"Lights, Camera, Action": Finding the Right Film Company

Thanks to Stephen and Teresa Gashler, owners of Gashler Media, in granting permission to post their picture and logo.

I searched online for the right company to film "Family Famine: Hunger for Love" and eventually I came upon Gashler Media.

Google was my search engine of choice and I used phrases such as "Utah videography" or "Utah filming company" and other similar words.

The listings usually changed my original search to "Utah wedding videography".

I laughed at the results, as what was I to expect from a state that had the most weddings anywhere in the nation. . .perhaps even in the world? Add to this that my premiere would be in Provo, the capital of marriages due to the closeness of Brigham Young University. There were many choices of filming companies.

Then, one by one, I googled specific companies that came from the online search. If I did not like their website (or if no website could be found), then I crossed them off my list.

I was suprised how many of the filming companies had a simple directory listing on wedding sites but nothing else to explain their services.

Finally, I found Gashler Media.

I liked the website, especially as there were samples of their work. I was intrigued when their site stated that "We will only produce family-friendly content (G or PG-rated) and nothing of a sensual, pornographic, violent, hateful, rude, irreverant, profane, obscene, deceitful or manipulative nature."

That made me wonder the rating for my premiere. Was it PG? I did place the minimum audience age to eight, though the stories were geared for twelve-year-olds and older. What did that mean?

It was helpful that Stephen and Teresa, the owners of Gashler Media, had pricing.

I noticed that for three cameras--as I wanted different angles--it would be $1000.

That would fit within my budget.

I called Stephen and scheduled a time today to meet the two of them to see if we might work together.

They requested that I bring a list of desired shots for the premiere.

Here are the Desired Shots--

"Before I Come on Stage" Shots

• Some set-up, putting up the booth in the hallway, or other ambiance footage like the empty theatre, wooden paneling, stage, etc.
• People taking their seats and chatting with each other
• Close up of Elizabeth Ellis, emcee
• Shots of my husband, Mom, Dad, and brother in the front row as Elizabeth acknowledges their presence
• My sister could not make it from Wisconsin so directing the auidence to look at one of the cameras and say, "We love you, Care!"
• Shots of some storytellers wearing blue ribbons
• Close up of Elizabeth Ellis and then pan out to see the whole stage when I come out

"The Changeling"--First Story Shots

• Audience reactions mixed with panned out and close-ups to include full-body shots and some close-ups of the face
• Close-ups of the three neighbors/characters--Mrs. O'Malley, Mrs. Flanagan, and Mrs. Lynch

"Forsaken Brother"--Second Story Shots

• Begin with close-ups of the upright bass and the guitar, as there will be a bit of "soundscapes" before I begin
• Audience reactions mixed with panned out and close-ups to include full-body shots and some close-ups of the face
• Mix of solo storytelling shots (me), duo shots (Geoff Rayback on bass and Joshua Payne on guitar), and trio shots (all three of us)
• Reference to eyes--how father's eyes are like the boy's eyes--so shots can reflect this reference
• In editing--quick shots between me and the instruments during climax (when brother spots boy on shore and tries to reach him before the boy transforms into a wolf)

Transition between Second and Third Stories

• Close-up of me to close-up of brother as I surprise him by having the audience sing "Happy Birthday" a day early

"The Gardener's Wife"--Third Story Shots

• Audience reactions mixed with panned out and close-ups to include full body shots and some close-ups of the face
• Mix of solo storytelling shots (me) and solo singing shots (when I sing alone and when Holly Robison sings alone), and duo shots when Holly and I harmonize
• Shots of audience when I welcome them to sing the lullaby, especially the first time
• Close-ups and full-body shots during singing of lullaby and of the grieving/pleading song

Recognition after the Program on Stage Shots

• When all performing artists and the emcee come on stage to applause

Celebration/Mingling Shots

• General buzz shots as people get up from their seats
• People eating cookies and treats
• With the buzz and talk, to have family reactions, Elizabeth Ellis and any volunteers who want to share what they thought (interview style)

What would also be Nice

• If I transcribe the performance, could closed captioning be chosen to be on or off?
• Audio commentary after it is done? To include story buddies and guest artists?
• Add American Sign Language interpreter on the corner while actual film is running of the live show?

I knew I had found the right company in Gashler Media when Stephen and Teresa told me that the closed captioning, audio commentary, and the ASL could be added without changing the $1000 fee.

So now on premiere day could be called out, "Lights, Camera, Action!"

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

Wisconsin Parents Fly for Utah Premiere

This picture was posted by permission of my parents.

Last night it seemed my parents would not come to the "Family Famine: Hunger for Love" premiere.

