The Art of Storytelling: From Parents to Professionals

Course No. 9313
Instructor Hannah B. Harvey, Ph.D.
Professional Storyteller
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3.8 out of 5
128 Reviews
64% of reviewers would recommend this product
Course No. 9313
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What Will You Learn?

  • Learn how to build dynamic tension and capture - then maintain - your audience's attention.
  • Discover how to apply expressive language, imagery, vocal cues, and intonation to the stories you tell.
  • Try your hand at numerous exercises designed to help develop your stories and make them more enjoyable.
  • Acquire techniques for finding, selecting, and preparing stories based on your own experiences - or beloved family yarns.
  • Examine different methods of shaping your story's plot, structure, and emotional arc.
  • Analyze the Storytelling Triangle" - the dynamic relationship between the storyteller, the story, and the audience."

Course Overview

The gift of storytelling may be one of life's most powerful—and envied—skills. A story well told can make us laugh, weep, swell with pride, or rise with indignation. A story poorly told can be not just boring or uncomfortable, but positively painful to experience. Humans seem to be fundamentally hard-wired for stories—they’re how we record both the monumental events of life and the small, everyday moments.

The oral storytelling tradition is as old as language itself. Throughout history, stories have primarily existed in the verbal realm, preserving and passing knowledge across generations before being canonized in print. This was true of the ancient epics, and it’s true today. Your family history, your company’s history, the stories you tell that define and shape your identity—these are all stored in your mind and shared through your actions and words.

And being a gifted storyteller has its advantages: A well-crafted narrative can keep the people, values, and life lessons you hold dear alive and give you the power to influence your children, your employees, and others.

There are many reasons we relate and respond to stories. We’re often drawn to

  • what or whom the story represents;
  • how the story reflects a core part of who we are (or who we want to be); and
  • what the story could be—because we don’t like the reality of what the story is.

So how do you tell stories that stick—in your own mind and in the minds of your family, friends, colleagues, and clients?

That’s precisely what you’ll learn in The Art of Storytelling: From Parents to Professionals, an enthralling course that reveals the tried-and-true methods experienced storytellers use to develop and tell engaging, entertaining, and memorable tales. In 24 lectures, Professor Hannah B. Harvey demonstrates how to master the art form’s basic principles with the same witty, dynamic energy that has made her an internationally recognized professional storyteller and award-winning educator.

Even if you never plan to set foot on a stage, knowing what a professional storyteller does in the process of crafting and delivering a tale allows you to enhance the stories you tell everyday—to your children at bedtime, in your conversational anecdotes, and in your presentations at work. Teachers, lawyers, clergy, coaches, parents, and anyone who wants to understand the power of stories to capture hearts and minds will benefit from the lessons presented in this course.

Find Your Own Story

Professor Harvey calls the act of creating a story performance an “alchemical process” that involves an interconnected cycle of talking, writing, imaging, playing, and rehearsing.

You’ll begin your exploration of this layered chain of events by breaking down storytelling’s secret underpinnings and examining the dynamic relationship between you, the story, and the audience, known as “the storytelling triangle.”

This course introduces you to practical methods for building dynamic tension and capturing—then maintaining—your audience’s attention. You’ll acquire tips and techniques for finding, selecting, and preparing stories, whether they’re based on your own experiences, time-honored folk tales, or beloved family yarns.

You may be surprised to discover how many small, virtually imperceptible decisions go into the telling of a good story, right down to the way you emphasize certain words. For example, a far richer picture is painted when you say “the door creeeeeeeeaked open,” instead of stating “the door creaked open.” That’s because the former enhances “sensorium,” allowing the audience to fully visualize what you’re describing.

You’ll also learn to

  • choose expressive language;
  • craft compelling characters;
  • refine your narrator’s point of view;
  • shape your story’s plot, structure, and emotional arc;
  • develop imagery, vocal cues, and intonation; and
  • use body language to connect with your audience.

And there’s so much more. Professor Harvey instructs you on ways to make the past feel present, to take “on and off ramps” to gracefully enter and exit stories, and to employ devices such as repetition and audience participation to lure back listeners you’ve started to lose.

