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StoryCon 2002
Meeting Schedule
 

 We Have the pieces

We  have an awesome range of plenary talks (single track) in morning and evening, with optional workshops in the afternoons.

The day before the advanced meeting, there is an Intro To Story Pre-conference course that lasts from Morning until evening, allowing many of the speakers to introduce themselves and their basic ideas. That's because the main meeting is an advanced meeting and they'll be sharing new ideas there.

Rob Kall, Meeting organizer.

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Now We're putting them together

 

StoryCon; a a summit meeting for people in all the worlds of story to share their ideas on, their love of STORY

 

Pre- Conference Course StoryCon Main Meeting
Three Post Conference Courses
 
Wed. Sept 25 Thurs. Sept 26 Fri Sept. 27 Sat. 9/28 Sun. Sept 29
Sun-Mon 9/29-30
Tues 10/1
Intro To Story Pre-Conference Workshop
8:00AM-12:00 PM
1:00-5:30 PM
6:45-10:30 PM
25+ speakers
Meeting Opening: Exploring the Whole World of story
Story Parameters
Structure, roots, experience
Story Parameters,  Models and Applications
The Future of Story
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James Bonnet’s Storymaking   The Master Class Sept 30, Oct 1

 

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David Snowden: Narrative patterns: the use of story in organisations Sept 29, 30_

 

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Intro To Story Pre-Conference Workshop

8:00 A beginning of a history, science and pedagogy  of Story Science and Art. Rob Kall

8:30 The Essence of Story: James Bonnet

9:00 Linear story structure; Linda Seger

9:30 How Narratology Can Help You Write Better Stories" James Phelan

Ÿ 10:00 Break

Ÿ 10:10 Story as Energy David Vanadia

Ÿ 10:20 From Heros To Villains: The Psychology of Characters and Conflicts; Rachel Ballon

Ÿ 10:45 Character Structure Dan Decker

Ÿ 11:10 The Six Properties of Oral Storytelling: How "Story Communication" Differs from Conceptual Communication Doug Lipman

Ÿ 11:35 Living and Leaving a Spiritual Legacy: The Centrality of Story in a Meaningful Life." Daniel Taylor

Ÿ 12:00 Strategy and Story Ashraf Ramzy

Ÿ 12:20 Lunch

 

afternoon session

1:25 Neuroscience of Story Tom Budzynski

Ÿ 1:50 Joseph Campbell, Storyteller Stephen and Robin Larsen

Ÿ 2:20 CREATURES OF THE METAPHOR: the Writer as Shaman Robert Burdette Sweet

Ÿ 2:45 The Seven Realities of True Myths: How story explains and enhances the world around us and within us. Pamela Jaye Smith

Ÿ 3:15 Break

3:25 How Stories Provide Us A Map Of Human Psychology And The Problem-Solving Process Chris Huntley

3:45 Stories that can change the world. Thom Hartmann

Ÿ 4:15 The Power of Stories to Transform Organizations Richard Stone

Ÿ 4:45 Using Story As A Business Tool Steve Denning

Ÿ 5:05 Dinner

 

Evening Session

6:25 Bardic Voices Mythic Bards Cathy Lynn Pagano

6:45 From word to image; storyboarding and the filmmaking process Marcie Begleiter

7:10 When Hero and Goddess Love Ray Bergen

7:30 Anatomy of Positive Experience, a temporal, not necessarily linear approach to story too? Rob Kall

7:50 The Big Seven Questions of Story: the seven most important questions any storyteller must ask themselves Richard Krevolin

8:15 break

8:25 The Story Mind: Using Psychology to Structure Your Story Melanie Anne Phillips

8:55 Psychoacoustics and Story David Sonnenschein

9:20 Storytelling elements and their relationship to each other Robin Tobin

9:45 Personal Stories/ Sacred Stories -- Is There A Difference? Karen Dietz

10:15 end of intro session

 

See Post Conference 1.5 and 2 day Workshops

StoryCon Main Meeting

About the meeting dress code.

In the spirit of the history of story, we will take a middle ground.

The earliest story tellers sat naked, or near naked around the campfire. This approach is optional, but probably overdoing holding to tradition.  It has been reported that some writers, sit at their keyboards in their underwear. Hollywood pitch session attire de rigeur  is the casual look—jeans, or at least no suit or jacket and tie.  Let’s stay with at least this level of casual, keeping in mind that it can get hot in Palm Springs in September, so shorts and a tee shirt are even better. 

