Monday, April 29, 2019

Stone Soup Storytelling Festival

I have to say that my visit to Stone Soup Storytelling Festival needs a proper blog post with a few photos. There are more on my Facebook page!

It was quite the experience, not least for the reason that a number of the New Voices stayed together at an AirBnB. Although due to 'unforeseen' circumstances the sleeping accommodations were a little wonky, it worked out very well. So many deep conversations were held, stories swapped, and silly ping-pong games!
It was an early start on Thursday, the moon high in a dark sky, but watching it rise at the airport was fabulous. Arrived in Charlotte at a little before 9 am, got into the rental car and found a diner to have breakfast in!
After breakfast, I took a somewhat winding way to Woodruff, South Carolina to see the country I was in. I feel back roads more interesting to drive, and you see where you are better in terms of culture, too. It also allowed me to see a roadside attraction - Gaffney's Peachoid - a water tower where art imitates life, I think!
Stone Soup Storytelling Festival has a segment called New Voices created by Linda Goodman. A bunch - this year 12 - of tellers are asked to perform as part of the festival. We do it for love and for the chance to get to come back, paid! A number of us decided, at the organizers suggestion and organization, to stay at a near-by AirBnB. Karyn Page-Davies is a wonderful organizer and planner and very full spirit. She could be likened to a sunflower rising up above the rest sharing light and happiness. Anyway, I arrived at the AirBnB. On Thursday and Friday it was pretty much just Paul Strickland, Jane Ogburn Dorfman, Rachel Ann Harding and myself, then we were joined by Cooper Braun, Mark Goldman, Yasu Ishida, Sheila Gray, and Sarah Beth Nelson. Apart from lots of tea and coffee, laughs to be had, table tennis, and stories shared and swapped, there were long deep conversations about life, storytelling and business. It was incredible. I would not trade that experience for anything.
Jane, Paul, me and Rachel Ann
The weekend was filled with stories and panels, discussions on storytelling, meeting other storytellers like hobbiest storyteller Kanute Rarey, and the dry and funny Sam Pearsall, the brilliant Tony Marr, who I met last year but did not hear.
The whole weekend is filled with story. From the Lunch and Laugh at the Soup Kitchen; the Story Panel which Regi Carpenter nailed, along with Jeff Doyle, Tony, Sam and Kanute; and the opening concert all on Friday. We did look over the town of Woodruff and I saw a beautiful pocket watch. It was an antique and would have cost $75.00 which for an antique is not too bad, but I was thinking of the people at the Soup Kitchen and couldn't bring myself to buy it. There are people there who were struggling to put food on the table and the watch seemed to be frivolous to me.
Saturday began with amateur storytelling open mic where we heard some tellers who should be telling way more, and a young 13 year old girl who told a remarkable sci-fi story. This was MCed by a very capable daughter of Nicole Hazard who had MCed the panel on Friday. From there we went to the first New Voices concert which featured Sarah Beth Nelson, Sheila Gray, Cooper Braun, Meanie Knauff, Denise Mount and Rachel Ann Harding. All were good, some were brilliant, and my kitsune tale from Japan and was brilliantly told. Her pace, and delivery were top notch. Sarah Beth Nelson told the story of Dido in a way that surprised and delighted me. It was so good and filled with depth and humour. Melanie Knauff's personal story of bears and soda machines was a riot. She is quite a powerhouse and defiantly a good laugh. I met Sheila Gray at Sharing the Fire this year, and I think I met her once before, and her story was a great story from the Native American culture. Another story I liked a lot was the story of how Denise Mount's parents met. Denise's delivery was fabulous, and her story heartwarming. A whole set of love stories, pretty much.
The second set - Paul, me and Mark, Jane, Yasu, Lori and Omar
favourite tales were by Cooper and Rachel Ann. At first Cooper's story seemed to be a complete departure from his normal deep, mythic tale, appearing to be a personal story, but then the girl in the story opened her wings took hold of Cooper and flew off. There it was! The mythic! Rachel Ann's story was a
Our New Voices MC, the very chirpy, wild and funny Lona Bartlett was the best. Her handling, introductions, and outros were perfection. The audience had been given a voting sheet with all 12 names on it, as the audience (and the tellers) were asked to pick ONE performer from each set as their favourite. This was incredibly hard to do. In both sets I had a hard time picking one person, and part of me was saddened I could not choose more, best of three would have been good! After each set, Lona had the tellers return to the stage space and ran through all the stories pointing out the tellers. Marvelous job, delivered with grace and humour. When Lona says of herself: "You might find I am a little crazy. And I am very good at it!" she is not kidding. I loved her MCing us. The performance order for both sets were decided by drawing from the Soup Bowl of Destiny! Which brings me to lunch.

