Poster Perfect: Working with Designer who Listens

When Dawn Bloxham sent the first draft of the poster, I was impressed.

She focused on my requests, and she did not let 24 hours pass before addressing any questions or comments from me.

My response to her was the following--

What I Love:

• The font and positioning is perfect for "Family Famine: Hunger for Love". I think you purposely lined up the "F" "U" "L" in a vertical way, which has a fun meaning for those who are observant.
• The title, in and of itself, is a work of art.
• The hands with the bowl of soup/heart really does work!
• The red, white, and blue colors reflect Americana and traditional family values.
• Your sense of balance and the power of threes in your artwork. For example, you are smart that the hands make a triangle shape pointing to the information. You are also conscientious of having some red on top, red in the middle, and red in the soup.
• You understand the "less is more" concept.
• Dark brown works as an outline color rather than a black.
• Lining up of all the wording in a pleasing manner.

Things to Explore/Play:

• Let's have bolder and richer colors of the red, white, and blue colors. What would happen if we had the same/similar bright blue as on my business card for the background? Blood-red or similar shade of red as on my business card? At the same time, I like how the skin color of the hand blends into the background--very artistic. Yet, the color is muted and not engaging enough to make someone stop while walking past the poster. The trick is what to do about the font color with such a background? Please save the original version as well as this "play with color" one.
• Let's have "action" to the image by having big swirls of steam from the soup. Perhaps reflect the style as the heart in the soup.
• Could my picture be enlarged without distracting from the title or bowl? I know white space is important.
• Could the hands have a texture to look more 2D or 3D rather than flat?
• Add possible contrast to the hands and bowl. For example, the tree on my business card has the white with the dark brown so it has almost a "shock" value. Same with the white pixie against the dark background. This may make the hands, in particular, less flat-looking.

Wording/Item to Change:

• A couple people did not know what I meant by "recorded live" in connection with "World premiere narrative production recorded live". Do you think it will be more clear if it was "World premiere narrative production to be recorded live"?
• The white font of "Monday, February 9th at 8:00pm" is hard to read against the tan background.

When Dawn changed the background color for the poster, darkened the blues and reds, and added the steam from the bowl of soup with the heart in it, I knew we had it. The contrast or the request to make the hands look more 2D or 3D became unnecessary.

Yet, not to be hasty, I again sent this file to my story buddies. They had helped catch things in the past that I would not have seen until it was too late.

After feedback from my story buddies, I knew that the poster was finalized.

Dawn certainly has artistic flair and listens to me at the same time.
Until we tell again,

Rachel Hedman

Professional Storyteller

Former Co-Chair of Youth, Educators, and Storytellers Alliance (2005-2008)

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com

How-To Blog: http://storytellingadventures.blogspot.com

Performance Blog: http://familyfamine.blogspot.com
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

"The Gardener's Wife" & Heart-Song Scribblings

I always imagined two songs in "The Gardener's Wife": a grieving song and a lullaby.

While with my story buddy, Holly Robison, we explored the possibilities for the grieving song. The grieving song would be prompted when she is alone. She is strong when her husband is nearby.

In August 2008, I had the following ideas or what I labeled as "Scribblings from my Heart"--

An empty table.
An empty chair.
An empty family that should be there.

This was our starting point for our brainstorming and one of our handy tools was the thesaurus.

I realized that I would like to delve into the senses such as sight, sound, touch/feel, smell and taste. The empty table and chair were visual, but what about for sound or for touch/feel? Holly and I did not think that we could do much with smell or taste for this song.

I sensed that three verses were needed. Originally I thought the song would be sung all at once at the beginning. This would be before the Gardener's Wife is blessed with three children. Then I expressed to Holly that in some ways it was too bad that it would be sung once as the lullaby would be sung several times throughout the story.

Holly asked, "Does it have to be sung all at once?"

Silence. My mind racing.

"No, it doesn't!" I exclaimed.

As there are three children, one of the three verses could be sung before a baby comes to her. The lullaby would then be sung after a baby come.

First verse--rough draft:

A silent cradle.
A silent room.
A silent home that sounds like a tomb.

As not a single baby is in the home, it would be silent. The focus would be on the sense of sound.

Other things could be silent besides a cradle and room:

• laughter
• songs
• stories
• crying
• sharing
• chat/conversation/talk
• play
• room
• home
• corner
• place
  

Second verse--rough draft:

A lonely ______. (needs to be two syllables)
A lonely ______. (needs to be one syllable)
A lonely ___________________. (2nd and 3rd lines need to rhyme)

The Gardener's Wife knows that though she is not as lonely as before, she still does not feel complete. There is also not a playmate or sibling for the first baby. The focus would be on the sense of touch/feel.