Our business colleagues,  may, if they really feel the need, wear a tie during presentations, but this is discouraged, and we encourage more casual attire otherwise.

There is a hot tub at the hotel and we will be attempting to encourage the hotel to allow us to use it until midnight. So bring a bathing suit.

Don't miss the Indian Canyons. These are natural Oases formed by mountain-snow-melt run-offs. These beautiful  tropical explosions of giant natural palms, rock formations and clear mountain streams make for great hiking. It’s not uncommon to see hummingbirds. So bring sneaks or hiking shoes, and since  native Americans lived there long ago, get ready to put on your shaman’s hat, to commune with the spirits. And, they are only five minutes from the hotel.

Date Thurs Sept 26  7AM-1PM, 7-10 PM Fri Sept. 27,  7AM-1PM, 7-10 PM Sat. Sept 28,  7AM-1PM Sun. Sept 29,  7AM-1PM
Daily Theme Meeting Opening: Exploring the Whole World of story Story Parameters

Structure, roots, experience

Story Parameters,  Models and Applications The Future of Story
Panels 12:00 Panel -Crystallizing a Science of Story: Definitions, issues/ controversial areas, risks, promise, finding common ground

9:30 Panel -The Experience of Story

12:00 Panel -Story Structure; elements, dimensions, dynamics

9:30 Panel -story technologies, algorithms

9:10 Panel: Ethics; How Stories Create and Change Our World

12:20 Panel: Character, arcs

10:55 Panel:-Applications of Story

11:45 -Closing Panel; building cross disciplinary models, finding concensus, issues of controversy and opportunities

Plenary Talks

 

7:00 Cinemahead: Scene Dynamix; The dynamics of idea recycling. Daniel Alegi

7:10 Story Analysis From a Sound Design Perspective David Sonnenschein

7:50 Emptying the Story Reed: A Process for Accessing the Effortless Source of Story Images Doug Lipman

8:30 Establishing a new hybrid art/ science of Story; Rob Kall

9:00 break

9:10 The spiritual arcs and transformations of the great characters of literature, theater and film Richard Krevolin

9:50 The Therapeutic Use of Story as an Adjunct in the Counseling Setting Rachel Ballon

10:30 The third leg of the story triangle: Art, Science and Philosophy. Pamela Jaye Smith

11:10 Break

11:20 Story as the Deepest Level of Non-Fiction; Thom Hartmann

12:00 Panel -Crystallizing a Science of Story: Definitions, issues/ controversial areas, risks, promise, finding common ground

1:00 Lunch

2:00- 6:00 PM Afternoon optional workshops

7:00 Last minute presentation add-on

7:10 The Authentic Voice - leading individuals into community: How to find one's source of story, the power to communicate it fully, and create an audience out of individuals. Tim Sheppard

7:20 Universal and cross-cultural dream themes as extremely powerful story and plot elements. Craig Webb

7:30 Why is Dorothy Wearing Blue? Color and the Development of Story.  Marcie Begleiter

8:10 The Heart of the Story Sharon Maas

8:50 Break

9:00 PM Hypnotic, subliminal experience Tom Budzynski

9:15 Attentional Synchrony: Psychophysiological assessment of audience interest David Kaiser

9:30 Panel -The Experience of Story

 

7:00 Last minute presentation add-ons

7:10 Last minute presentation add-on

7:20 Last minute presentation add-on

7:25 Experiments in First-Person Narration: Shifting Unreliability in Lolita and Angela’s Ashes James Phelan

8:05 Telling Our Master Stories" Daniel Taylor

8:45 break

8:55 RD Lang’s theories & the hero's flaw as a normal response to abnormal circumstances."Robin Tobin
9:35
The Four Winds of the Goddess Steve and Robin Larsen

10:15 The New Story-Self Connection: Intriguing New Patterns Discovered in Great Stories Reveal the Secrets of the Human Mind James Bonnet

10:55 break

11:05 The Story Behind Every Relationship Ray Bergen

11:20 Being Story Robert Burdette Sweet

12:00 Panel -Story Structure; elements, dimensions, dynamics

1:00 Lunch

2:00- 6:00 PM Afternoon optional workshops

7:00 Last minute presentation add-on

7:10 Introduction to Augmented Story Telling and Topic Maps for Story Telling Jack Park