Getting eaten by a dragon for lunch
I grabbed lunch on my own at a local sandwich/hot dog shop which was really good. Not only the sandwich but the space to be solo for a while. It was a very good sandwich.
Afterwards I went with others to see Jeff Doyle tell to kids at the local library with Kanute. Jeff has a way that brings kids out of themselves which was great to see. He thoroughly entranced them. Kanute had fun too.
Paul I left to get back to the performance space for New Voices part two. Paul and I first met at the Jonesborough Storytelling Festival last year at the Exchange Place. The National Festival's way to introduce new tellers to the event. I loved the tale Paul told then and I enjoyed his company then too, although it was brief. Hearing him again here in Woodruff, confirmed everything. He is brilliant. His stories are so well crafted, clever, funny, playful and yet insightful. His stories, although tall tales which will have you crying with laughter speak of the deep truth of life at times if you are willing to see it. See Paul if you get the chance, you won't regret it. He wasn't the only one to hit the mark, Jane Ogburn Dorfman also told a brilliant story, delivering with gentleness and depth. A wonderful mix of personal narrative and folk tale, beautifully done. The set was opened by Mark Goldman who told an historical story. It was incredible and the ending a total surprise. I cannot give it away, as I hope he will be making this story more available. Yasu Ishida was another clever and thoughtful performer. His story about time travel was remarkable and the end was just astounding, catching everyone, it seemed, out! Quite brilliant. I very much enjoyed his company both at the performances and in person, very gracious human being, and enthusiastic, too!Omar and Lori Hansen are tandem tellers and did a great traditional tale. The humour and fun they obviously had on stage made it all the more enjoyable. And I told The Goat from the Hills and Mountains! People seemed to enjoy it.
You might think that was it for stories but no! After a short break the storytelling returned in the form of a liars competition - Say What?! That was a lot of fun and we got to see more of Cooper, Paul, Jane, and Lori and Omar (although theirs was not a tall tale, but a folk tale), Sarah Beth and other storytellers too. Paul won the main prize which did not surprise me, although I really enjoyed Jane's tale too, and that was a very good fib.
A bunch of us went out to supper together. And when I say a bunch, I mean a bunch! Imagine a couple of tables filled with storytellers - well, here's what it looked like! Yep, it's a busy chatty two tables!
 We had fun talking about all sorts of things, from why people tell the tales they do, to where they tell them and how to make series of tales! It was a lot of fun. After super we headed to the siree to hear Regi, Sam and Kanute tell again. Regi was once more amazing, powerful, leaving me filled with wonder and admiration. After the after-party I could have gone to the cabaret, but I was exhausted. Late nights up talking with those who were staying at the AirBnB, all the stories, and walking about Woodruff left me tired out .

I headed home for a short rest, then the other tenants returned and the deep conversations and table tennis began again and lasted, for me, until 1 am! We talked about politics, racism, the power of stories, conferences, festivals, everything, it seemed.
Fortunately we didn't have to be up until a bit later on Sunday for the Sunday service at the local First Presbyterian Church. The Reverend Steve Phillips presided with Regi and Tony Marr adding to the service. I liked what everyone did and the pianist, Madeleine McEntire was fabulous.
This was followed by another mass-eating fest for brunch. No photos, just great conversations about a fabulous weekend of tales.
Woman of the weekend - Karyn Page-Davies without a doubt. The organizer of the weekend, a sunflower standing above all giving radiance and smiles wherever she went, apparently oblivious of the whirlwind of a festival going on around her, yet orchestrating the thing! I met so many wonderful people, heard so many great tales, and need So Much Sleep now it almost hurts!
If you ever get the chance to visit this festival, please go and support it. The people there are great, the stories told are remarkable.
https://www.stonesoupsc.org/

Wednesday, March 20, 2019

Why Sound is Important

I have met a number of people who are weary of microphones, PA systems, and the like. I get comments like - too many cables, not sure where they go, what does it all do! I get it. The first time I saw a sound board I was a little "awestruck!" Meeting so many storytellers who are not comfortable with sound systems I decided to offer a workshop and from that grew a small booklet - a basic 'how-to' on the whats, wheres and why-fores of sound in relation to performance, in particular to voice work.

