put on a mask. What I feel, is what you see. And oftentimes, it isn’t pretty. That’s hard for people to deal with. So for a while now, I’ve been isolating myself and making sure to avoid big emotions when among others. But here I am, trying to avoid overwhelming emotions by carefully choosing a story that won’t trigger any mother-memories and somehow ending up with a story that’s twisted itself into an analogy of my breakdown.
Can I share this story?
When I practice at home, I’m overwhelmed by emotions and find myself crying and inadvertently raising my voice. My mind goes back to the beginning of my breakdown, when my masks started slipping and I stopped being able to control my emotions or hide them. Stopped being able to pretend. And how since then everyone’s been telling me that I’m “in a bad place”. I’ve heard those words too often.
How do I control my emotions when telling a tale?
I’m standing in front of my classmates, telling my tale. I feel my chest tighten, the emotion run through my body, fear, anger, sadness, guilt, despair. My voice is raised. I’m yelling now, the emotions rushing out with the words of my main character. When my story’s over, for a moment, nobody moves. A weird extended silence before my classmates and teachers start clapping. I want to run out of the room. I feel like I know what they’re going to say. That I’m unstable, in a bad place, unwell. Then my teacher speaks, slowly and decidedly:
“You are in a very good place.”
Turns out, unlike the real world, in storytelling not being able to wear a mask is a very good thing. My type of insanity a plus? I think this school might be the right choice after all! Now I just need to learn how to keep those unmasked emotions from running away with me. I hope they cover that in class too.
Want to hear what that story became once I learned to tame my emotions a bit? Click here to listen to my story Golem (12 mins), my story begins @ 27.30 mins.
The ‘school’ in this story is the 2016 Professional Storyteller Course at the Mezrab Storytelling School. A truly great school!!