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its about how tell a plan for design.how to get a good object of design. its very useful, easy to flow steps.
its about how tell a plan for design.how to get a good object of design. its very useful, easy to flow steps.

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Categories:Topics, Art & Design
Published by: Daniel El Travieso Dávila on Nov 01, 2012
Copyright:Attribution Non-commercial


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Keep It Sim ple

Ad vice about learn ing sto ries is thick on the ground. Each book or
ar ti cle du ti fully lists tech niques and sug ges tions. The re mark able part is
the spec trum. On one end are the sim plest of sug ges tions, and on the
other end are pro cesses and ap proaches so la bor in ten sive, so de tailed
that the reader droops in ex haus tion be fore even be gin ning. The lat ter
re sem ble the wrin kled in struc tions that come with the piece of fur ni ture
de scribed as “some as sem bly needed.” You’d have to quit your day job
to do this stuff.

Li brar i ans are busy, so let’s keep it sim ple. Try this list of sug ges -
tions that many sto ry tell ers agree are help ful. They are ubiq ui tous—
be cause they mostly work. If they work for you and you find you
successfully mas ter the tales you want to tell, great! If not, we have
in cluded ad di tional tech niques—more extensive, but also tested,
proven, and re li able—that will serve your needs.

We have split the pro cess of learn ing sto ries in half. This first half
(Chap ter 5) de scribes the pro cess of ini tially bring ing the story into your
mind and heart so that you will be ready for the sec ond half, learn ing

30 Chap ter 5—Learn ing the Sto ries You Tell

how to get it back out again when you tell. That half is dis cussed in
Chap ter 7.

Here is our list of sim ple learn ing ideas:

1. Don’t mem o rize the story—un less it’s a lit er ary tale. (See
Chap ter 6.) Many hear that ad vice and nod in agree ment, only
to then se cretly mem o rize the story for fear that they’ll never
tell it if they don’t. The temp ta tion to mem o rize is strong in
many be gin ning tell ers. Re sist the urge! For those who need a
bit more on this crit i cal topic, we have in cluded an ex panded
list or rea sons not to mem o rize in Chap ter 9.

2. If you are work ing from a writ ten text, read it out loud to
your self.
Use your ears, not just your eyes. These sto ries
were meant to be heard and learned, as well as read and

3. Read it enough times to be able to re call the plot with a
fair bit of ac cu racy.
The time this takes var ies wildly. Some
sto ries seem to float right into your mind. Some take a good
long while. Don’t worry, these vari a tions are to be ex pected.

4. Mem o rize the first thing you will say and the last thing
you will say.
We feel that if you can get in and get out, then
you can wan der around the mid dle of the story for a very long
time be fore any one turns off the lights.

5. Also learn the es sen tial chants, songs, and phrases in the
It’s not the story you mem o rize, just those few key
names, re peated phrases, and mu si cal bits that you have to say
ver ba tim, just as writ ten in your source ma te rial. It’s not hard;
they are meant to be easy to re mem ber. There should n’t be
very many, and you’ll know them when you see them. “Not
by the hair on my chinny-chin-chin” has to be said just that
way. Sub sti tut ing “Not by my whis kers” just doesn’t work.
Learn these lines early and then re in force this word ing as you
prac tice the story.

Now a few things not to worry about while learn ing a story:

1. Don’t worry about get ting the words right. We’ve said it
be fore; we’ll say it again. When you lis ten to a sto ry teller, you
don’t fret over whether he or she got the words right. You
would never say to friends and fam ily as you burst through

Keep It Sim ple 31

the front door with a juicy ex pe ri ence to share:” The great est
thing just hap pened to me! I can’t wait to tell you about it. But
first I’m go ing into my room, write it down, and be sure I get
the words right.”

2. Don’t fret over se quen tial or der. Yes, you want to get the
scene-by-scene, event-by-event or der right when you tell.
But don’t overly dwell on it while learn ing the story. And
don’t hold back from tell ing it un til you’re sure you have the
se quence per fectly in mind. Think about per sonal sto ries you
hear from friends. They jum ble the sequence of events all the
time, back fill ing with flash backs and for ward jumps as new
in for ma tion pops into their heads. You have no trou ble fol -
low ing each tem po ral and spa tial jump through such sto ries.
With tell ing and prac tice, the story will straighten it self out.

3. Don’t worry about ges tures. You take your body wher ever
you go, and so it will be a part of your sto ry tell ing. You do not
de sign your ges tures when mak ing other pre sen ta tions, so
don’t start now. Let ges tures nat u rally evolve from your body
and the story.

4. Don’t worry about how you sound. The voice you have is
the voice you have. You can cer tainly de velop more ex pres -
sion or fid dle around with your vol ume, pitch, or rate. But the
voice you have and use ev ery day has been, and will be,
plenty good enough to get your sto ries across.

You can go a long way on the sug ges tions above. That might just
about do it. But maybe not. So we have added a list of ad di tional ap -
proaches for those who find they need more. You need not use these. In -
deed, some sto ry tell ers are very im pa tient with what they con sider
un nec es sar ily com pli cated ap proaches to a sim ple art form. If you are
among them, avert your eyes.

1. Di vide the story into man age able scenes. This is not dif fi -
cult be cause sto ries tend to be ep i sodic any way. Some like to
phys i cally draw a line be tween scenes on a copy of their
source ma te rial. Num ber and name the scenes and see if just
say ing each scene name helps you re call the places, im ages,
and events of that scene.

2. De velop ad di tional sen sory de tails. Think of the Three
Bears. You might be tempted to skip a de tailed look at that
kitchen. The scene will come alive for your lis ten ers if you

32 Chap ter 5—Learn ing the Sto ries You Tell

see that kitchen your self. What kind of bowls do the bears
use? Thick, ser vice able pot tery? Do they sit at a ta ble? Use
nap kins? Is it a fine day? Is the kitchen bright or dingy? Is the
fridge cov ered with Baby Bear pic tures held up by peo ple
mag nets? Are last night’s dishes still piled pre car i ously in the

3. Cre ate a story board and map the story on the board.

Rough, stick fig ure pic tures are just fine for these draw ings.
For some learn ers, just see ing the story this way is a good
mem ory boost.

4. Get up and move that story. Walk around while you tell, try -
ing on some of the char ac ters. Use your body to an i mate them
and the tale. You don’t have to use these pos tures and ges -
tures when you tell. The idea here is to use your body to help
fix the char ac ters and story in your mind.

5. Ask your self some ques tions about the char ac ters. Do you
know what makes them do what they do? What are they af ter
in this story? Why is that goal im por tant to them? Spend some
time think ing about their places in the tale.

6. Cre ate an emo tional mem ory. As you learn each scene, ask
your self how each of the char ac ters must be feel ing. How
would you be feel ing? That emo tional mem ory will stay with
you and make it eas ier to re call the story and tell it with the
ap pro pri ate feel ing.

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