Sound is important in our job as storytellers. It is, for the most part, an oral art form for an aural audience.  Obviously, this is not always the case. There are amazing storytellers who are deaf and use sign language, there are storytellers who use tell tales using a digital format, but for the rest, it is our voices that do The Job.
In an ideal setting we would never need amplification. In an ideal setting we could use our ‘indoor’ voices and everyone would hear. We would never get sore throats, or infections. We would all instinctively know the best way to use our voices to maximum effect with minimum effort. But this is not the case. The hall is massive and our voice is lost or echoes so much there is an eerie delay, the wind takes our voice, or the acoustics are so bad people whispering at the back are as loud as you are annunciating and articulating with your best projection from the front! Sometimes we need amplification.


In my youth I was in a number of bands and always into the equipment side of things: the mixing boards, the microphones, and speakers, both in and out of the studio; even though I was ‘just a drummer’ and never had the voice to sing outside of a shower or car! I discovered that different voices did not always sound good on the same microphone. Some mics were okay all round microphones, but some mics worked well for one singer and another mic worked better for a different vocalist. Guitarists choose amps to project a certain sound or feel. Drummers use different skins, have kit and cymbal manufacturers they preferred over others.
As a storyteller I was able to bring all this knowledge with me, and when I got ‘kitted up’ for larger performance spaces and for venues where the acoustics were lavatory quality, I knew what to do. (All my old equipment was left in the UK and sold, or given away over 20 years ago.) I tried out a number of microphones when I recorded my first CD as I know my voice has a strong sibilant side. For fun, I tried out the most expensive mic the studio (Pepperbox Studios in Vermont) had in their collection. My voice sounded scratchy, and hissing to the point it might make one wince. The mic sounded great on someone, just not me! I tried out a few other microphones and found one that cut the sibilance down and brought a slightly deeper resonance to the mix. That mic I liked a lot. It is the same with speakers. They have their own ‘colour’.
Our art requires us to be heard and understood. As storytellers we need to have equipment which allows us, even in the most horrendous of situations, to be clear as a bell, to be heard over traffic, wind, heating/cooling systems, or rude patrons, amongst other handicaps. As professionals we need to be aware of what is available, what makes us sound good or bad, and most importantly how to set equipment, and a room up for success. We display our professionalism and that we are worth our salt. We show we know what we are doing. People then know we take our profession seriously. It shows our customers, be they libraries, museums, businesses, theatres, etc. that we can be trusted to do a great job and that we can be hired again, and that means more work for all of us.
We want an audience to go home having felt they were in an intimate setting, having an intimate experience, no matter the size of venue, or number of bums on seats. Maybe we get the room set up so perfectly, they leave not even realizing there was amplification. We need to know how to amplify a room for ourselves. Finding and using the right equipment properly is so important. As I implied, and can confirm, the equipment does not have to be the most expensive. But it does have to be right - for us, as individuals.
Why Sound Matters by Simon Brooks, © 2016

Monday, January 07, 2019

Old Books and research

I have always loved old books. When I was a kid I loved the design of paperbacks my parent read, especially the Pan and Penguin titles. There was a style I loved. Although those paperbacks had cool covers, there was something about reading and holding a hardcover book. There seemed way more permanence with these books. Visiting places like Hay-On-Wye, a city of books I have seen grow over the years, I know that paperbacks have a much shorter life and are passed on far more readily. Hardcovers stay in a home for much longer. So it is wonderful when you find a treasure. I recently came across a fabulous book by Molly Bang called The Buried Moon and other stories.
The tales come from England, India, and China. One story is retold by Ms. Bang by combining a Japanese story and the Grimm story of Wolf and the Seven Kids. I know a Chinese version of this tale - Lon Pon Po

A story I found in The Buried Moon and other stories I had not read or heard before which excited me no end. I am now on the search for other versions of it. Maybe you have heard of it. It's called William and Jack and te King of England. The King of England is not really in the story, so the title might be a little misleading. It is about two brothers who look very similar (twins?), who go on an adventure. The first brother goes without his mother's blessing and gets pierced by a thorn and falls into a deep slumber. This is a sort of male version of Sleeping beauty, but his brother comes to his rescue. The younger or second brother goes on to be gifted a cloak of invisibility and shoes of flight and saves a woman and defeats a devil. It's a great story.
And so begins a black hole of researching a story!