Mom explained how nervous she would be to fly during the winter.

Then that all changed.

Before I walked out the door to attend Cub Scouts Roundtable Training, I received another call from Mom.

She asked, "So. . .you have room at your house?"

"Whoo-hoo!" I yelled so my husband, Casey, and the whole neighborhood knew my joy.

I started to walk wildly back and forth, which is my way to release the energy during such a moment. I would be late for the Roundtable Training, but I did not care!

I thought about the journey to this "yes" from Mom and Dad.

My Mom had clicked "maybe" when I invited her to the event through the "Family Famine: Hunger for Love" Facebook support group. That had given me hope for at least a month.

I called Elizabeth Ellis, my professor from the East Tennessee State University Storytelling Masters program and guest emcee for the event. I told her that usually a Mom "maybe" transformed into "yes". Elizabeth wished that it would be true, though she doubted, especially considering the distance from Utah to Wisconsin.

When it appeared that the "maybe" could really turn into a "no", I was disappointed though I could not blame Mom and Dad for that possible answer.

I stressed to Mom that I did not know when I would do anything even close to what I was doing for this premiere. I painted a picture for Mom as to all the details (and money) being placed into this premiere.

At this point, Mom mentioned that they wanted to come to Utah for the 2009 Christmas. I had to laugh, as December was a winter month like February. What happened to her fear to fly during the winter?

Then I said, "Would you be able to trade the Christmas trip for the premiere? There will always be more Christmases."

I expected Mom would want to discuss with Dad, which she did.

Then tonight I received the news: they would be coming.

Their seats have since been reserved on the front row of the Covey Center for the Arts Grand Theater.

Before my parents response, I had already heard from my brother, Nate. He took off work and committed to drive from Idaho to Utah. He also has a front row seat.

My sister, Care, will be missed as she has college classes in Wisconsin and cannot fly with my parents. She will be missed. I told her about what I plan to film on premiere day so she feels part of the event. (You will need to attend and/or pre-order the DVD to find out what that will be.)

And my husband, Casey? He will be there next to my parents and brother. Casey is my constant story appreciator through which we will live "eternally ever after".

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

Word Wrestling: Narrative Production vs. Storytelling

I labeled "Family Famine: Hunger for Love" as a "narrative production" since August 2008 and it seemed like a hands-down win.

Then today Elizabeth Ellis, national storyteller and one of my Storytelling Masters professors at East Tennessee State University, asked, "Why?" in an email.

I called her in order to have help in this wrestle with words. None of my other storytelling friends had asked, "Why?"

Ellis was genuinely interested as to my reasons for "narrative production".

I found it hard to respond as she asked me questions so I could come up with my own answer.

Yet, this was the time to answer it because I was about to order postcards and posters. The wording could be changed, if necessary. "Narrative production" was used throughout the Internet, but the Internet could be easily edited for whatever term I chose to use.

Ellis continued, "I find it strange that so many people use the term 'storytelling' when those who call themselves 'storyteller' are afraid to use it." She felt not enough of us "raise the banner" in using the word "storytelling".

She was right. Filmmakers, authors, musicians, speakers, and many other performing artists use the word "storytelling" freely.

Guilt. More guilt.

Anyone who knows me is aware that I am a storytelling advocate. Of my "Voice--A Storyteller's Lifestyle" blog, Tim Ereneta proclaimed, "It's clear from her regular and varied postings that she is passionate not only about storytelling but about the storytelling movement."

Then my college education came to mind.

Since I studied Communications Marketing at Brigham Young University, I knew that if a certain word or phrase evoked images or formed connotations that did not match my message, then it was best to use another word or phrase that did meet my goal.

Usually when "storytelling" is mentioned, people think about an old lady reading a story to preschoolers.

I am not an old lady. . .yet. (I am only 29.)

I do not read when on stage. I read books for research.

This program has a minimum age of 8 yet geared to 12-year-olds+ due to the themes of child abuse, abandonment, and adoption. Hmmm.

Then I looked at what I currently labeled the event: a world premiere narrative production to be recorded live.

I wanted a more sophisticated sound, but did I go too far?

I called David Novak, another national storyteller and professor at ETSU.

He seemed to think that I could be more creative in how I expressed the program. He thought I might even invent a new word or phrase that could become my trademark.

I was glad for his confidence in me, though now I felt the pressure to be a genius.

He agreed that to reach teenagers and college students, perhaps a different label was needed than "storytelling".

As I brainstormed other phrases, I went on Facebook and instant messaged people who were online for opinions.

A lot of my cousins were online including Greg Wallendal. He directs plays at a high school and was more aware of the terms that may fit with what I had in mind.