Beyond Happily Ever After

Part how-to workshop, part intellectual study of the history of narrative, The Art of Storytelling investigates the hidden meanings of various genres from the hero’s journey to the fairy tale. You’ll examine classic story structures, archetypal characters, and why certain stories, such as Cinderella, have endured across time and cultures.

In studying the psychology of fairy tales you’ll discover that, although they were never intended for children, their characters and situations serve as a mirror in which children see themselves reflected. As you dissect the familiar story of Little Red Riding Hood to examine the themes of temptation, heroism, good, and evil, you’ll realize how real the fantasy world can seem for children and the many ways fairy tales fulfill children’s needs.

Fairy tales offer children reassurance that

  • their feelings are valid;
  • although they struggle with contradictory desires, it will all turn out OK in the end; and
  • if they “enter the woods,” they can overcome the temptations that the woods represents.

Practice Makes (Almost) Perfect

Many lectures feature exercises that literally get you moving to develop your stories and make them more enjoyable for you to tell and your audience to hear. Although journaling and scripting are part of the process, at no point will you be expected to memorize your stories word for word. The professor’s interactive activities and “side coaching” sessions are designed to make you comfortable enough with your story to tell it naturally and make impromptu changes as needed.

For the uninitiated, some exercises may seem outside your comfort zone, but you’ll soon find that Professor Harvey’s warm-ups, activities, and rehearsal ideas are an effective way to harness performance anxiety and get prepared to be playful and spontaneous.

While you may not do this preliminary work when telling stories at a party, doing the exercises ahead of time will help tremendously when you’re thinking on your feet.

In taking this course, you’ll learn that storytelling is less about the telling than it is about listening to what your particular audience needs, and reacting in the moment by adapting your language, body gestures, and voice to accommodate the changing dynamics and atmosphere.

You’ll even learn what to do if the unexpected occurs while telling a story to a roomful of kids or giving a presentation (such as sirens blaring outside). Lectures addressing the practical considerations of using props, PowerPoint, and microphones in various scenarios are as informative for performers as they are for business professionals.

An Unforgettable Experience

An absolute treat for the heart and mind, this course is complemented by clips of accomplished storytellers practicing their craft at festivals, as well as Professor Harvey’s own personal tales about growing up in Appalachia, which range from the heartfelt to the downright hilarious.

An exceptionally captivating lecturer, she brings her unique perspective as a scholar-artist to this endeavor, grabbing hold of your attention from the start and never letting go—which is exactly what you’ll learn to do with your own audience by the end of this course.

Whether you seek to sharpen your abilities in the boardroom, the classroom, or simply around the water cooler, The Art of Storytelling has the answer. The context may change, but the methods remain the same.