As a storyteller, I read a lot of folk and fairy tales. In the quest to find great stories to tell I do not seek out literary tales (copyright issues) and I also try to find at least two, hopefully three or more versions of the same story. One reason for this, is that someone went to a great deal of effort to find and share a story. If I can only a single source, I get in touch with that source (author or storyteller) and ask permission to tell the story, or where I might find some other sources. Right now there is a very fun story from Japan I am trying to find another version of! Why do I do this? Because I make money from what I do, and I believe in being ethical. Teachers, librarians, parents, aunts, uncles, grandparents etc., do not have to do this, but it can be a lot of fun (as well, sometimes, a lot of work).

Some stories don't need to be set in a particular place when a tale can be found in one form or another anywhere on the planet. But when a story has strong cultural anchors, one should keep the story in its place - its home. Stories can be like people - there are world citizens, and those who/which do not leave their country/culture (sometimes home town)! Digging and delving into story variants and alternate sources often puts you on the trail of other stories, and can lead you to new stories you might never have found otherwise. If something doesn't make sense (a word, phrase or what seems to be a mis-placed action), I look into it.

A story which seems overly reactionary - a camel allows a donkey to fall to its death, for example – can come from a culture which has a harsh or reactionary past. Sometimes these places in history, you might discover as I did with this particular tale, were always being invaded. It was a dangerous region in which to live. When the donkey and camel escape from their captures (in the story I think it was a farm of sorts) they promise when they cross the hills and deserts to be quite. But the donkey is so thrilled at being free, it begins to sing. They are heard and are chased. The camel is able to flee safely however, the donkey comes to an untimely fate.

Researching some of these folk and fairy tales can be incredibly educational, and is a great way to explore the world, its cultures and histories. It can also be a black hole, but a very fun one! Doing this sort of research with your kids (or the kids of others if you are an educator or librarian) is a sneaky way to teach with the fun of stories. If you are doing this research on your own, you can add a lot to the stories you end up telling. You can give them far more depth and richness than some re-tellers of stories provide, and keep (or return) the roots solidly on the tree of story.

Anyway, back to Molly!

The book is filled with amazing illustrations by Molly Bang, who has written a book about what makes a good artist. That book is called Picture This. It is about how to ramp a story's illustrations up from sort of scary to down0right frightening! I think I might have to get that book too!
What books and stories have you found. Shoot me a message or email me and let me know.
Molly Bang, The Wolf in Disguise, Copyright Molly Bang, 1977

Wednesday, December 12, 2018

New Year, New Start - getting there

Ho ho ho
Many things have happened this year and a few challenges and changes have come and gone.

Dwali, Halloween, Hanukkah, have passed by and Christmas and Kwanzaa are fast approaching. I have moved a lot of my website, blogging and email services around after having issues and find myself dancing between the old and the new as I try out these newer services. I have performed at the National Storytelling Festival in Jonesborough, TN and been invited, as a result, to two other large festivals! Under the Oaken Bough was published and released by Parkhurst Brothers in April, and my Gilgamesh CD won a gold awards from Parent's Choice the same month. One of my children went off to college, the other is getting through the last year of middle school (yikes)! A lot has been happening.
I guest hosted a few podcast episodes for Rachel Ann Harding's StoryStory Podcast, a wonderful show featuring some of the best traditional storytellers in the world. I have followed Ann's work for a while and have been to her workshop on podcasts and been working on my own. Her work is top notch.
http://storystorypodcast.com/