Greg granted permission to share part of our conversation--

Rachel: I wanted advice on wording. . ."narrative production" versus "storytelling" or "story"-something.

Greg: Hmmm.

Rachel: It's geared for 12-year-olds and older. No one under 8 is admitted.

Greg: Give me the full sentence as it stands right now.

Rachel: World premiere narrative production to be recorded live

Greg: Are you moving around for your story telling or are you standing behind a podium?

Rachel: No podium. Never podium for storytelling. I have a guest guitarist and a guest singer. Storytelling is the main stage art.

Greg: Are you moving around creating different characters with body language, gesture, voice, etc.?

Rachel: Other arts blend with the storytelling. Telling in 3rd person though with dialogue with characters. I am all of them.

Greg: I'm leaning heavily toward "storytelling production". Do you have fancy lighting or special visuals going on with this, or anything? A set?

Rachel: I told another storytelling professor "storytelling production", and he thought I could be more clever. That's pressure! I do have technicians and I had planned on minor lighting like making it more blue when the boy is starving in the middle of winter for the Ojibwa tale. No sets though. Lights will be up on the audience slightly so there can be a little interaction.

Greg: Maybe add some tease to the title. Kind of a "Don't miss this event" tone to it.

Several ideas were tossed around, but what meant the most was when Greg said, "I'm here for you."

Eventually I thought of "a world premiere storytelling feast for the senses".

Besides positive feedback to my new phrase, I kept the following in mind for my decision:

• BYU Storytelling Club has been active since 1998
• Storytelling was held every Monday night at the BYU Museum of Art for over 8 years
• Timpanogos Storytelling Conference was co-hosted by Theatre and Media Arts Department on campus as part of the Theatre and Community Stories Initiative 2007-2008
• Proximity to Timpanogos Storytelling Festival in Orem, UT that can reach attendance of 20,000 to 28,000 people--about 10 minute drive from Provo, which is the location of my premiere
• Performing Arts Concert Series at BYU had a professional storyteller that sold out
• KBYU combined efforts with PBS to create a TV special/DVD of "The Call of Story"

Other areas of the nation may not be as familiar with "storytelling" and what it all entails, but, for Utah, it was a word worth keeping.

Though the winners vary depending on the event and the intended audience, in this word wrestling round "storytelling" won.

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

Invite from the Timp Tellers: Playing with Story

Thanks to the Timp Tellers of the Utah Storytelling Guild for granting permission to share their comments and to post these pictures from December 4, 2008.

During the annual Utah Storytelling Guild Story Swap, April Johnson invited me to come to the December meeting of the Timp Tellers.

I would have a chance to practice 30-45 minutes with a larger group on the "Family Famine: Hunger for Love" narrative production. I was thrilled at the offer.

Currently I attend two different chapters of the Utah Storytelling Guild: Olympus of Salt Lake County and Ben Lomond of Davis/Weber Counties. I would also regularly attend the Timp Tellers of Utah County, but it is always a Cub Scouts night. More specifically, it is a Roundtable Training for Leaders. Rarely do I miss.

This premiere is to such level that I need any chance I can get to practice. I told my Wolf Assistant Leader to cover for me at the training and bring back the great activity ideas. This way I did not feel as guilty missing Roundtable.

Since the whole premiere would last one and a half hours, I knew I had to choose one story to present to the Timp Tellers. I chose "The Gardener's Wife", mainly as it would be my most complicated piece. Even so, I expected the story in its polished form to be about 35-40 minutes. I decided I would tell a portion of the story, pause at a certain moment, and then "play" with the story by exploring scenes and dialogue that may or may not make it to the actual performance.

Last night on The Art of Storytelling with Children Podcast, Elizabeth Ellis shared that rather than rehearsing a story, it is better to dwell in a story. That was my plan with the Timp Tellers.

I displayed the drawn outline of the story and said I may glance at it as I switched some parts around so that the Gardener's Wife is more prominent rather than in the original story where it starts with the three sisters. That was the only "cheat sheet" I had, though I do not remember looking at it except before I started the story.

I came to about a quarter through the story and said, "Pause. Now it is time to play. What scenes would you like to explore?"

One person wondered "Why do the two older sisters turn so quickly against their youngest sister and replace her baby with a dog?"

At this point, I had two volunteers come to the stage with me and be those two older sisters. I became the youngest one. I would talk about all the wonderful foods at the palace since I married the king. Then I would create an excuse to "leave" the stage--though still in earshot--and the two sisters would complain, especially as one married the king's baker and the other married the king's steward. Finally, I would return and hear a word or two of their "private" conversation and interpret it into another wonderful blessing I had for being married to the king. I "left" the stage about three to four times.