7:20 Dreams as stories: A history, framework and method for harvesting the creative potential of dreams, dream symbolism, and dream characters as key story elements Craig Webb

7:30 The Hollywood Film as American Dream; Greek Mythic Tragedy vs. Bible Hero Success Ashraf Ramzy

7:50 The Archetype of the Bard Cathy Lynn Pagano

8:00 Beyond the Story Mind: Reflecting Story Structure Back on our World Melanie Anne Phillips

8:40 break

8:50 Reaching Your Audience: Compelling Story Choices that Affect an Audience's Emotional Involvement in a Story Chris Huntley

9:30 Panel -story technologies, algorithms

7:00 Last minute presentation add-on

7:10 NeuroScience and StoryWriting Thomas Budzynski

7:40 Authentic Character; defining by challenging Dan Decker

8:20 Chakras and the Seven levels of personality; Connecting the Inner writer and the Outer Work. Steven Barnes

9:00 Break

9:10 Panel: Ethics; How Stories Create and Change Our World

9:50 Heartwarming as a Verb; milking the human tear duct and pulling heart strings. Rob Kall

10:10 Alternative / non-linear story structures;Linda Seger

10:50 break

11:00 Narrative, complexity and meaning David Snowden

11:40 The Expectations of Genre Neill D. Hicks

12:20 Panel: Character, arcs

1:00 Lunch

2:00- 6:00 PM Afternoon optional workshops

Evening Free

 

7:00 Last minute presentation add-ons

7:20

7:30

8:00 Digital Storytelling for Knowledge Continuity Michael Kull

8:10 Stories empowering youth Ben Callahan

8:20 The Role of Story In Writing Sales Copy David Garfinkel

8:30 The Seven Highest Value Forms of Organizational Storytelling Steve Denning

9:10 Break

9:20 Story Work -- Embarking on Powerful Quests to Consciously Shape the Future Karen Dietz

10:00 The Power of Story to Ignite the Imagination Richard Stone

10:40 break
10:55 Panel:-Applications of Story

11:45 -Closing Panel; building cross disciplinary models, finding concensus, issues of controversy and opportunities

1:00 End of Plenary sessions for Meeting

2:00- 6:00 PM Afternoon optional workshops

Optional Workshops (multiple track)

2-4:00 PM
workshops

workshops are two hours and 55 minutes, to allow attendees time to take bathroom break and get to their other workshop

sc-201A From Word to Image: Visualization techniques for writers, filmmakers and interactive media developers: Marcie Begleiter
 
sc-203A Writing Stories from the Soul Richard Krevolin
 
sc-205A Change Your Story, Change Your Life: Be The Hero In Your Own Life Script: Rachel Ballon, Ph.D.
 
sc-207A Using the Tools of NLP (Neurolinguistic Programming to construct, crisp clear, solid writing Thom Hartmann:
sc-226B The Secret Language of Great Stories James Bonnet
 
sc-211A Pitching Through Story: Oral Communication Skills for the Very Important Presentation Doug Lipman
 
sc-213A What Is Narratology and Why are They Saying Such Good and Bad Things about It James Phelan
sc-215A Eight Essential Questions Every Author Should Know About Their Story Chris Huntley
sc-217A David Snowden
 
sc-219A Lifewriting; Connecting the Inner and the Outer Life of the Writer Steven Barnes
 
sc-221A Theme and Images: Giving Your Story Meaning: Linda Seger
 
sc-223 Do you Write Primarily For Yourself or For Others: surviving as a writer in the modern world Robert Burdette Sweet
 
sc-231A The Hero and the Brand.Using the Character & Journey of the Hero to develop Heroic Power Brands Ashraf Ramzy
sc-225A Story Jam Richard Stone
 
sc-228A The Lover’s Archetype and the Four Male and Four Female Energies That Drive Every Love Story
 
sc-229A How to Create Powerful Stories to Make Your Sales Copy Irresistible David Garfinkel
 
