Thursday, December 11, 2014

Cuentos Los Silos - Stories for Everyone

Los Silos is an incredibly diverse festival, with the participation of pretty much the entire town, as well as people from all over the island, and (in my case) all over the world. I was impressed by how well it all fit together, and how seamlessly it incorporated events for all ages and all tastes. 2014 was the 19th year of the festival, and the practice definitely bore fruit.
Instead of a chronological account of the events, I decided I would like to mention some of my favorite parts of the weekend, to give you all a glimpse of what it felt like to be in the middle of such a colorful, busy, inspiring whirlwind of stories. So, if you ever decide to visit Los Silos early in December, here are some of the things you can encounter:
(All pictures come from the Cuentos Los Silos Facebook site. Go and like it.)

Storytelling concerts
We all had to bring several 50 minute shows to the festival. As for me, I had 3, scheduled for Saturday and Sunday. It took me almost a year to piece them together, translate them, and practice telling them in Spanish, but the end result was absolutely worth the work.
Some shows took place late in the morning (11am) and were advertised for a family audience. For that, I presented my Strange Princesses program, filled with Hungarian folktales about brave, clever, and exceptional girls. The show took place in the theater room of the local Health Center (yep), and it was filled with families. After the show, little girls lined up to thank me for the stories and give me a kiss on the cheek. A few times I stumbled over words in the stories; I was delighted to find out that the audience was more than willing to help me find the right one, and smile in approval as the story continued on.
My two adult shows took place in the local high school on the two nights of the weekend. The first one was a new program of legends about Attila the Hun; the second a series of Hungarian folktales that had connections to Spain (and even, in a symbolic way, to the Canary Islands). The house was completely full both times (about 100 people), and to my great surprise I found out later that there was even a Hungarian lady in the audience!
Sadly, I didn't get to go to the big shows of anyone else over the weekend. I would have loved to see all of them, but we either told at the same time, or other things came up on the schedule. Pretty much all of our shows played to a full house, though, and we were overwhelmed by the love and support of the audiences.

Stories from the Balcony
I was so happy I got to do this one! In the evenings, under the light of the full moon and the lampions, storytellers told one story each from various balconies around the main square. People gathered below, sitting on stairs, benches, fences and chairs, and gazed up at the pretty wooden balconies where the storytellers were. It was tons of fun to walk up the creaking wooden stairs of the town hall (more than 200 years old) and walk out onto the balcony to impart some folklore upon the masses below. Made you feel like the Pope.
I got to hear two rounds of Balconies, and I was glad I did. A lot of the local tellers did them too. In my round I shared time with Luís and Fabio (who actually did the balcony thing twice; also, he is really good at picking the right story for the right audience); walking around in the evenings I got to hear Mar González and Laura Escuela as well. Since the weather was so warm, it was great fun to sit around on the square, waiting for storytellers to appear in a strange Romeo and Juliet fashion.

Stories on Couches
This one was truly unique and fun. At 5 in the afternoon people gathered in front of the town hall, holding their tickets to a show by one of the five storytellers listed on the program. When we all gathered, volunteers led us in different directions along winding alleys and around corners until we arrived to... someone's home. In the spacious living room, hidden from the noise of the main square and the spotlight of the stages, the chosen storyteller sat in an armchair, waiting of us, accompanied by drinks and cookies. I went to Luís' session; there were ten of us there, including the couple who owned the apartment, and that was really all the living room could fit. What resulted was a very nice, quiet, relaxed hour of stories, where the storyteller talked to us instead of at us, and we all got to sit back and enjoy a quiet hour of storytelling the way it most naturally works. Luís was graceful and funny and eloquent, and even played us a lullaby on his accordion in the end.
I am suddenly a big fan of small-scale storytelling festival events.

Stories in Patios
These kind of worked the same way the Couches did, except this time we took our seats in the small hidden patios of old apartment buildings. The audience consisted of about twenty adults and children. This time I got into Fabio's session, who did not only switch quickly between Inuit myths and colorful children's books, but even told a Fionn Mac Cool story, with which he totally won the festival, at least in my eyes.
(I noticed that Spanish tellers like to tell with picture books, which pretty much defeats everything I have learned about the art of oral storytelling. They do an amazing job bringing the stories to life with their own words, and the books they use I gorgeous. I spent a lot of money on picture books in the festival's bookstore. A lot.)

Lightning round!
The end of the festival was marked by a final show in front of about 300 people in the inner court of the old convent building. On this stage all of us featured tellers told one more 5 minute story each, to say a fitting farewell to our beloved audiences. I told second, and after I did I took my place in the back of the stage on a brightly painted bench, to watch the others. In the case of some of them it was the first time I heard them tell, and instantly regretted not getting around to go to more of their concerts. The Tapetes duo was lovely, and so was Arturo, who told his own funny story about saints running a race to decide who gets to stay in the canon (a very Spanish story for a very Spanish audience). As a former Catholic school student, I was very close to peeing myself from laughter on the stage. The lineup came to a closing with a tale told by the festival's main organizer, Ernesto Rodríguez Abad, who brought all of our tales into perspective. The full moon and the stars peered in from the night sky above. At the end of the show a marching band appeared out of nowhere, and we all filed out of the building and onto the square where everything erupted into a spontaneous dance party that lasted long into the night.

Poems and Umbrellas
 In addition to all the shows, circles, book signings and children's workshops, there were also many volunteers walking around the square, adding more color to the weekend. Some of them carried long cardboard tubes, and if you asked them, they put it to your ear and then whispered a poem into it for you, in a vibrating, mysterious voice. Others carried umbrellas decorated with colorful cards, and if you stopped them, they stood under the umbrella with you, reading you a story from one of the cards (and then pointed you to the bookstore where you could find the corresponding book). It was all good fun, and literally brought poetry, art, and storytelling to all the people on the streets.

All in all, the festival was packed with things to do, things to hear, and things to learn. It was extremely busy, and at the same time a whole enchanted weekend full of colors and words. It was one of the best storytelling events I have ever been to, and I am deeply honored to have been asked to be a part of it, and bring my stories from Hungary all the way to Tenerife. I will be re-living and re-telling this experience for a very long time.

Cuentos Los Silos - Storytelling Festival on Tenerife

This one might have been my most adventurous storytelling job yet.
Definitely one of the best.

I was invited to the Festival Internacional del cuento de Los Silos (Los Silos International Storytelling Festival) almost a year ago. My first reaction was to look it up on the Internet; I have been to festival in Spain before, but this one I was not familiar with. Turns out it takes place in a town on Tenerife, Canary Islands. I thought about it for about a whole ten seconds before I agreed to go.

Los Silos is a small town in the northwestern corner of the island. It is far away from most tourist-frequented places (they tell me tourists congregate on the southern beaches of the island where there is sand and less rain). The town is surrounded by banana groves and breathtakingly beautiful volcanic mountains on one side, and the black rocks of the Atlantic shore on the other. From the airport we were taken by car along the long winding road that balances between ocean and mountains, through small cities and towns made of colorful houses, until late in the morning of the day after I left the US (thank you, time difference) we arrived to the main square of Los Silos, and the house that was going to be our home for the weekend.
Before I passed out for 17 hours, I took a small walk around: Around the main square stood the town hall, the building of the old convent that was transformed into the festival headquarters, and the restaurant that was going to be our regular place for breakfast, lunch, dinner, and wifi. I was also introduced to the organizing team of the festival, all extremely friendly, insanely busy, and very patient to repeat sentences when my sleep-deprived brain failed to switch over to Spanish fast enough (it always takes a day or so before I make the switch between two foreign languages).
By the time I rolled out of bed the next morning, the festival was already on full swing. In fact, it had been in full swing for more than a week at that point: The local storytellers of Tenerife, as well as some guest performers, had been making the rounds in the schools of the island, telling to kids. The festival itself is a several week long series of events, crowned by the last weekend full of storytelling all over the city, from early morning late into the night. This last three-day long extravaganza was the part that I (and a series of other storytellers from all around the world) got invited for.
Our personal headquarters for the weekend was the little café in the middle of the square. People sat out there at any given point during the day or the night. Although it was the middle of December, the weather was lovely. The locals frequently apologized to us for the cold, shivering in their coats - it was about 20 degrees Celsius (in the 60's Fahrenheit) the entire weekend. I, flying in from Freezingcold, OH, was thoroughly amused, and took all possible chances to sit outside and soak up the warm.
It was in the café on Friday that I was introduced to most of the guest storytellers of the festival. I already knew Ana Griott (her storytelling name; her real name is Ana Cristina Herreros), a lovely and elegant lady that in her spare time writes wonderful folktale collections in Spanish. I also knew Luís Correia Carmelo from Portugal from one of the FEST conferences, and I was happy to get to hear him again. I was introduced to Kamel Zouaoui, an Algerian-French storyteller who speaks a zillion languages and is very passionate about the art of storytelling; we were instantly best friends. I also met Arturo Abad, a young Canarian storyteller who lives in Granada and writes and tells wonderful tales of his own. Turns out he lived in Hungary for a month, and has a puli dog! Small world. I also got to know André Neves, a children's author and illustrator from Brazil, whose colorful and enchanting work was on display the whole weekend in the bookstore. Our little team was complete with a duo from Brazil named Tapetes contadores de historias together, and Warley Goulart and Rosana Reátegui respectively. We were joined by local storytellers such as the lovely Mar González Novell, Andrés Novoa, and Fabio González. There were many more storytellers around all weekend, but since we were scattered and very busy, I sadly didn't get to make friends with all of them. The ones I met and heard were all delightful.
The theme of the festival was the Ogre, which was represented by a large statue on the square (drawn by Fabio, who was an illustrator before he also started telling stories). It was supposed to symbolize the power of stories to present dark and scary things and help us learn to deal with them. The orge in question was not only delightfully ugly, but also very useful: One could climb in through its butt and emerge from its open maws onto the festival stage; alternately, they could also hold storytelling sessions by mysterious flashlight inside the ogre's belly. Of course kids could not get enough of it. The additional theme was recycling; in order to promote it, the square and all the venues were decorated with strings of lampions created by the kids and adults of the town from recycled materials and made to look like ghosts, little monsters, and other amusing shapes.
A lot happened during the three days of the festival weekend; parallel events took place from morning to evening. I'll describe some of them in the next post, with more pictures.

Saturday, November 22, 2014

The princess is a boy: Gender, sex and folktales

I have repeatedly told people that I have this list on my English blog and have repeatedly been reminded that I don't (I wrote it in Hungarian). So, this is a post that should have been created a long time ago. Sorry for the wait.
This is a far-from-complete list of traditional stories that I have encountered that have something to do with sex (as in, someone's biological), gender, sexuality, and shifts in all of those. While many people think these are "modern" topics, they are not. It is a selection of stories I have encountered, and because I think it is important to note that they exist, and even more important to examine them, talk about them, and tell them in context, I wanted to make this list available to the general public.

(*Note: All of these stories have their own take on things. They are good starting point for discussion, but I suggest giving them a lot of thought and craft before performance. Talk about them, and talk to many people. Ask for opinions, listen, make changes as you see fit.)

Same-sex love

Aristophanes' story of love
Okay, so maybe this one is pushing the definition of "traditional story" because we only know it from a literary source - Plato's Symposium. But it is nevertheless a famous example from the ancient world, re-told, among others, in Hedwig and the Angry Inch as The Origin of Love, and in Xena the Warrior Princess in the infamous Hercules crossover (which is the first time I heard it). The story essentially presents the origin of "soul mates" of three types: Men who seek men, women who seek women, and men/women who seek the other sex.

Hyacinth
A famous beauty for whom two gods, Apollo and Zephyrus competed. When the boy chose Apollo, Zephyrus killed him out of jealousy, and Apollo created a fragrant and colorful flower for his memory.

The angel page
This is a story I found in Legends of the Rhine; it belongs to the city of Elberfeld. While it is not explicitly a love story between the young knight and his page / squire, it lends itself easily to that reading. In the end, the page turns out to be an angel, and after any adventures he sacrifices his life on earth to save the knight's dying wife. It is a touching story in any way.

Sex/gender change
(**Note: English does not really lend itself to gender-neutral writing. Excuse my mixed pronouns.)

Iphis
A story from Ovid's Metamorphoses (Book 9.666-797) in which a girl is raised as a boy to deceive her strict father. She falls in love with and gets engaged by her father to a girl who loves her back, thinking that she is a boy. The day before the wedding Iphis prays to the goddess Isis to grant her a wish for change, and the goddess turns her into a man, after which he happily marries the girl he loves.

The princess that turned into a man
This one is a Hungarian folktale; I have the short translation if anyone needs it. It is about a king that only has daughters, and when he has to send his army to war his youngest volunteers saying "men's clothes have always fit me better anyway." On the way she helps out an old woman who sees her for who she is, and helps her with her mission. She falls in love with the daughter of their ally, and gets married, but is afraid to reveal herself to her wife, and therefore the king thinks she is cheating and plans to have her killed. She is sent on a dangerous mission during with, among many adventures, she and her entire crew come under a spell that makes them switch sexes. Our hero is more than happy with the "curse" and returns home immediately to finally admit his full affection for his wife. Explicit folktale bonking ensues.

Tiresias
Another Greek classic. Remember the old blind prophet from the Odyssey? Well, according to legend, he spent seven years as a woman, in some versions of the story as a sacred prostitute in Corinth, while according to others as a wife and a mother. After seven years the spell got reversed, and Tiresias was a man again. This ties into him being blind: Apparently Hera blinded him after he was called on to decide a debate between Zeus and her about who enjoys sex more, men or women (wouldn't we all want to know). Tiresias said women enjoy sex TEN times more (suspiciously accurate number), and was blinded by the goddess and given the gift of prophecy by Zeus as a consolation prize.

The princess and the demon
This one is another favorite of mine, from India. Starts out similarly then Iphis, except in this version the prince(ss) meets a tree spirit/demon on the way to the wedding, and agrees to exchange sexes with him for a year. At the end of the year he returns to the site of the deal, and finds the tree spirit happily married and pregnant. They both agree they like their new sex better, and stay that way.

The warrior girl
I have blogged about this one earlier. It is a Spanish take on the Mulan story, and a prince that can't take "none of your business" for an answer.

The princess who became a man
I heard this story at the Mysteries of Europe storytelling conference in Spain, from Heidi Dahlsveen, a Norwegian storyteller. It is a Norwegian folktale about a princess whom her father wants to marry, so she runs away from home. Later she cuts off her breasts and dresses as a man, and works in a king's court until the princess falls in love with the mysterious soldier and they get married. The princess find out on the wedding night the story of her husband, and she is okay with it. But someone else, listening in (not cool) tells the king, and the king decides to order all the soldiers to undress and find out the truth. With the help of a magical old man, the young soldier avoids humiliation. He goes on to have a baby with the princess, whom the magical old man uses to illustrate a point about letting go of the pains of the past.

Caeneus
Another story from Ovid's Metamorphoses. It is a Greek myth about a girl that is "ravaged" by Poseidon, who then offers to reward her with a wish (how generous) (Poseidon's a dick). Caenis asks to be turned into a man so she can never feel helpless again. This story speaks more to gender difference and sexism, but it is interesting to note that Caeneus then goes on to be a hero among the Greeks and the father of an Argonaut.

That's it for now.
For a very useful interactive map of cultures that have more than two genders, click here.

Friday, November 14, 2014

Yes, Grimm fairy tales are dark, and we like them that way

News about a new edition of the Grimm fairy tales have been circling the Internet and popping up consistently on my Facebook wall. Headlines include:

Grimm Brothers' fairy tales have blood and horror restored to them in new translation (The Guardian)

New Translation of Grimm's Fairy Tales Restores the Gore and Horror (io9)

First Edition of all the Original Grimm's Fairy Tales will leave in all the gnarly parts (The Mary Sue)

Too Grimm for Disney: Original editions of classic fairy tales offer darker side of Brothers Grimm stories - including self-mutilation in Cinderella and Rapunzel getting pregnant in her tower (The Daily Mail Online)

These Grimm fairy tales are not for the kiddies (USA Today)

Brothers Grimm: Fairy tales restored & there are no "happy endings" (Hollywood Life)

So, what's up with all of this? Are we excited? Yes.
Is this good news? Yes.
DID YOU KNOW THAT IN CINDERELLA...
YES, I KNEW.

Professional storytellers generally know. We might not always be allowed to tell the stories that way (especially in the USA), but trust me, we know. It's really the only party trick a storyteller has: "Did you know that Rapunzel originally gets pregnant in the tower?" "Did you know that Cinderella's sisters cut their toes and heels off to fit the shoe?" "Did you know that Snow White is strangled, stabbed in the head, and then poisoned?"
Yes, yes, and yes.

When I was little, back in Hungary, I had picture books that told the stories that way, and no one thought about it twice. I went to puppet shows where they poured red glitter out of the stepsisters' shoes to indicate the dripping blood. The firs time I saw the Disney version of some of these tales I was not entirely sure what the heck was up with them.

So, what is the fuss exactly about? Why is all the media talking about the new edition? And, most of all, what I am trying to prove here?

It's not about the stories. The Grimm tales are dark, and they have been known to be dark for a long time. I mean, who ever thought that The Pied Piper of Hamelin is a cheerful, goofy children's story? (Apparently every children's book illustrator ever). The news is not the fact that Grimm is dark. The news is that people are excited about this.

Stories can use some darkness. They don't hurt children. I (like most kids in Europe) knew the original versions when I was little, and I turned out fine (and a storyteller). And yet, these versions are regarded as something strange and new and sensational. If you work in education or entertainment, you know why. Every storyteller could talk to you for hours about parents and teachers (but never kids!) complaining about a story being "too dark" or "too gory" just because the villain dies in the end. Stories get censored left and right. What, it is okay to murder Snow White once, but not three times? (The dwarves manage to save her the first two times, in case you were wondering). Is it okay for Rapunzel to be sold by her mother and thrown from a tower, but pregnancy is a taboo?

Yes, the Grimm tales are dark, and you know what else? It's not just Grimm, either. A 17th century Italian version of Sleeping Beauty gets raped in her sleep and wakes up when she gives birth to twins. The original Red Riding Hood is torn apart and devoured by a wolf. A Swiss version of Snow White is a girl forced into slave labor by seven bandits. The ancient Greek Cinderella is a prostitute. The Hungarian Dancing Princesses don't wait for their suitors to fall asleep - they poison them dead and then go to a witches' Sabbath. I could go on.

Shiny, happy, kid-friendly tales are a product of 19th century romantic ideals of childhood. They are not the norm. Grim(m) was the norm. And some of them were never intended for children. And now while we are talking about it, hopefully we will take another look at what these stories tell us about human nature, and to what extent they need or don't need to be censored.
We might want to talk about what the villain's death means to children listening to a tale. We may want to talk about what Rapunzel can tell us about the need for sex education. We might have a discussion about Cinderella's sisters and the body image of young girls. We might talk about Sleeping Beauty and issues of consent. We might even venture to discuss Snow White and the question of taking authority figures' words at face value. And why stop there? Maybe we will even talk about censorship in other media.

Did you know that...? Yes. I did. And I am glad I do.

Monday, November 10, 2014

Kentucky Storytelling Conference 2014 - Fun with friends

It was so nice to be back in a place that has sweet tea, Southern accents, and three-dimensional geography.
And even better to be among people of story.

I drove down to Kentucky with Kevin Cordi, and as it happens when storytellers travel together, the time zone wormhole was not the only thing that made the road seem shorter. We arrived just in time for the Friday night concert. Both featured tellers, Judy Sima and Pam Holcomb, were spectacular, and a fitting welcome to the participants of the conference. I know Judy well, and her touching, eloquently told story of family and immigration was mesmerizing. It was my first time hearing Pam, but she in an instant favorite; she is hilarious and at the same time heart-warming, both on and off the stage.
I like how the KSA did open mic: They had three separate hats labeled "I have never told before" "I tell some" and "I tell a lot" so that everyone could put their name in the hat they were comfortable with, and everyone would get an equal chance to tell (instead of being flooded out by the confident, experienced tellers). It was a lovely system, and it worked out really well. Two of my new favorites from the weekend were Larry Staats (who left me in tears of laughter) and Octavia Sexton (who is a wild, wonderful lady, and a great teller of Jack tales). I was also very happy to see youth tellers on the stage (they call them Torchbearers here); they did an excellent job, fit to be in a lineup of grown-up and even professional tellers. The Friday evening story slam was similarly fun, and I especially liked the tie-breaking tell-off when two storytellers of equal scores faced each other once again in four-minute stories (and would have gone on to three, two, and one, which I would have loved to witness).
Saturday was a day of workshops interspersed with open mic. I spent the morning with a small group visiting the folklife archives of the Kentucky Museum at WKS. We got to dig into the files and play around with collections of jump-rope rhymes, wart cures, comic love songs, quilt patterns, and, of course, folktales. We also took a quick tour of the exhibitions and the log house, and returned to the hotel full of new ideas and research inspiration. I thought visiting the local museum was a great idea for a workshop. Definitely a keeper.
In the afternoon I participated in Kevin's workshop on play and word-dancing. The room was absolutely packed, and the next 75 minutes felt like being caught in a whirlwind in the best possible way. Kevin encouraged us to play, to experiment, to create, and to support each other's ideas. It was a fun workshop to do, and a great group of people to play with.
In the last slot of the afternoon, it was my turn to present. My workshop was titled "StorySpotting - Creating a bridge between storytelling and popular culture" and I talked about what we can learn as storytellers from popular media and internet fandoms. I had a captive and cheerful group, and I personally really enjoyed sharing my nerdy side with storytellers (almost as much as I enjoy sharing my storyteller side with people in the pop culture department). I think it was the beginning of a beautiful friendship between traditional storytelling and pop culture. I will work more with it in the future.
I would like to make a special mention of how supportive KSA was of people with disabilities attending the conference. They were attentive, organized, and courteous. Not only were all the performances and workshops interpreted in sign language, but we also learned as tellers and presenters a lot about how to shape our work to help the interpreters do their job, and provide a good experience to every participant in our workshops. Every conference should follow their example.

All in all, it was a lovely weekend adventure in the world of story. The conference was friendly and well organized, and we were all welcomed with an open heart. As someone who travels a lot to a lot of events, I'll say that the KSA conference is definitely one of the great ones. I can't wait to visit again next year.