Things that could create loneliness:

• moment
• time
• hour
• hand
• walk
• hug
• thought
• meal
• baby items
• places

Third verse--rough draft:

An empty table.
An empty chair.
An empty family that should be there.

The Gardener's Wife knows, as a mother, that someone is missing. A third child needs to come to the home. The focus would be on the sense of sight.

Other words could be like empty:

• barren
• nothing
• zero
• lack
• silent
• bare
• blank
• vacant
• unfulfilled
• forgotten

There will be a day when this "grieving" song will not be silent, lonely, or empty. All will be complete. . .soon.

Until we tell again,

Rachel Hedman

Professional Storyteller

Former Co-Chair of Youth, Educators, and Storytellers Alliance (2005-2008)

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com

How-To Blog: http://storytellingadventures.blogspot.com

Performance Blog: http://familyfamine.blogspot.com
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

The 3:00am Discovery: Opening Story Found!

Oh how glorious it is to feel like the whole program is in place for "Family Famine: Hunger for Love"!

I wrestled at night, for my mind was bothered that I did not have an opening story. With less than two months away, I was in panic mode.

I had actually found center and finale stories for other "Family Famine: Hunger for Love" programs beyond the premiere--but no opening stories.

Yesterday I talked with Don Doyle on the telephone for some advice. I did not talk long as he was in the hospice to be at the bedside of his wife. If I had known before I placed the call, I would not have called.

Nevertheless, he brought up the Irish story The Changeling also known as The Brewery of Eggshells. My mind was shaken when he mentioned it as I had considered the story at one time for the "Family Famine: Hunger for Love" premiere. I had brushed the story aside as I thought that it was a tale too familiar with people. I tend to gravitate towards stories that few people know.

However, this may connect me with the audience faster as they hear something familiar yet shared with a Rachel twist.

So as this story tossed around in my head, I tossed about and could not sleep. Then at 3:05am I knew that The Changeling really was the story for this premiere and by 3:08am I sent an email to Elizabeth Ellis on my decision.

I had told this story for my St. Patrick's Day set in March 2008 and bookended this story with a personal moment being the oldest sister and my Mom showing off my little brother to everyone. This was similar to Mrs. Sullivan and her baby. She showed off her baby so much that the fairies exchanged her baby for one of their people.

The way I told it had humor as well as a kind of suspense found in a ghost story. I did a little research on fairies and changelings, though I could do more. This story could also address child abuse indirectly as Mrs. Sullivan asks her neighbors what to do. Some say to roast the child alive and other say to burn off its nose. I could emphasize this slightly and have Mrs. Sullivan wonder about her neighbor's children as a result of their answers.

Interestingly enough, this was my opening story in March 2008 and now it will be my opening story in February 2009!

Until we tell again,

Rachel Hedman

Professional Storyteller

Former Co-Chair of Youth, Educators, and Storytellers Alliance (2005-2008)

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com

How-To Blog: http://storytellingadventures.blogspot.com

Performance Blog: http://familyfamine.blogspot.com
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Marketing Buddies: Many Eyes & Many Brains

I never like to make a decision alone. Not when it comes to advertising.

I sent the file of possible poster and postcard images for "Family Famine: Hunger for Love" to several storytelling friends including my story buddies for "The Gardener's Wife" and for "Forsaken Brother".

I also sent the file to Elizabeth Ellis.

Then I waited for reactions.

Dawn Bloxham, the artist, had sent a page of six different images. She let me know that any of the images could be changed and altered such as in the colors, shapes, and additions.

Two pictures were of two hands with palms up with a heart in it. Another picture was of a heart-shaped apple with a bite and light streaming from it. The fourth image was of a modern white soup bowl filled with tomato soup with a white cream heart and a spoon from an aerial view. The last picture was of a thick horizontal limb of a tree with a couple apples hanging from it with a little blue bird.

I had considered the tree because my business card has a tree with a single apple hanging from it. Perhaps this would be a way to connect my logo with the program's logo.

Yet, it was the bowl of soup that grabbed my attention. I knew the white bowl was too modern, but if it was a modern bowl, then that might be perfect. Most of my story buddies commented on how the bowl of soup grabbed them.

Joanna Huffaker, a storytelling friend, mentioned that the hands did give a human touch so I asked Dawn to add hands around the wooden bowl.