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24 lectures
 |  Average 31 minutes each
  • 1
    Telling a Good Story
    What qualifies as a story? Learn the significance of storytelling in various cultures; the ways this art is distinct from other forms of performance or literary thought; and how the craft of professional storytelling can help you improve your own storytelling abilities. Listen to tales from the professor’s life and get an introduction to the “storytelling triangle.” x
  • 2
    The Storytelling Triangle
    Telling a story is a three-way dynamic relationship between you, and the story, and the audience. In the first of three lectures that analyze this storytelling triangle, look at The Old Maid and other stories in depth to understand how the process of storytelling works. Then, consider why you’re drawn to certain stories. x
  • 3
    Connecting with Your Story
    What kinds of stories appeal to you most? Look at the variety of stories that are available for you to tell and some practical resources for finding them. Assess the intellectual, social, and cultural connections we develop with stories and identify how you can add depth and context to the stories you tell. x
  • 4
    Connecting with Your Audience
    Focus on this second aspect of the storytelling triangle—your relationship with your audience—by looking at the physical, social, emotional, and intellectual contexts of this relationship and how stories work to bring audiences together. End with an exercise that helps you identify stories that connect with a variety of audiences. x
  • 5
    Telling Family Stories
    Examine the hidden meanings of the family-story genre, including why we tell family stories, how stories organically emerge from families, and what remembering these stories entails. With these hidden meanings in mind, consider how you can tell your own family stories in a way that captures your audience’s attention. x
  • 6
    The Powerful Telling of Fairy Tales
    With classic stories, fairy tales, and myths, there’s a lot more than “they all lived happily ever after” going on beneath the surface. Use Little Red Riding Hood and other fairy tales to understand the psychology of storytelling and what fairy tales do for children in particular. Then, see why the themes of these tales can be just as appealing to adults. x
  • 7
    Myth and the Hero’s Journey
    Lord of the Rings and Harry Potter are modern examples of a “hero’s journey.” Use ancient myths from East Africa and ancient Sumeria to break down this structure and investigate why the archetypal figures and pattern of separation, initiation, and return found in the hero’s journey resonate so deeply. Pause to consider how you can apply these ideas to craft stories that reach your audience on a meaningful level. x
  • 8
    Tensive Conflict and Meaning
    Dissect the layered process professional storytellers use when preparing to tell a tale, which involves an interconnected cycle of talking, writing, imaging, playing, and rehearsing. Explore the concept of “tensiveness,” the dynamic quality that reveals a story’s opposing forces; then step back from one of your stories to see the potential relationships between the larger parts of the narrative. x
  • 9
    Giving Yourself Permission to Tell
    Engage in “stretching” exercises to learn to let go of things that may hold you back from telling your story, and give yourself permission to play with the story, make mistakes, and really immerse yourself in the narrative. Listen to the story Mama’s Wings to identify its tensive pulls and unifying themes and images. x
  • 10
    Visualization and Memory
    Learn to visualize a story’s people, places, and events through interactive exercises that get you “seeing” the story in front of you. Explore techniques that help you remember a story without memorization, and methods for immersing yourself in the scene while shifting into “epic mode” to focus on your audience. x
  • 11
    Discovering Point of View
    There is no such thing as a purely objective narrator. Consider how the narrator’s perspective and point of view guide the audience through the story, and how even the most familiar stories can be reinvented by narrating from another character’s perspective. See why age, gender, heritage, economics, and temperament shape your vantage point. x
  • 12
    The Artful Manipulation of Time and Focus
    Explore how you as a narrator can artfully guide the audience’s experience of the story by looking at techniques for controlling events, manipulating time, and making the past tense feel present. Consider when to take your narrator out of the characters’ conversations to increase the pacing and energy. x
  • 13
    Narrator—Bridging Characters and Audience
    Begin thinking about the narrator’s relationship with characters and how control may be ceded to certain characters at points throughout a story. Learn how using focal points can distinguish between personalities, and establish the physical and emotional relationship you have with those characters through storyteller Motoko Dworkin’s performance of a Japanese folktale. x
  • 14
    Developing Complex Characters
    How old are your characters? Are they “head-centered,” “stomach-centered,” or something else? Experiment with gestures and body postures that add depth and dimension to your characters. Then, gain insight into how you can develop characters into memorable people your audience really enjoys seeing in action. x
  • 15
    Plot and Story Structures
    Does your story need to be told in chronological order? Use your storytelling journal to organize the pieces of your story into a structure that conveys the underlying meaning. Learn to separate plot from emotional arc and gain tools that are useful when you’re developing the frame, structure, and resolution of your story. x
  • 16
    Emotional Arc and Empathy
    From ghost stories to family stories, empathy is crucial in giving your audience an emotional entry point and permission to feel. As you turn from plot sequencing to the development of your story’s emotional arc, learn how to build a compelling beginning and emotional climax through an exercise that explores the motivating desire of your primary character from first- and third-person perspectives. x
  • 17
    Varying the Narrator’s Perspective
    Learn to build dynamic tension through your characters and achieve satisfying resolutions. Stories and exercises teach you how to treat third-person statements as if they’re first-person accounts and how to let secondary characters narrate for themselves or serve as “little narrators.” Understand ways to personify the negative force your protagonist is struggling with so it becomes a “little character.” x
  • 18
    Vocal Intonation
    Focus on using vocal intonation to evoke the “sensorium” of a story for your audience with a lesson on how the voice operates, featuring warm-up techniques. Perform mouth and tongue stretches and articulation exercises, then learn how pace, pauses, and sound effects can create character distinctions, contribute to the emotional arc, and draw in your audience. x
  • 19
    Preparing to Perform
    Synthesize everything you’ve learned so far by integrating the elements of storytelling in writing and performance exercises that help you look at your story from various angles. Create a story outline, tell a “side-coached” version of your tale, do an exaggerated run-through, and write a script. Finally, consider the meanings your story holds. x
  • 20
    Putting Performance Anxiety to Good Use
    Whether you consciously deal with performance anxiety as a barrier to communicating with others, or you want to become a more energized and engaging storyteller, this lecture is designed to teach you the physiology behind performance anxiety; the correlation between anxiety that debilitates and energy that enlivens; and practical tools for channeling nervous energy. x
  • 21
    Adapting to Different Audiences
    Consider the physical parameters of informal and formal storytelling scenarios; how stories emerge in these different settings; and what specific audiences—from children to employees—typically need from a story. Learn how to handle yourself as a storyteller in relaxed situations, boardroom settings, and the classroom environment. x
  • 22
    Invitation to the Audience—Mindset
    How do you get and keep your audience’s attention? In this lecture, you’ll learn about on-ramps and off-ramps—how to lead into your story and make it relevant, and how to conclude gracefully. Acquire specific tools for putting your audience in the proper mindset to listen, whether you’re engaged in conversation, giving a presentation, or telling a story to children. x
  • 23
    Keeping Your Audience’s Attention
    Once you’ve hooked your audience, how do you keep them from straying? Learn general rules to live by as a storyteller and ways to keep your audience engaged, including the use of audience participation, props, and repetition. Learn to adjust to what the audience needs in the moment and to cope with interruptions. x
  • 24
    Remember Your Stories—The Power of Orality
    Wrap up the course with some final considerations for keeping your audience interested, from the technical aspects of microphones and PowerPoint, to the more nuanced ways that you can read audiences and understand their needs on the spot. Finally, return to the nature of orality itself as a cultural force that shapes us all. x

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What Does Each Format Include?

Video DVD
Instant Video Includes:
  • Download 24 video lectures to your computer or mobile app
  • Downloadable PDF of the course guidebook
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DVD Includes:
  • 24 lectures on 4 DVDs
  • 184-page printed course guidebook
  • Downloadable PDF of the course guidebook
  • FREE video streaming of the course from our website and mobile apps

What Does The Course Guidebook Include?

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Course Guidebook Details:
  • 184-page course synopsis
  • Photos & diagrams
  • Example stories
  • Suggested readings

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Your professor

Hannah B. Harvey

About Your Professor

Hannah B. Harvey, Ph.D.
Professional Storyteller
Dr. Hannah B. Harvey is an award-winning teacher, an internationally recognized performer, and a nationally known professional storyteller. She earned her Ph.D. in Performance Studies/Communication Studies at The University of North Carolina at Chapel Hill, where she was also a teaching fellow. While teaching at Kennesaw State University, she received an Honors Program Distinguished Teacher award and an Alumni Association...
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The Art of Storytelling: From Parents to Professionals is rated 3.8 out of 5 by 128.
Rated 5 out of 5 by from Incredibly helpful. I am a trial lawyer and I love to tell stories of people’s lives. I’ve been doing it for many years...learning through trial and error - on my own. And I purchased this course 6 months or so ago and found something better. I continually return to it. I’ve learned so much. I am grateful to Professor Harvey. It’s been awesome. Thank you.
Date published: 2018-09-06
Rated 3 out of 5 by from Art of Storytelling: From Parents to Professionals Unlike the course Building Great Sentences, which was packed with info, Art of Storytelling: From Parents to Professionals is more like easy listening than a leaning experience. To be fair, I have finished only six of the lectures, but my time is limited and I need to feel it is well spent, so I will go on to my next course. Glad I paid the sale price. I also recommended this course to a colleague, before I started it myself. He didn’t finish it either.
Date published: 2018-09-03
Rated 5 out of 5 by from focused! I'm a hobby genealogist, and I'm finding some amazing stories, or the beginnings of some amazing stories, within the records of my ancestors. I wanted to share those with the folks who come after me, and not simply a chart with names and dates. My project will not be an oral storytelling, but the topics addressed in this course have helped me focus my work in a way that will benefit those who read about how wonderful and courageous those people were, and the lessons they have for the rest of us.
Date published: 2018-08-29
Rated 1 out of 5 by from A very annoying teacher This educator is excessively animated and comes across as pretentious and quite frankly, stupid. The irony is that she just cannot tell a story herself. Not one! Her "Aunt May" 'story' was pointless and inconclusive and she just waffled along reminiscing on her experiences with her aunt.
Date published: 2018-04-16
Rated 5 out of 5 by from I bought this and I am happy because it is very good to use as you converse everyday. Every module is clearly explained.
Date published: 2018-03-01
Rated 2 out of 5 by from The Art of Story Telling I have been happy with some of the information but felt that my daughter's advice to me could be passed on to the lecturer '"if you can't do an accent Mum, don't do it''. I found it so grating and was quite turned off.
Date published: 2018-02-10
Rated 5 out of 5 by from Fantastic course! I learned a lot in this course about storytelling, it applies to basically everything we do every day and its simply wonderful! I absolutely recommend this course!
Date published: 2017-09-19
Rated 1 out of 5 by from Horrible I bought this a few years ago when I bought some other series from this site. I enjoyed the other programs. I started this one and could not get into it. Horrible, really. The speaker is pompous, referring to herself in exaltation during the course in a self-aggrandizing and self-inflated way, which turned me off to her. Her voice and presentation are histrionic and affected.
Date published: 2017-06-15
Rated 2 out of 5 by from Ehh Not my favorite, couldn't finish it. The instructor told too many stories, not enough practical application.
Date published: 2017-05-21
Rated 1 out of 5 by from I will be calling tomorrow. I had packed up my car and was ready to travel 3 1/2 hours to Memphis and back to the Nashville area and when I got on the interstate none of the CDs will work in my car. Other CDs work fine. So I really can't comment.
Date published: 2017-02-23
Rated 1 out of 5 by from Asked for my money back The professor's lecturing voice is very good, but her story telling voice is overly affected (often over-emphasising the wrong parts of the story). There was little university-level theory on story structure. The best story examples were the stories told by others. Her own stories lacked some of the basic structure that she was teaching: The story of her grandfather's hands was just "and then, and then, and then". She missed the opportunity for a twist at the end by having her grandfather's hands, which had held and given love to so many others, being held by hand of God. Her story of her Scottish relative had a good hook at the end (the knight turned out to be the King), but then rather than figuring out how to make that the ending, she continues on, at which point the story becomes very uncomfortable. The point of view of her miners' story doesn't work - she doesn't act the part of a miner well; it would be a much better story told from her own research-collecting perspective. Also, the ending (even after the accident the miner still misses being down in the mine) isn't supported by the body of the story. The biggest missed opportunity is the wing story - the story material is terrific; however, she doesn't weave it together well. The revelation about her father near the end comes out of nowhere and doesn't fit with the with the almost too-light tone of what comes before. She could have easily hinted/foreshadowed the revelation by: a) hinting at why she wanted to fly (what child hasn't dreamed of flying away in the face of adversity?); and/or b) when speaking of her mother, indicating she was distracted or had other things on her mind. She also includes irrelevant material like her dog or the peacocks which she justifies as "giving permission for a distraction" or as a set up for a joke. However, again it's a missed opportunity: Peacocks, as beautiful as they are, make a horrible screaming sound, which could structurally have been a foreshadowing of the screaming of her parents at the end.
Date published: 2017-02-21
Rated 5 out of 5 by from Learn to tap into your story I have always wanted to tell a good story and this course provides great exercises to develop this skill. The lecturer is so captivating she kept my attention on every lecture.
Date published: 2017-02-19
Rated 5 out of 5 by from Fantastic! I don't understand why this course has a rating of 68% when it has got to be one of the best I have purchased from Great Courses. Don't let this one slip through your fingers. Even if you are not looking to be a story teller it give valuable insights into art of writing, presenting, gauging audience... all around entertaining, all around fabulous!
Date published: 2017-01-20
Rated 5 out of 5 by from The Audio Was Good, But I Just Bought the Video This course is both informative and entertaining, and Professor Harvey uses her storytelling skills to make the lessons come alive. It was well worth the money I spent on the audio version, but if you can find the time to watch the video, that will be even better. I listen to the Great Courses while I am walking for exercise, so I buy audio versions. I rarely buy video because I have trouble finding the time to watch the lessons. The audio version was good, and Dr. Harvey went out of her way to explain storytelling techniques so that I could "see" them through my ears. However, storytelling is often a visual medium as well as an oral one. Storytellers use gestures, body posture, and movement, and the lectures would have been even more helpful if I could have watched as well as listened. Professor Harvey also used workshop techniques that involve the audience in the learning process. Again, she explained the process so that those who can't participate (e.g., because the listener is either walking or driving) would understand and follow the exercises and do them at home later. Even so, it would have been helpful to do them along with her. If you don't have time to watch the video, by all means buy the audio. You will find it worth your time and money. But the video will be even better.
Date published: 2016-12-11
Rated 4 out of 5 by from Story Telling not Story Writing I actually bought this course because I wanted to learn how to write (not tell) stories. But the course is really about telling stories. That being said the professor does an excellent job and has great voice dynamics which are an essential part of story telling. However, the course did not meet my needs. But that was not the fault of the course, but of my expectations for what the course might do for me.
Date published: 2016-10-06
Rated 5 out of 5 by from It made me laugh, it made me cry, it made me wise. This is a great course, no pun intended. Her skills rapidly rubbed off on me. But I will never be as good a storytell as she is. I can tell a story, Profesor Harvey lives the stories she tells. Thank you Professor Harvey.
Date published: 2016-10-02
Rated 4 out of 5 by from The Essentialls Brought together the key elements for good storytelling. Lectures along with demonstrations provided essential guidelines to assure good communication with the audience. I have used the professor's techniques and have achieved excellent results... a "must" course for amateur or professional storyteller.
Date published: 2016-09-06
Rated 3 out of 5 by from Did not measure up to other courses I purchased. Very simplistic sophomoric series of lectures on a potentially interesting and useful subject.
Date published: 2016-08-10
Rated 5 out of 5 by from A Gift that Keeps on Giving Hannah Harvey's course on story-telling is one that provides great riches. watching it, you can learn a lot about how story-telling works, and about how really good story-tellers make stories work. By following the examples she provides and the hints and analysis she introduces, you can learn to tell stories better and more effectively. And following her lessons and examples, you will find that it's not difficult. She makes it easy to get started, and she makes it easy to get better. This is a rich trove of academic and practical wisdom, integrated in a way that makes it all accessible to everyone. Not to mention there are some really great stories. So not lnly do I learn some new tricks with each watching, I find a deeper appreciation of the stories themselves.
Date published: 2016-07-15
Rated 1 out of 5 by from Not for Me The course material was too thin and the lecture style too tedious. I made it through three lectures and couldn't stomach a fourth.
Date published: 2016-07-09
Rated 5 out of 5 by from Much Food for Thought and Expression At first I doubted whether this course was really what I was looking for, after going through “Public Speaking” and “Managing Your Stage Presence”—both of which I have now completed for the second time. With the exception of just a few lessons not related to my present needs this course fit my purposes to a T. Professor Harvey spoke with a sense of confidence and enthusiasm that soon became infective, and I felt that almost all the points she made were applicable to my public speaking. Learning about storytelling to children was not my purpose in purchasing the course, but even there one can find points to be applied to a variety of venues. The device of separating one’s story or speech in blocks is proving invaluable and one I am now putting into practice. It gives one a structure with clearly identifiable parts, and these parts can be moved around or deleted according to the time allowed for the presentation. It also helps one determine the relative importance of those items. In addition,they can also be allocated a time frame: the first few blocks containing the introduction may, for example, be given ten minutes; the second, which could include the climax, more; and for the denouement perhaps the same as or fewer