 
4:00-6 PM

workshops

workshops are two hours and 55 minutes, to allow attendees time to take bathroom break and get to their other workshop

sc-202B The Story Mind: Exploring the Model of Psychology Hidden in Story Structure. Melanie Anne Phillips
 
sc-232B CINEMAHEAD WORKSHOP: "SCENE DYNAMIX and IDEA RECYCLING" Daniel Alegi
 
sc-206B Sound Design In Story David Sonnenschein
 
sc-208B  How to Build a Relationship Between the Hero’s Flaw and the Life Changing Event which Creates a Powerful Second Act Rob Tobin
sc-210B Leaving a Spiritual Legacy: Telling the Master Stories of Your Life Daniel Taylor

sc-212B Crafting and Performing the Springboard Story. Steve Denning

sc-214B Discovering Story; Finding the Souce of Creativity Sharon Maas

sc-216B Story ArchePaths: Five archetypal paths to character illumination. Pamela Jaye Smith

sc-218B The Essentials of Action- Adventure and Thriller Writing (not being taped) Neill D. Hicks

sc-220B Drive Structures; What keeps the audience coming at you for more. Dan Decker

sc-222B The Masks of Creative Mind Stephen and Robin Larsen

sc-224B Your Web Site as a Story: David Vanadia

sc-230B Neuroscience of Story Tom Budzynski

sc-209A Exploring the Dark side: The Anti-Hero’s Journey James Bonnet

sc-227B Personal Stories/Sacred Stories What Are Your Messages The World Needs To Hear Karen Dietz

 

Evening Plenary Schedule
      None None

Post Conference Workshops

Sunday 9/29
Mon 9/30
Tues  11/1
David Snowden
Narrative patterns: the use of story in organisations
Sunday afternoon and evening , Monday 9-5
Melanie Anne Phillips: Story Structure for Passionate Writers
Step by Step from Inspiration to Finished Manuscript
Sunday Afternoon and evening
Jame's Bonnet's
Storymaking; The master Class:
The Quintessential Screenwriting and Storymaking Seminar

 

 

Optional, Additional Fee

Conference Workshops: (listed alphabetically)

Conference workshops are two hours. These optional,  presentations offer an excellent opportunity to hear  in depth discussion by your favorite speakers.

 sc-232B Daniel Alegi CINEMAHEAD WORKSHOP: "SCENE DYNAMIX and IDEA RECYCLING"
(Hands On, prefer max. 15-20 people, bring one finished scene if available)
_________________________________________________________
In this Workshop we will develop one scene as a group and analyze one scene among those contributed by participants. (i.e. bring a scene that you want to have the workshop work on) The workshop will show answers by developing the scene ONE specific action at a time. Dialogue in this phase is secondary to dynamic action.
How to reach the climax in the richest possible dramatic way?
How not to arrive at the climax too fast?
How to maximize the potential of each event?
How to make something "boring" work, and a "fun" thing not go overboard?
How to recognize writing arbitrary events and organic ones?
How to exploit brainstorming nuggets without waste?
Participants contribute opposing ideas, and all ideas are used or recycled.
None are discarded. The process of expanding individual moments through the
re-use of conflicting ideas is shown graphically and developed to its
maximum potential together.

sc205A Rachel Ballon, Ph.D.CHANGE YOUR STORY, CHANGE YOUR LIFE: BE THE HERO IN YOUR OWN LIFE SCRIPT
Are you playing a role in an old script written for you by others? Are you sufferings from feelings of anxiety, fear and depression at work or home? Are you stuck in bad relationships and a dead-end career? If the answer is "yes," now is the time to "Change Your Story, Change Your Life." Just like the heroes in popular films, television shows and novels,  will help you learn how to set goals, take risks, overcome obstacles, advance toward fulfilling dreams and remove your masks to become the true central character of your own life.  Through innovative writing exercises and the knowledge of story structure, participants will learn how to deal with unfinished business and dialogue with various voices from the past, who are still running your life without your knowledge. By using the techniques of Story you'll have the tools for experiencing personal growth and transformation, just as the hero in a fictional story. You'll break free of childhood fears, discover how to discard self-defeating behaviors and learn how to set goals, take risks, overcome obstacles, and resolve personal and career conflicts. Discover how to change your problematic victim stories to solution oriented survivor ones to achieve your goals.

sc-219A Steven Barnes Lifewriting; Connecting the Inner and the Outer Life of the Writer 
To write well, we must resolve the apparent conflict between plot and characterization, and see how each is a different version of the same thing, like two sides of a coin. Once this is understood, we can use our grasp of plot both to structure books or scripts, and design our lives. We can use our grasp of psychology to sculpt unforgettable characters, and simultaneously promote our growth and healing as human beings and artists. Lifewriting is an advanced tool for writers genuinely committed to both personal and professional advancement, a warrior path for the word-wizard.