I called on another person for a different scene to explore. A lady wanted her "heart strings to be pulled" and wanted to see a moment when the Gardener's Wife is with her newly adopted son.

I held my arms as if I held a baby and the first words I said were "You are so much cuter than a squash!" This referenced the beginning of the story when the Gardener's Wife looks out into her garden and thinks she sees a child, but it only the squash. As the Gardener's Wife, I continued to tell this imaginary child how it was like without him and seeing all the villagers march past my home with children and I not having any. This time I could march behind my son as he took on great adventures. I ended by singing the lullaby.

This exploration triggered Janet Low to ask what the Gardener's Wife told the other villagers on how this child came to them.

"I had not thought about that," I responded.

As the Gardener's Wife, I spoke to Janet, who was one of the villagers, on how my husband had gone out to the garden. We had fertilized the land so well that--Pop!--a little boy came out of the ground.

"I see you do not believe me," I commented.

I told Janet the actual story of the wooden box floating down the river with the baby in it. Again, I followed this story with "I see you do not believe me on that one either."

Finally, I said, "All this time I was pregnant but I did not show it. And so now we have this little boy."

After playing with the story, the Timp Tellers gave appreciations. Many commented on how lovely the lullaby was and that they loved it the more I sang it. Several enjoyed the dialogue between the Gardener and his wife at the beginning of the story.

Luckily, this session was recorded so that I can listen and see how the story may evolve as a result.

Thank you, Timp Tellers!

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

Flying Forward with the Premiere Logo

So far most things are coming along for the "Family Famine: Hunger for Love" premiere, but I still do not have a logo for it.

I did not even have anyone lined up to create it. . .until today.

Wendy Gourley, a storytelling friend, recommended Dawn Bloxham to create my logo. Dawn was the same lady who developed the "Mockingbird Fly" posters and fliers for Wendy. I liked them because they were crisp, clean, and professional.



Wendy gave her telephone number and so the journey started.

I explained my project and how it was connected to "My Finest Hour" assigned by Elizabeth Ellis through the Advanced Storytelling class of the East Tennessee State University Storytelling Masters program.

Then I asked if there was a student rate.

She said her usual rate was $75.00/hour, though she could give me a student rate of $50.00/hour. She expected the project to take from 3-4 hours as I requested her to create the posters and postcards.

At the end of the logo creation process, she would supply the files with the original artwork and layered so I could adjust any images for other needs such as a program or to tweak the poster for touring as by then it would no longer be called "premiere".

She promised that she would would send some concept ideas as long as I gave her required information for the poster and postcard as well as any other information that would be useful.

I am anxious to see what develops. How about you?

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

On the Web Officially: Covey Center for the Arts

The Grand Theater was reserved two weeks ago, though description for the "Family Famine: Hunger for Love" premiere went up today on the Covey Center for the Arts website.


At first I was promised the information would be posted by Wednesday, November 26th but I did not send the description until that day so it was understandable that it was not up until December 1st.

Instead of saying "I have the Covey Center for the Arts", I can say "Go to the Covey Center for the Arts site"!

People are able to reserve their seats online as well as by telephone and at the ticket booth.

This is what I submitted and can be found on Covey Center for the Arts website:

"I'd rather do this than watch 'American Idol'. I laughed, I cried, it moved me!"
--Amanda, Teenager from UT

"Spellbinding for everyone attending."
--Marilyn R. Lawrence, Davis County, UT


Join the world premiere narrative production recorded live starring professional storyteller Rachel Hedman, guest emcee/national storyteller Elizabeth Ellis as well as singer Holly Robison and accompanist/guitarist Joshua Payne.

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.

Minimum age: 8.

Light refreshments to follow.

You may follow the story development journey at the "Family Famine: Hunger for Love" blog at http://familyfamine.blogspot.com and join the support group on Facebook.

DVDs of the live show can be pre-ordered at a special rate of $15.00 (Normal $20.00). Contact Rachel Hedman at info@rachelhedman.com for more details.


About Rachel Hedman: As a recipient of the J.J. Reneaux Mentorship Grant given to one person a year on a national level, she has tapped into the techniques as taught by national storyteller Don Doyle while exploring her own style through sharing stories of family relationships within the lives of historical, mythical, and personal heroes. She pursues her Storytelling Masters from East Tennessee State University, though her involvment in the art started in 1994 as a sophomore high school student and on to her founding of the still active BYU Storytelling Club in 1997. Discover more at her website (www.rachelhedman.com), Facebook, Twitter, YouTube, or the Professional Storyteller social network site.


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

Covey Center for the Arts: Could I really get it?

After the Covey Center for the Arts virtual tour, I fell in love with it.