than the introduction. This is only one of the techniques I found useful. There are many more. Only two items were somewhat annoying in this course: Dr. Harvey only infrequently uses the construction “different from” and prefers instead “different than;” and from the Redundancy Department of Redundancy she uses that abominable combination “close proximity,” ugh! Which is the same as saying “close closeness” since something in proximity is already close. For anyone who feels a need to bring an object closer than “proximity” I recommend “immediate proximity.” Having been born and raised in East Tennessee, I can identify with many of her comments of the people of Appalachia and compliment her on the conciseness, precision, and expressiveness of her spoken English, because as she and I know, back in them thar hills standard English is almost a foreign language, which however should in no way detract from the folk wisdom of the people with whom we both grew up.
Date published: 2016-06-02
Rated 5 out of 5 by from Great for Writers Though I'm not a story teller, I am a writer, and have found this course to be a great learning experience. It teaches about story structure and narrative technique. What works well in a spoken story works well in a written one too. The course is more enlightening on these topics than many a book about the writer's craft.
Date published: 2016-06-01
Rated 5 out of 5 by from To Pass Along to the Grandchildren I love stories. I've read extensively of the stories and myths and traditions of many cultures over many centuries. I think the real truths we need to know are contained in stories. I'm rereading Joseph Campbell at the moment as a part of that interest. I took this class because I wanted to be capable of passing some of the family stories down to the Grandchildren as well as to retell things like the Epic of Gilgamesh in a meaningful way. What I learned from this course will help me do exactly that and for that I am most grateful. As the grandson of a coal miner, I immediately connected to the presenter and I was appreciative of her respect for those folks and other ordinary people like them. I learn better from honest, down-to-earth people and she certainly met that standard. I had never given any thought to the mechanics involved in the telling of a good story and this gave me a lot of useful techniques to remember to use with the material presented in an orderly well paced manner. I have taken it upon myself to learn how to tell the story of my Father-in-Law, who served with the 101st Airborne Division in World War 2 and who was awarded the Bronze Star and 3 Purple Hearts. This course has taught me how to better put together that story in the way that it needs to be passed along in the family. That means a lot to me and I will be in debt to this course for much of that. I work with a number of men and women in the IT field who are from other parts of the world and I can say for certain that my telling stories about the USA, our history and traditions, has been enhanced by this course and that is a blessing. There is something she said in one of the lectures that really hit me and which I wrote down and which now has a permanent place on my desk as a bit of real wisdom: "Fact is what happened...Truth is what those happenings meant to people." I know of no better definition of "truth" than that. Kudos on a job well done.
Date published: 2016-03-28
Rated 4 out of 5 by from A sound introduction to story telling Many of the reviews I have read are about as far off base as one could get. This is a sound course that provides essential tools to present both fictional and nonfictional material to others in both an interesting and memorable way. Is see much that would be of use to the writer as well as the narrator. Some of the writers of reviews I read, before ordering this course, seem to have forgotten to add sugar to their lemonade before recording their thoughts. This is a good course. Remain patient and go through the course before coming to a conclusion regarding its value. For instance, I was initially put off by excessive use of gesturing; yet, as the course continues this becomes less a concern while probably being the reason I did not rate any higher.
Date published: 2016-02-29
Rated 4 out of 5 by from Badgered buy emails Course seems fine. It is afterwards where your email box gets over whelmed with mail two to three times a day. Enough already. I have unsubscribed and that did no good , now just directing all to spam.
Date published: 2016-02-01
Rated 4 out of 5 by from The Art of Storytelling I'm about halfway thru the course and have enjoyed every story so far. And without killing the story itself, I now have a growing sense of the science and structure of storytelling. Big fun but still very educational.
Date published: 2016-01-28
Rated 3 out of 5 by from Let Me tell you about the time I wasted $40 Thank god I bought this during the discount promotion and only paid $40. While it was great to hear the instructor tell stories, it didn't leave me feeling I had any increased understanding or ability as a raconteur.
Date published: 2016-01-21
Rated 5 out of 5 by from I write historical fiction and I se the storytelling course to be of great value.
Date published: 2016-01-20
Rated 5 out of 5 by from Story Telling - A tool made more useful This course changed how I approach story telling in my work and play. The lectures helped me visualize scenes instead of visualizing my notes and to become a teller of stories instead of saying my practiced lines. Very practical course, especially for audio learners like me. Thanks
Date published: 2016-01-20
Rated 1 out of 5 by from 1st Course We've Ever Returned We were so hopeful for this course. Story, storytelling, the art form are such treasure. We were excited to go into depth... ...sadly, while this course seemed promising at first, it fell far short of what it promised. The consistent use of the presenter's own storytelling as examples of technique, well, it failed miserably. Our ages range from 11 to 47 and we've watched dozens and dozens of lectures. While sometimes the presenter isn't the best, usually the content balances. Sometimes the content may need improvement, but the presenter balances. This course, not balanced. Sadly, it did not deliver.
Date published: 2016-01-08
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