Working on the podcast!
A number of years ago we lost Brother Blue, then Diane Wolkstein, Sid Leiberman and some other storytellers and friends I have a great deal of respect for. Thinking on these losses, I wanted to create a podcast of interviews with some of the tellers who were part of the 1970's and early 1980's storytelling revival of the traditional art form. I am not interviewing those who tell personal stories, but instead those people who tell the old folk and fairy tales, myths, legends and yes, fractured fairy tales too. I interviewed the legendary Jay O'Callahan who really tells tales he has created himself, but I see these as fairy tales of a similar vein as Hans Christian Anderson. Jay is a master storyteller, a storytellers storyteller. As I have asked "who inspired you?" of some of the guests, it is more than once people have said - Jay!
Why do this, I have been asked by a few? 'There is such a small audience who might be interested in this what's the point?' The point is, for me, these people are walking libraries of folk tales. When they are gone we might have books and CDs, obituaries, reminisces, but no real idea of who these people are, what made them tick. I wanted to talk to these people and get their story in their own words and voices. To hear them laugh, and share thoughts and memories, ideals, wishes even. I know some of these people, some better than others. Some are my friends and mentors. Others I have only talked to via email - until the privilege of talking to them for these interviews. This will be a finite series. I have a list of people I want to talk to. I have already recorded Elizabeth Ellis, the Godmother of storytelling. Laura Simms, who some have called a shaman. Jay, Donna Washington, Megan Hicks and Papa Joe Gaudet. Bobby Norfolk and Odds Bodkin have said 'yes' to being interviewed, I am talking with Jim May and Tim Jennings, Diane Edgecombe and Elisa Pearmain in hopes to get their stories. All of these folks are "famous" or at least well-known and respected deeply in the world of storytelling. My list is much longer than here.
Performing at Jonesborough
I am creating this podcast through Buzzsprout and Patreon. Keep an ear out for it and let me know what you think. It's called "Conversations with Storytellers:  Wisdom, folk and fairy tales from our elders. A meeting with professional storytellers."
In this ever changing world there is and hopefully always will be great stories told by great people. My guests are some of our pioneers.

As the year winds down, I want to thank you all your support over the years, for reading, listening, booking me, sending me ideas and requests. Thanks for following me, sending me corrections for my website (I am very thankful for that!), and being one of my fans. All is greatly appreciated.

I hope this year has been as productive and exciting for you as it has been for me. And I hope great things happen for you in 2019, when it gets here!
Peace,
Simon

Tuesday, October 09, 2018

National Storytelling Festival, 2018

This was my first time to visit the National Storytelling Festival, and my first visit to Jonesborough, TN. Leading up to the event, I was nervous as I was going to perform as part of the Exchange Place. This is where six storytellers got a twelve minute slot to tell a tale in front of a lot of people. The tent (one of five at the festival) holds 1,200 bodies. It’s been a while since I have been performing before so many people. The last time was back in my twenties when I was sat behind a drum kit!

I tried out the stage to get a feel when I first got there. The second time was at the sound check. After a day of listening to other people tell stories, it was time for me to get ready to tell my story.
I needed a shower as the weather was in the mid to upper 80’s and humid. I was also about to don my three piece suit and Converse low-tops. College Tent, when I got there, was filling up. Other storytellers were in the audience, along with a thousand other people. I saw friends, and people I know. Folks I have respect for, people I have not seen in ages. This was quite a crowd.
Willa
Rachel Ann
Myself and the other tellers took another go at the stage to take it in, I stood beneath and looked over the faces before getting seated. Geraldine took the stage and began. First up was Willa Brigham, a sassy, take-charge teller filled with wit and full-on stage presence. She told a story about her passion of hats. This may not sound interesting, but it was so funny and lively she had the audience in her hand. Next up was my friend and colleague Rachel Ann Harding. She and I were telling folk tales and Rachel Ann told the most wonderful version of the Corpse Bride I have heard. Creepy in places, funny in spots and filled with compassion. Brilliant job. Nestor Gomez followed Rachel Ann with an impassioned performance about his coming to America as an undocumented child and becoming a citizen. I think it was one of the most powerfully told stories I saw over the weekend. This did not mean Jessica Piscitellli Robinson could not follow Nestor with her story. Oh no. Her personal narrative about overcoming fear and crappy boyfriends hit it out of the park too. Her story hit home.
Nestor
I followed with one of my favourite stories - The Song Unsung, Story Untold. I had had doubts about telling this story. It is a low-key story, a quiet story. Would this work at this event, especially fit between two personal stories? I had had a long conversation with another friend and colleague Sheila Arnold, a fabulous storyteller on the way down. With all the nerves I was having doubts and was thinking of switching stories. Sheila’s words were magic and I am glad I did not change plans. The story went down
really well.
Following me was the extremely funny and talented Paul Strickland. He tells wonderful tall tales, and is a natural liar - so it seems. He tells those tales that folks who love Bil Lepp enjoy and I loved his piece. Standing on the stage with all these folks was incredible and an honour. Especially when we got a standing ovation and could see the tent was filled to capacity. What a night. And it wasn’t over.
After changing clothes I rushed down to
Jessica
listen to Joseph Bruchac, Elizabeth Ellis, Bobby Norfolk, Anne Rutherford and Shelia Arnold tell ghost stories. What a cast, and what stories. Some were so creepy chills went up my spine, others made the audience jump, but Sheila Arnold’s closer was my favourite. She told an historical ghost story of enslaved people escaping a cruel master and the way things sometimes happen in a swamp. I get the shudders just writing about it.
Paul
If you have never thought about going to the Jonesborough National Storytelling Festival, and love storytelling in all it's forms, you should go. It is an incredible experience.
This photo taken by the remarkable and wonderful Donna Washington

Thursday, July 12, 2018

Unintentional Magic

There is much talk about what we do in the work of ‘healing’ as storytellers. I think we can help people. But unless we are also trained therapists or psychologists, not simply storytellers, we need to be very careful in the realm of things like "stories for addiction" or "stories for veterans."  If we are not trained or qualified, and are not a vet or addict (for example), really we have no idea what could be the 'right' story. In fact we might even think a story that would be ‘good for a veteran event’ turns out to be triggering instead. We need to remind ourselves that we are storytellers, entertainers. We need to know why we are telling a story and if we have the right to tell it. The motives need to be authentic. This is an art and craft.
I do believe in gut instinct and if a story cries out to be told (not from ego, but from that place within - the story as the petulant child – me, me, me), or the story you planned on telling does not seem right anymore, then to listen to that voice, that inner (or outer) guide.
Although stories can help (unless we are trained, as I said) we are not therapists. We are entertainers, as I see it. The fact that our craft can lighten the load, can help people see through an issue they might be having is secondary. I love being told, as I am sure everyone who tells tales does, that a teacher has never seen this or that child laugh before. And at the same time that is really saddening. It makes my day when someone comes up after a performance and says: "that story really helped me...” But it was not me, it was the story, and when this happens, it was not because I had a plan, other than – I think this would be a great story today. No other motive, just a great story to tell.
I know we suggest tales to one another. It's what we do. As a colleague said, we should be doing due diligence and asking if there are any 'off topics' which could be triggering, and leaving those stories at home. I believe we should not be finding which are the right tales to tell. If we do our due diligence, make sure we leave out stories which could trigger and tell stories we love, then maybe we will heal someone along the way. And that is what is wonderful about what we do: we can create unintentional magic.

Monday, June 18, 2018

Public Speaking in Seven Steps (well, maybe eight) – Seen from a storytellers perspective

Public speaking is just like storytelling. When I talk about storytelling, I mean the traditional kind – telling the ancient stories, word of mouth. Not filmmakers, not playwrights, not poets or novelists, not script writers or directors, but oral storytellers. Storytellers, raconteurs, a maître conte, cuentista, conteur or griot will all stand before an audience and without a script, piece of paper, or screen of some kind, will tell stories. View public speaking as a skill you probably not only have, but one you can hone. And public speaking should not be seen as an exercise in humiliation. It is an opportunity to show off your best work or skills, and you know it better than anyone else – or else, why would you be asked to do this?

1.    With any presentation, tell a story in the most direct way. This does not mean read bullet points. It means leaving out what’s boring or irrelevant, but retaining what is essential to the story, builds a necessary picture, or is entertaining. Make sure the sequence of what you are talking about is understandable!
2.    People want to be entertained. It doesn’t matter if you are talking about a new product, tips on selling, discussing a project, presenting your homework, sharing how people have been healed, or how to act. Entertain. I am not talking about writing a comedy skit. Simply inject a bit of humor. It will add a human touch. Find things to include in a presentation that is personal, and relevant - something that the audience can identify with. If it is a product, then make fun of something that happens to older versions or problems it or similar products have had in the past. If you are talking about acting, make fun of gaffs you have made, or reactions from audience members. Your audience should know about these sorts of things, and can usually identify with them. This creates empathy and a rapport with the audience.
3.    Practice. Make notes, read them out loud, and listen to how it sounds. If you can record yourself, do so. Listen to how you sound. Are you getting your point across? Are you going to confuse the audience? What can you do (add, remove) to your presentation which will make it clearer, more concise and understandable? Is it all relevant to what you want to achieve?
4.    Practice more. Get rid of your notes. Once you have read through your notes or script a few times, you will know what to say. Practice in front of someone who knows nothing about what you are about to present. Ask them if there were parts which were unclear or confusing. Fix that. Unless you are an actor or have total recall, you will not remember every word, every line. So create bullet points of your presentation and work from those. Then lose the written word all together. I believe if you miss something out it will not be hugely important. And if it is, it will come back to you. Add it to your presentation as soon as you can.
5.    Embrace your case of nerves. It means you are truly alive, that you are at your most alive! The feelings you get, butterflies (or alligators), pounding heart, shaking, this is your body telling you you are ready. It is that feeling warriors get before battle. You might not be going into battle, but your body is quite possibly feeling the same thing. You have practiced, rehearsed, trained (or at least prepared yourself properly) for this moment.
6.    Speak slowly when you present. Really slowly. Tortoise slow. If you think you are speaking too slowly, you are most likely speaking at an intelligible speed. If you think you are speaking at a ‘normal’ speed, you are probably speaking way too fast for the audience. If you find yourself galloping, stop. Your breathing will clue you into this. Stop. Take a deep breath. Smile and look around but think of what you are talking about – stay focused. Then continue. Believe me - there are times when I get into what I am talking about, I get excited and start to speak too quickly. So I stop. I take a deep breath. I might say: “Let me repeat that.” Or “As I was saying.” If someone happened to miss what I had said, I am providing it again.
7.    If you do miss something out, as mentioned above, you will not be the first to do so. Every public speaker has missed a bit, or forgotten part of their presentation at some point. If someone says they have never done this, don’t believe them. Add the missing part when you can. Don’t say something like: “Oh, I forgot this bit!” Simiply add the missing part. If you have practiced enough, you will know what to say to create a segue which will sound okay, if not great. And most people will not notice. I missed a huge section of a story out once, and when I realized this, I thought quickly (still telling the story) about where the best place to add it would be. No one realized. And I am not the only person to have done this.

There are things to avoid.
Don’t read bullet points. If you are using slides don’t read them, but add to what is already on the screen. Make it interesting, raise a relevant point, inject a bit of humor, or that human touch. This will mean keeping what is written on the screen to a minimum. The audience don’t want to see you can read off a slide you wrote. They want your knowledge and/or experience. If you can use images instead of words on the slide all the better. The words you speak and the image should complement each other and build on what is being talked about. The two together should be stronger, not the same.
Don’t just present you work, show your work, talk about it. If you are showing off artwork, or photos of things you have done, don’t tell people about the image, they can see it. Explain the image, yes, but talk about it, add to it. How did you get there, create the image, why? What had the impact for you as an artist? What inspired it? In this day and age most people can find your work on-line and they do not want a repeat, but they want an insight into the work and you. It is similar with sales. Talk about the product or stats, show images of it. Make it a human experience – connect the product to how people will benefit from it, what it can do that no others can. If it’s your homework, show the class and teacher you learned from the project, or research. Inject humor into it – “Did the Greek gods REALLY do that? And no one complained? (Sounds like some school teachers!)” Maybe leave out the bit about the teachers.
Don’t brag. Don’t pretend you know it all. No one does. We should always be learning. Share your failings. Show you are human, and that mistakes are what make us stronger. If someone in the audience is new to what you do, it can be helpful for them to know even the experts failed when they first began, and still make mistakes – hopefully fewer. Your listeners will have more empathy with you, you become a real person, and therefore are more relatable. This is another place where you can make people be more comfortable by laughing at yourself. Maybe it’s that self-deprecating Englishman in me!

8.    My last piece of advice is this: Have fun. Enjoy what you are doing. The nerves will leave soon after you start, and you will be in the moment. If you are having fun, those with you will be having fun. If you love what you are talking about, this will come across and people will feel that.

© Simon Brooks, 2018