It matched the dreams I have had for the premiere since the ideas formed in my head in 2005. The ambiance was perfect.

The big question: could I really get it?

From there I wondered--

• Will it be available on February 9, 2009?
• Could I afford it?
• Would my husband support the potential cost of it?

The Covey Center for the Arts is owned by Provo City and many organizations and performing artists reserve the spaces usually a year in advance. With about three months before my "Family Famine: Hunger for Love" premiere, it is a wonder if any dates would be available let alone the February 9th that I desire.

When I asked Jenni McCall, Scheduling and Events Manager, about February 9th, she said that though there was not a performance on that Monday night, the stage was reserved until 7:00pm by the BYU International Folk Dance Ensemble.

I sighed. I had already called the SCERA Shell, another venue I considered, and February 9th was taken. Now with the Covey Center for the Arts out of the picture, I could not think of any other place that had the seat capacity or the ambiance that I wanted.

But wait!

I asked Jenni if it was possible to still have the Covey Center for the Arts as long as my premiere did not start until 8:00pm. Could I still be allowed to come early and set up displays in the lobby and hallways? Would the BYU International Folk Dance Ensemble be open to my presence? How would the General Manager of the Covey Center for the Arts feel?

When I explained that the timing of this premiere was based around the time of the Timpanogos Storytelling Conference and that my professor Elizabeth Ellis would be in the state, I sensed positive vibes on the other side of the telephone from Jenni.

"I will check for you," she said.

That was what I wanted to hear. I have grown up with the mentality that it does not hurt to ask.

Due to needing to talk with the General Manager as well as the person over the BYU International Folk Dance Ensemble, Jenni predicted that she should know the answer by Wednesday, November 12th. If I had not heard from her by that time, then I was to call her the next day.

November 12th seemed forever away, yet it gave time for me to call friends and ask for prayers. Perhaps this seems like a strange thing to pray for when there is so much to pray for in the world. Though, if the Lord saw it fit to amuse and to tickle me pink, then maybe this was not such a terrible request.

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

Trek (7 of 7): Which Title Inspires You?

If ever you want to expand your mind, then there is someone you must talk with: Dr. Marsha D. Broadway.

This is seven of seven posts relating to my info-gathering trek to BYU on October 21, 2008.

When I wrote my Honors Thesis "Transformation of the Storyteller's Identity and Role Through the American Storytelling Movement", Marsha was my thesis adviser. As one of the founders of the Utah Storytelling Guild, she had inside knowledge of the storytelling community as well as intense English and grammar skills. To this day, she is the Head Juvenile Literature Librarian in the Harold B. Lee Library at Brigham Young University (see above picture).

I could not have had a better adviser.

While on the BYU campus, I was anxious to hear any questions she would ask about the project. Any question would be her way to open my mind rather than purely out of curiosity.

Marsha read my title and description and wondered, "Why did you call it 'Family Famine: Hunger for Love' rather than 'Family Feast: A Hunger for Love'"?

Her point was that the "famine" choice had a more negative or pessimistic view.

I could not answer for a while. I always thought of myself as an optimist. When I had asked friends and family to vote for a title in 2005, "Family Feast" was not even an option. Yet, the word "feast" was a word used within the description.

When I met with Elizabeth Ellis, one of my East Tennessee State University professors, to discuss "My Finest Hour" project, I shared the title "Family Famine: Hunger for Love". Her immediate reaction was "oooooooooo." If ever I had questions or doubts regarding the title, they vanished after that response.

Yet, here I was with Marsha and questions poured into me.

She did not mean to ask the question with the attitude of "Why would you ever. . .". She sincerely asked "Why?"

Finally, I created lists of the "why" for "Family Famine" and for "Family Feast".

Reasons to use "Family Famine: Hunger for Love":

• Program would eventually delve into the dark side of family life such as abuse and abandonment (though would begin and end with the light side)
• Goal to have 12-year-olds+ in attendance and "too happy" of a title could confuse others to think it was a family show for all ages
• Center story "Forsaken Brother" has a moment when famine/hunger is experienced
• Blog and Facebook support group are entitled "Family Famine: Hunger for Love"
  

Reasons to use "Family Feast: A Hunger for Love":

• Program does begin and end with the light side of family relationships
• College students may feel more inclined when there sounds like the possibility of food at an event (and they are one of the main target audiences)
• Light refreshment will be served afterward to reflect the theme
• Focus on end result from performance versus "famine" mood in center of program
• Survey with friends so far has this title in the lead for "which program would you be more likely to attend?"
  

If nothing else, the "Family Famine: Hunger for Love" could be perfect for a book title. For something deeper and darker, a person could always set the book down and come back to it when ready. Thus, a more "negative" title tends to work better for books. However, a live performance does not necessarily give that option.

Most of my programs tend to have the first word be the most important word. In this case, it is "family".

There is also the possibility that both "Family Famine" and "Family Feast" could be used interchangeably and advertising could reflect opposite images to the words. For example, the flies and posters for "Family Famine" would show plenty of food while the "Family Feast" would reflect the lack of food.

Please share which one of these titles you would be more inclined to attend?--

• "Family Famine: Hunger for Love"
• "Family Feast: A Hunger for Love"
• "Feast or Famine: Hunger for Love"
• "Family Feast or Famine: A Hunger for Love"

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

Trek (6 of 7): "Battling Out" Story Project Priorities

I must decide which priorities are most important for the premiere.






This is six of seven posts relating to my info-gathering trek to BYU on October 21, 2008.

Ideally all of the following options would be available, but I may need to drop one or two of them. Perhaps all of them would be possible for a future time but not for the premiere.

After much debate, here are my priorities in order of preference:

• Out-of-town Professor, Elizabeth Ellis, to be Present
• High Attendance
• On-Campus Convenience
  
• True to RSVPs Received for Monday, February 9th
• Fundraiser Capability

Out-of-town Professor, Elizabeth Ellis, to be Present
Though this "Family Famine: Hunger for Love" project has been on my mind since 2005, the project did not emerge into being until Elizabeth Ellis urged us East Tennessee State University graduate students in the Storytelling program to take an incomplete for her Advanced Storytelling class. She wanted us to perform at our top caliber for the "My Finest Hour" assignment.

Finally I had enough courage to see the dream become reality.

There is a benefit for having a professor who is also a national storyteller: she travels often to reach her engagements. However, this does not mean she is in Utah every month or every other month.

When she became one of the two keynote speakers/tellers for the 2009 Timpanogos Storytelling Conference during February 5-7, I this was my chance for Elizabeth to see my performance in-person. True, I could videotape the performance and mail a copy to her, although any storyteller would tell you it is not the same.

Elizabeth Ellis would be in Utah about a week after the conference to perform for schools and community groups. Nevertheless, I could not have Elizabeth pencil in every single evening as one of the possible dates for my premiere. While a venue is determined, Elizabeth has been so kind to reserve Monday, February 9th as well as Wednesday, February 4th.

High Attendance
For any performance you want an audience and the exact number in attendance does not matter.

Yet, when your venue will have 300+ seats, then you want to fill as many as possible.

The main people I aim to attend are: Timpanogos Storytelling Conference attendees (most likely from Utah unless others extend their stay), college students, and Utah Storytelling Guild members. I expect there will also be people from chambers of commerce, youth groups, and senior citizen groups as well as other miscellaneous groups.

If the premiere is scheduled any farther from the Monday, February 9th, date and the less I would gain from the conference attendees.

With Monday known as Family Home Evening, this could help or hurt my efforts. I would like the audience to compose of 12-year-olds+ with no one younger than eight. It may be strange for parents and youth to attend and yet discourage the younger ones to be there on such a night as Family Home Evening. Although, for the student BYU Family Home Evening groups, this may be a nice activity due to the performance's theme.

On-Campus Convenience
The Timpanogos Storytelling Conference is held at Brigham Young University because of its partnership with the Division of Continuing Education housed in the Harman Building. Anybody coming from out-of-town or out-of-state may book a hotel closest to the BYU campus. Being on campus is also desired as I hope some professors will encourage attendance from their students through listing it in their syllabi or at least making an announcement in class.

If the event did not take place on-campus, it would need to be close enough for students and conference attendees. The name of the venue would also need to be recognizable and, hopefully, easy to find.

True to RSVPs Received for Monday, February 9th
Ever since I started the "Family Famine: Hunger for Love" blog and Facebook support group, the date has been announced and I have placed various countdowns throughout the Internet. I have also included the date in my email signature.

As such, I have friends and supporters who have already RSVPed.

One of my storytelling friends, Carol Esterreicher, was offered to tell stories for the Salt Lake County Library system on Monday, February 9th. Carol explained that she would need to tell another night because she was attending my premiere. She did not have to do that and she told me about it after the fact. With friends like Carol, I am truly blessed.

Fundraiser Capability
Being part of the Storytelling Heroes Campaign Advancement Team, I felt a duty in dedicating one of my performances for the 100-benefit-concert-effort to each raise at least $250 for the National Storytelling Network and further the art.

After my trek to the BYU Campus, I realized that this would involve another approval form to be filled. Being sponsored by a college department or club meant I had to abide by the campus' rules. The Family Home Evening night, if also sponsored through a religious group, would forbid the exchange of money, donations, goods, or services. There seemed little to no success even once the approval form was completed.

Having the Heroes fundraiser for this premiere would complicate an already intense project. I have other performances which would be easier to transform into a fundraiser.

So now you know where I stand.

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

Trek (5 of 7): "Oh Glorious" Paperwork for Theatre

Whether or not the university is conservative or has religious connections, there is a guarantee there will be paperwork to create an event.

This is five of seven posts relating to my info-gathering trek to BYU on October 21, 2008.

Brigham Young University may have the most paperwork than any other place, though that is only to provide a safe place for sponsors and for performers alike. Usually each piece of paperwork is no more than a page. Sometimes receiving the proper signatures is the challenge.

I met with Naomi Davidson (see upper left picture), current BYU Storytelling Club president, so to discuss if the club could sponsor the "Family Famine: Hunger for Love" narrative production. She was fully supportive, and I thought how wonderful it was for a club that I founded to still be around when I could use it's help at this time. Things seemed to fall in place.

Then, with all the forms to be completed and rules to check, I jokingly wondered if at any moment Naomi would shout, "Stop! This is not worth it!"

From talking with the Associate Dean of Students to the Student Leadership Club Coordinator, Naomi and I discovered that paperwork would be needed for the following:

• Official BYUSA club sponsorship of the Event
• Scheduling the Varsity Theatre
  
• Fundraising Exception outside Care Week (March 2-7 for clubs)
  
• Monday Night (during 7:00pm-9:00pm due to Family Home Evening)

The fundraising exception form was considered only because I thought the performance could connect with the Storytelling Heroes Campaign. This is a new tradition by the National Storytelling Network for 100 benefit concerts per year around the country to raise at least $250 each so as to further the art. The Associate Dean of Students believed that it would make sense for the BYU Storytelling Club to want to raise money for a nonprofit national storytelling organization. However, the final say would be from the Club Coordinator.

Usually BYUSA clubs are reserved one Care Week per semester to raise money, services, or goods for causes. My February 9th premiere date was about a month before the actual Care Week of March 2-7, 2009.

Yet, it was the exception form to perform on Monday night that was "the impossible". Besides all-day Sunday, Monday night from 7:00pm to 9:00pm is considered sacred because it is connected to the Family Home Evening (FHE) time.

You may ask, "Why would that be a concern as students are away from their families?" The answer: students are placed into Family Home Evening groups with a student as "mother" and another student as "father". It is amusing when the "parents" and the 10-15 "children" are about the same ages. Someone teaches a spiritual lesson merged with an activity and finally followed by refreshments. Food is of utmost importance to these gatherings.

To have FHE more convenient, you cannot schedule from 7:00pm-9:00pm anywhere on campus. The exception is if one of the BYU bishops from The Church of Jesus Christ of Latter-day Saints calls the Campus Scheduling Office to make the arrangements. So for my "Family Famine: Hunger for Love" program, I thought perhaps Naomi or other BYU Storytelling Club members could approach their FHE groups and see if it could be a grand scale FHE activity also open to the public. This would boost attendance and help in regards to the professional filming of the event.

After the filming and with food being one of the themes in "Family Famine: Hunger for Love", then it made sense to have light refreshments after the performance. Besides the four official forms aforementioned, I would need to check if only food from BYU Catering would be allowed due to health rules or if I could have friends bring in desserts in potluck style. Most elementary, middle, and high schools are not allowed to have homemade treats because they need to be made and wrapped in sanitary ways. I am unsure if this standard stretches to universities.

With the attempt to keep all these forms and exceptions straight, I then received an unexpected answer from the BYU Storytelling Club faculty advisers. They did not think the BYU campus was the best venue for the ambitions and dreams I had for the event. Plus, they did not want to disrupt the Monday FHE time. Their signatures would be need alongside Naomi's and though I was disappointed, I began to think that perhaps they were right--at least about the BYU campus being the best venue.

If it was a FHE activity at the Varsity Theatre, then there could not be any exchange of money for tickets, donations, or selling of merchandise. I had hoped for this option to cover my costs in putting on the event.

Yet, Monday night was the aim as national storyteller Elizabeth Ellis would be in the area for the Timpanogos Storytelling Conference. She is one of my East Tennessee State University Storytelling Masters professors who challenged us students to create "My Finest Hour" project. The "Family Famine: Hunger for Love" narrative production happened to be my project.

Elizabeth Ellis promised to attend and to be my emcee.

Despite all the research to make it possible for the BYU Storytelling Club to sponsor me, I will now determine what other options are available to meet the majority of my ideals.