Besides the image, Dawn asked what information needed to be on the posters. I sent her the following lists--

Required Information for Poster:

• Title--Family Famine: Hunger for Love
• World premiere narrative production recorded live
• Starring Rachel Hedman
• Monday, February 9th at 8:00pm
• Covey Center for the Arts, Grand Theater
• 425 W. Center Street, Provo, UT
• Tickets: $10.00 general admission, $5.00 student/senior*, $5.00 for groups of 15 or more*, *Discount prices available only by phone or in person*
• Reserve your seats by calling (801) 852-7007 or go to www.coveycenter.org
• Light refreshments to follow

Debating on How or If to Share the Following Information for Poster/Postcard Due to Space:

• Guest emcee/national storyteller Elizabeth Ellis
• Singer Holly Robison
• Accompanist/Guitarist Joshua Payne
• How much of this standard description--Family life can starve when fed abuse and abandonment with stories that gnaw at the stomach. Then Rachel shares the feast of patience, humor and unconditional love through multicultural tales mixed with song and personal reflection. You are welcome to the table.
• More info at http://familyfamine.blogspot.com or email info@rachelhedman.com
• Merchandise available for purchase

Information for the "Save the Date" Postcard (besides required info for Poster):

• Extend your stay while at the Timpanogos Storytelling Conference (www.timpfest.org) from February 5-7 and take part in this event
• Please RSVP at info@rachelhedman.com
• Remember you could:
  

* Attend and celebrate
* Pre-order DVD at special price $15.00 (Normal $20.00)
* Invite Rachel to you
* Or all of the above!

Until we tell again,

Rachel Hedman

Professional Storyteller

Former Co-Chair of Youth, Educators, and Storytellers Alliance (2005-2008)

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com

How-To Blog: http://storytellingadventures.blogspot.com

Performance Blog: http://familyfamine.blogspot.com
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Grimm Debate: "Iron John" vs. "Hansel and Gretel"

The Grimm Brothers gathered many stories that most of us know today.

We have such tales as Cinderella, Sleeping Beauty, and Snow White that Disney has made popular.

Of the many Grimm tales, Iron John and Hansel and Gretel had possibilities to shed light indirectly on child abuse in the home. The only time to bring up the abuse was at the beginning of each of the stories.

This seems like a strange way to begin the whole "Family Famine: Hunger for Love" program.

Where was the humor?

While at the Utah Storytelling Guild Olympus Chapter Christmas party, I brought some of my books on Iron John so people could get a taste as to what direction I was heading. Luckily, everyone there knew the story of Hansel and Gretel.

Strengths for Iron John:

• Interesting relationship between the boy-prince and the Wild Man, as the Wild Man is really like a second father
• Heavily a "guy" story while the ending story, The Gardener's Wife, is heavily a "girl" story so it balances out the program
• Boy-prince is an eight-year-old while the boy in the center story, Forsaken Brother, is one which I already planned for the boy to also be an eight-year-old
  

Strengths for Hansel and Gretel:

• Familiar story with a "Rachel twist" could be welcomed by the audience
• Chance for children to be heroes and show how siblings can help each other
• Mother character is intriguing for she (and not a stepmother as shared in other versions) was the one who took the children to the woods to get lost

One of my friends, Julie Barnson, predicted that I may not choose either one of these stories to be the opening piece for "Family Famine: Hunger for Love" premiere.

We shall see.

Until we tell again,

Rachel Hedman

Professional Storyteller

Former Co-Chair of Youth, Educators, and Storytellers Alliance (2005-2008)

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com

How-To Blog: http://storytellingadventures.blogspot.com

Performance Blog: http://familyfamine.blogspot.com
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

"Forsaken Brother" & Ojibwa Influences on the Boy

There are so many beautiful cultures in the world, and, as a storyteller, I do my best to honor them.

The same is for the Ojibwa people.

I shared what I learned with Julie Barnson, my story buddy for "Forsaken Brother", and we were also able to discover even more elements that could prove crucial to the telling of the tale.