Thursday, October 23, 2014

NaNoWriMo: The Good, The Bad, and The Story

I don't even remember when I first heard about National Novel Writing Month. It must have been the first year I was studying in the USA (that is 2007) and I remember liking the idea. I was a published author by then, so I already knew an important thing about myself: I simply cannot write alone. Maybe this stems from also being a performing storyteller, being used to constant audience feedback, but whatever the reason, it was really hard for me to get motivated when alone, and so I was constantly seeking out family members, friends, and other people not fast enough to run away, to bounce ideas and get feedback for my work. I also loved working alongside other writers, even if our genres didn't mix well, just for the motivation of writing along (yes, I am extremely competitive, thanks for asking).
In the past 7 years, I did not always participate, and when I did, I didn't always hit the 50k goal. Last year was an epic fail, for example, mostly because it collided with my first year of PhD. But the year before (2012) marked the start of my book, Tales of Superhuman Powers (55 re-tellings of folktales that feature superpowers), my first English language work, that got published by McFarland.
You win some, you lose some.

Except, you really don't lose anything.

Now, while hundreds of thousands people participate each year, NaNo also has its critics. Most of them belong to the "NOBODY CARES" camp of people (I never understand why they are on social media in the first place, if they will whine about having to look at other people's interests), and some of them are believers in "high literature" that don't trust the quality of works that come out of 30 days of crazed writing.
So here is the thing: NaNo is not perfect, and it is not for everyone. It will also not turn you magically into a bestselling author if you leave your work as it is on November 30th. There are good things, there are bad things. From my experience, here are some of them:

The Good

1. Motivation. NaNo was designed to make you put your ass into a chair, your hands onto a keyboard, and start the book you always planned to start 'someday.' It also keeps you on track with word counts and various other built-in mechanics of the challenge.

2. Community support. Despite the claims of 'nobody cares,' I have seen people actively help each other during NaNo, instead of just tooting their own horn. Heck, the forums are full of questions and answers. People support, encourage, and motive each other; they give feedback, and help with research. As they should.

3. Pre-release audience building. Who said getting people interested in your work has to start after publishing? People are invested in works if they see them being formed, and even more if they participate in their creation by supporting and motivating the author. NaNo is a great place to build interest, a following, and an audience that keeps you going simply because they want to read the finished product.

The Bad

1. Deadline stress. Are you a person that gets stressed out about deadlines and shuts down entirely? Maybe NaNo is not for you. Or maybe it's just more of a challenge.

2. Number of people. Sometimes I get intimidated by the sheer number of books people write during NaNo. How am I ever going to be one of the few that get picked up? Is it even worth trying while so many other people are also competing in the same market? Are we going to turn from writing buddies into competitors the moment November is over? While a great place for support and help, just because of the sheer number of participants, NaNo can also be intimidating.

3. Extra work. NaNo was designed to make you put out 50k words in a month to kick off your next writing project. However, since editing is forbidden during November, a lot of what you put out in a writing frenzy will probably land off the cutting table in December. It would be interesting to see percentages of how much useful written material people actually get out of NaNo. I know I scrapped an entire project once.
(But still: Getting started in the first place is priceless. At least you find out what direction you didn't want to go in).

The Story

While I don't always use it to its full potential, I do believe in NaNo. Mostly because I am not convinced that writing was ever supposed to be a solitary act. I know storytelling certainly isn't. We are social beings. Maybe we just create better within a community.

Tuesday, September 30, 2014

Call for Participants for a Survey on Bards and Storytellers in Role-Playing Games!

Call to gamers in the tabletop role-playing field: 
I am looking for participants for a research project on Bards and other storyteller-type characters! My name is Csenge Zalka, and I am currently a PhD student at Bowling Green State University. I am conducting a research project on how people play storyteller-type characters, and what they like or dislike about them.


If you have ever played a storyteller-type character (Bard, Eshu, Gaillard, Trubadour, Fatemaker, Lore-keeper, etc.), and you would be willing to participate in the project by filling out a short (15-20 minutes) online survey, please follow the link below! You have to be at least 18 years old to participate. 
Thank you!

If you want to fill out the survey, follow this link!