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

Trek (3 of 7): Finding Filmmakers for Storytelling

The most beautiful storytelling DVD is "The Call of Story" created by KBYU/BYU Broadcasting and PBS.

This is three of seven posts relating to my info-gathering trek to BYU on October 21, 2008.

Since KBYU's home is in the Harris Fine Arts Center at Brigham Young University, I headed to the office to find out who was still around from that 2002 project (though copyright would suggest 2005).

I did have a name given to me from the 2008 Timpanogos Storytelling Festival. The young man behind the desk scrunched his face at the mention of the name for it was unfamiliar.

The man said, "Perhaps you were given the wrong spelling." He thumbed through the massive Rolodex of all the employees, staff, producers, and directors. No results. He even called the head director of KBYU and the name did not ring a bell even at that point.

Rather than sticking to the name I was given, the young man at the desk suggested we look at the credits for "The Call of Story".

I felt like I had to bang my head with my hand at that point. "Of course," I told myself, "Why didn't I think of that?"

Before heading to this info-gathering trek at BYU, I did peruse "The Call of Story" website. With all the research, I did not look at the credits. I had too much confidence in the name I was given at the Timpanogos Storytelling Festival.

Though the young man did not have a copy of the DVD on hand, he did search for the credits online and found them.

At that point, I was told to get in touch with the Executive Directors: Thomas J. Lefler and Sterling Van Wagenen.

This was not the first time I heard the name "Thomas J. Lefler". Other professors I had met during my trek had said he was a Theatre and Media Arts professor and may be interested in my project. No one had mentioned his connection--a major connection at that--to "The Call of Story".

The young man at the desk gave me Lefler's office and contact information. I crossed my fingers, hoping that an unannounced visit would be successful and welcomed by Lefler.

I found his door and I knocked. No answer. Perhaps he was not in his office after all. Yet, something told me to linger in the hallways a bit. I walked down towards the bulletin board with the "Call to Actors, Producers, etc." I never majored in Theatre so I was curious. After ruffling through a few announcements hung on binder-type rings, I returned to Lefler's office.

This time someone answered.

My muscles were more tense than usual as someone earlier had told me how intimidating Lefler was because of how direct he was in his speech. After a deep breath, I entered.

I outstretched my now sweating hand. "Hello. I am Rachel Hedman, professional storyteller, and I would like to talk about "The Call to Story" project you did and how it may relate to my project."

After the introduction, I felt at ease. He was not the intimidating man that I imagined though he was kind to share information I needed to know. He told me he did not do those type of filming project anymore, but he did give me names and direct lines to the partners of Kaleidoscope Pictures.

One of Kaleidoscope's projects included filming national storyteller Donald Davis in spring 2009 on how families tell stories. Most of the shots would take place at Davis' home on Ocracoke Island, North Carolina.

Eventually, I learned that Lefler was first cousins to national storyteller Elizabeth Ellis. My jaw dropped as I told him that Ellis was also my professor at East Tennessee State University for my Storytelling Masters and that my "Family Famine: Hunger for Love" project came to life because of the assignment she put forth for us students.

At that point there was no fear whatsoever of the man as he proceeded to go online and show the place in Tennessee that he grew up alongside Elizabeth Ellis.

Besides this amazing experience, another professor gave me a name, office address, and email for the producer and director of the LDS Motion Picture Studio. This professor was the Content Director of the "Real Families, Real Answers" reality show.

Between Kaleidoscope Pictures and the LDS Motion Picture Studio, that is where the true intimidation lies. To even consider the possibility of being filmed by either one of them is almost unthinkable.

I have found in this world that it does not hurt to ask.

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

"Economy of Language": From Teller's View

Sometimes people ask me to summarize a story. Often, the summary is longer than the story itself.

At one point, Don Doyle challenged me to take a 55-minute story and tell it as a 5-minute story. He knew that whatever I shared in that condensed time would demonstrate what was most important to me.

I made a couple attempts to do as Don asked. I was over in time each time though every practice brought me closer to the 5-minute goal.

Such an exercise is needed for any story that I share for "Family Famine: Hunger for Love", though perhaps the 5-minute goal could change to 3-minute or 1-minute challenges based on the average telling length of the story.

Elizabeth Ellis encouraged the "economy of language" for the storyteller while I was at East Tennessee State University working on my Masters in Storytelling. She continued that there were "millions upon millions of choices" for a storyteller to make into how a story is presented.

Is there a stronger--and perhaps shorter--way to tell the story or to form images in the heads of your listeners?

Until we tell again,

Rachel Hedman

Professional Storyteller

Co-Chair of Youth, Educators, and Storytellers Alliance

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