Ojibwa Cultural Elements that may Shape Story:

• The boy will be at least seven-years-old as this is the age when children are expected to help with the chores. Perhaps I will place him at age eight about to turn nine as this could add to why the older sister feels she must abandon him.
• When boys reach age twelve, they go on a Vision Quest. Though the boy in "Forsaken Brother" will not yet be this age, he could reflect on this future ceremony. During a Vision Quest, there is fasting that is chosen of the boy's own free will. Whereas, in this story, he is forced to starve. A Vision Quest is often connected to sights or sounds for the boy only. Listening to the wolves howl and seeing them off in the distance could seem like a vision at first but then realizes that they are truly before him.
• The words for food and water in the language would add more culture to the story. For example, the word for "water" is "nibi" or pronounced "ne-be".
• At one point the boy finds shelter in a tree. Though the type is not shared in the original story, I may make it a maple tree. The Ojibwa would gather syrup as families. The boy could take his fingers and peel the bark away, attempting to make a hole, and then remember that it is wintertime and the syrup comes in spring. The tree that once gave him food could not at his time of greatest need.
• While huddled in the tree, he could reflect on a story or two about Nanabozho, a half spirit/half human being. Nanabozho is credited with the discovery of wild rice as well as hunting skills. He also drove Winter-Maker away so spring could come and food be present once more. Of all times, these skills are needed for the boy. This could be a little story within a story.
• The family may be part of the Nooke ("Tender", i.e. Bear) clan, which is known for healing and defense. These attributes are prominent in the story. The bear, lynx, and wolf are part of the Nooke totem/doodem. It is the largest totem.
• When someone is ill, it is thought to be of the spirit as well as for the physical body. I have added that the sister could see her father's eyes through the eyes of her younger brother. The eyes are often thought as the "window to the soul".
• Mourning for the dead--There is mourning for about a year and then you can join the community again. This could partly explain why the lodge was so far from the village at the beginning of the story. The sister may have been surprised when the older brother left the lodge so soon as the year of mourning was not complete for the passing of the father or of the mother.
  
• Ritual for the dead--The dead are placed in special clothing and have a spirit bundle that holds a lock of the dead person's hair. Then the dead are wrapped in a blanket and birchbark. The body is removed from the west side of the wigwam and food is placed with them. A close family member dances around the open grave. A barkhouse is made and reflects the symbol of the family's clan over the grave.
• The boy would know about the food buried with his father and mother, though the thought to get the food would never have crossed his mind.

Until we tell again,

Rachel Hedman

Professional Storyteller

Former Co-Chair of Youth, Educators, and Storytellers Alliance (2005-2008)

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com

How-To Blog: http://storytellingadventures.blogspot.com

Performance Blog: http://familyfamine.blogspot.com
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Oh Where, Oh Where is that Opening Story?

My center and final stories for the "Family Famine: Hunger for Love" came in such miraculous ways that I expected another miracle to shine light on a story and say "Here is your opening story!"

So far no light.

I dedicated today to the libraries to find that opening story. There is a certain mood that an opening story needs that, at times, can make it so difficult.

Humor is powerful. Yet, I had always imagined one of my stories to address child abuse, at least in an indirect way. My center story is on abandonment while the final story is on adoption.

I have tossed around the idea of a version of "Hansel and Gretel", but nothing so far has struck me as "I must tell this one!"

In "emergencies" such as finding the opening story with the premiere a little over two months away, I settled on the floor at the Central Branch of the Davis County Library system. It seems more inspiration has come from sitting on the floor rather than sitting in a chair.

At times I worried if I blocked the way for other library patrons, so I was quick to move my feet aside to allow people through. Some people could tell I was on a serious mission and so avoided my area.

Normally I would check out about 20-30 books and take them home to peruse. This time I sat for hours reading. I scanned titles and the first paragraphs as most likely the focus would be revealed through those means. If the story did not connect with some level of family relationship or even with food or famine, then I skipped to the next story.

Finally, I ignored the collections of folktales and moved on to the picture books. Sometimes these books reveal the ethnic background and bibliographies to further research. I did not want to do a literary piece. I wanted to create the story based on the folktale's structure and culture.

When a few hours passed and still I seemed no closer than when I first arrived at the library, the story "Iron John" jumped out at me. Many years ago I considered telling this story. To this day, I do not know many storytellers who tell it despite it being part of the Brothers Grimm collection.

In all the versions I have read for "Iron John", not once have I read that the boy-prince's father was abusive. Yet, the boy feels a need to have a second father in the form of a wild man. My imagination fills in the blanks by thinking perhaps the king was not all that he seemed.

The story may be too heavy for an opening piece.

So the search continues for that elusive opening story.

Until we tell again,

Rachel Hedman

Professional Storyteller

Former Co-Chair of Youth, Educators, and Storytellers Alliance (2005-2008)

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com

How-To Blog: http://storytellingadventures.blogspot.com

Performance Blog: http://familyfamine.blogspot.com
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller