Legacy Magazine

By Brett Dillingham

Interpreters (including naturalists and rangers) need to be storytellers. The Ranger Interpretation Handbook produced by the International Ranger Federation states that the first of 11 principles of high-quality interpretation is that interpreters must “develop an in-depth knowledge of the natural or cultural protected area that is being interpreted and [apply] that knowledge to build a range of relevant messages/compelling stories.” However, though interpreters usually have an excellent knowledge of their environment, few have been taught how to tell stories. If they have been taught, their instruction often misses the critical areas that they need in order to craft and tell interesting, compelling stories that delight and move their audience.

Interpreters are storytellers. Pictured here: Chuck Lennox of Seattle, Washington, has the audience in the palm of his hand. Photo by Charlotte Spang.

Below is a process—plus some tips—on how to become skilled in humans’ most ancient art, that of telling good stories and telling these stories well.

First, you need to have a story you feel passionate about. Sometimes a colleague has shared a story that just begs to be told, and has given you permission to tell it. Usually, however, despite interpreters’ knowledge, they have not sought out and crafted the stories that are most meaningful to them. These are the stories they will tell best because they come from the heart.

To create your story, have a simple brainstorming session with your colleagues. In a recent workshop for the staff of Glacier Bay National Park and Preserve, some of the subjects interpreters suggested were sea otters, orcas, brown bears, clams, glaciers, Tlingit history, moose, hummingbirds, and mosquitoes. After they chose the subjects most meaningful to them they began to create their own stories. This was done by creating a simple graphic organizer or story map—I call this a Visual Portrait of a Story (VPS). The VPS has five main components: beginning, problem, solution, end, and picture (or drawing).

Contrary to how most of us are taught, you begin with the problem and solution (instead of the beginning) of your subject. Jot down a few words regarding the problem and solution. Then write a sentence or two for the beginning, and a sentence or two for the end. If you are at all artistic, you can draw a picture or pictures that remind you of the story.

Next, begin the powerful tell-and-retell process. Start by telling the story to another interpreter before actually writing the whole tale down from beginning to end. Do this while standing up so you can move your body and act it out as you tell. Ask your partner to tell it back to you (retell) using body movement, sound, and facial expressions. Your partner won’t use the exact same words, nor tell it just like you; that is what you want. You will see and hear your story in a different light and may use some of the words or storytelling techniques your partner used. Remember, what you are trying to do here is craft an excellent story, the best you can for your audience.

Honing Your Story Further
This is a constructive process, so it’s helpful to have someone model the language of response and criticism. I have used the following simple but very powerful discussion process effectively to teach others how to evaluate storytelling performances at all levels. When a teller finishes the story, he or she should ask, “What did I do to make this a good storytelling?” Colleagues provide specific feedback on what made the storytelling good—the sounds, facial expressions, and body movements. At the Glacier Bay workshop, one such response was, “I liked the way you moved when you stuck your [sea otter] head out of the water.” Another was, “You spoke loudly enough that everyone could hear you.” You want your colleagues to focus on how the story was told, not the content.

Critical feedback without using harsh words encourages the teller to grow and become more effective. After three or four positive comments have been shared ask, “What could I do to make the performance even better?” One response might be, “To make it even better, you might want to show the sea otter swimming” or, “Tell the story loud enough so that the people in the very back can hear you well—that way you know everyone can understand your story.” Another response might be, “Perhaps act like you are on your back and breaking the clams with a rock.” Two or three specific suggestions are optimal. This is where tellers begin crafting their story; they have a good idea of what works and what should be modified or left out. The storytelling will be better the next time it’s told.

Storytellers learn to use variations of the questions above. This language is polite yet direct and useful. This type of guided practice increases confidence and improves performance. With a few more rehearsals, you will find that you have a great story, you tell it well, and you know the process to create more stories for other audiences.

A good story can hardly be beat. Interpreters are in the enviable position of having incredible optimal environments—and often venues—for storytelling. By creating a story from your knowledge and passion, then crafting it with the help of your colleagues, you will delight your audience with a great story, well told.

Some Further Storytelling Tips

Know your audience and choose an age-appropriate story. Make sure the story you choose isn’t too child oriented for adults or too mature for children.

Be professional. Enter the performance space with a confident stance. Acknowledge the audience by smiling and making eye contact. Wait until you have their full attention. Introduce yourself, and give the story title.

Make sure your audience can see and hear you. Work as close to them as possible. The sound of your voice is your most important tool.

Use variety in your speech. For example, make your pitch higher to show excitement. Use a long pause to build suspense. Make the tone of your voice deeper to sound like an older or larger person or animal.

Use different voices for different characters. A donkey might have a deep, slow voice. A rabbit might have a fast, high-pitched voice. The narrator should have yet another voice.

Use expression. Do not speak in a monotone. The more familiar you are with the story, the more fluent you sound. Tell the story as naturally as a conversation with a good friend, not labored like when you read something unfamiliar. Try showing an emotion on your face before it comes out of your mouth. For example, open your mouth and eyes wide to show surprise.

Use deliberate movements and fill your space. Do not distract your audience with nervous mannerisms such as rocking back and forth, playing with your hair, or leaning against a wall. Do not be glued to one spot. Move in relation to your audience for a desired effect, such as leaning in with your fingers as claws to scare when telling a bear story.

Your hands are your best friends. Do not put them in your pockets—use them!

End your story as a professional. Remember to bow.

Brett Dillingham is a professional storyteller and author of the children’s book Raven Day and the textbook Performance Literacy Through Storytelling. Contact him at brett@brettdillingham.com.