sc-201A  From Word to Image: Visualization techniques for  writers, filmmakers and interactive media developers”. Marcie Begleiter   Bring your stories, scripts and outlines. This workshop will cover basic techniques that can be easily utilized to take your ideas from  abstract words to concrete images. Visual brain-storming, storyboarding and other right-brain activities will help you to discover new ground in your ongoing search for new story territory.  Registration limited.

sc-228B Ray Bergen The Lover’s Archetype and the Four Male and Four Female Energies That Drive Every Love Story
For two hours we will explore how the four male energies that make up the male Archetype of  “the Lover” interact with the four energies that complete the female Goddess repertoire.  We will play with how these interactions create the meat and potatoes of the myriad subplots to the one universal relationship drama.   And we will answer the question, “What are these forces doing controlling our relationship stories, anyway?”

sc-226B  James Bonnet The Secret Language of Great Stories Metaphor is the symbolic language of story. The archetypes and patterns of action it reveals are the same archetypes and patterns which run through every individual and every group, and are being played out in all of life's important stages. If you understand these archetypes and patterns, it will not only help you understand the world and your place in the scheme, it will help you make your story characters truly charismatic and memorable.

sc-209A  James Bonnet Exploring the Dark side: The Anti-Hero’s Journey  In this workshop, we will explore the nature of evil, the great characters it can inspire, and the lesser known, uncharted dark side of the passage, the place in story and real life where the dark forces live and hatch their nefarious schemes. I will also introduce you to the new story model, the Golden Paradigm, which reveals the  transformation of the hero into an anti-hero, and all of the life cycles we experience from birth to death. When you understand these patterns and cycles, you will not only to be able to create better stories, you will understand why the struggle between good and evil is the dominant pattern in great stories and why it is playing such a significant role in our lives.  

sc-223A Robert Burdette Sweet Being Story: Narrative as a Guide to Self Discovery

sc-220B  Dan Decker Drive Structures; What keeps the audience coming at you for more. 
 
sc-212B  Steve Denning Crafting and Performing the Springboard Story.
More and more organizations are realizing that stability and predictability are no longer reasonable assumptions. In fact the number one problem of today's managers is the difficulty in getting their organizations to adapt to a competitive environment that is neither stable nor predictable. For many organizations, better management of knowledge is key. Yet while change is irresistible, the organization often seems immovable.
 
This workshop shows how springboard storytelling can communicate complex new ideas and spark rapid energetic action towards their implementation. Drawing on his experience as Program Director, Knowledge Management at the World Bank from 1996-2000, the workshop will give practical experience in crafting and performing springboard storytelling.
 
sc-227A  Karen Dietz Personal Stories/Sacred Stories  What Are Your Messages The World Needs To Hear? In this workshop, Karen Dietz will lead participants through the experience of taking? one or two personal experience stories and turning them into sacred stories.  There will be lots of discussion about what participants observe, experience, and the difference telling their stories as sacred stories could make in their world.  Toward the end of this workshop we’ll talk about the patterns of messages and themes that have emerged, and create a diagram of the types of stories we need to be telling ourselves and each other in order to create an inspiring future.  By the end of this workshop, each participant will walk away with at least one sacred story they can tell, they will know how their stories fit into the grander picture of stories that need to be told today, and they will have the tools to transform their other stories into sacred stories.
 
sc-229A David Garfinkel  How to Create Powerful Stories to Make Your Sales Copy Irresistible This one's different -- it's about using stories as part of your pitch, whether you're selling another story, a seminar, a service -- or anything else using the written word.

People naturally resist a sales pitch, but few can resist a powerful story, well told.  If you market yourself, your products, or your services on the Web or in print, you will notice a marked increase in response when you include powerful sales stories.

While story itself is universal in scope and subject, the types of stories that work well in sales copy are, by the nature of the medium, related to what you're selling.  In this workshop, we'll walk through the three types of stories that make people want to buy, and look at the sales story themes that push the buttons of desire in your prospects.

If you sell:
* seminars
* screenplays
* information on the Web
* services
* business-to-business offers

Then you will benefit from this workshop by learning how to incorporate your love of story and your already-developed storytelling skills into your sales copy.

You'll also learn key and rarely revealed "tricks of the trade" in wording your copy to gently make people reading it more receptive to what you have to say.

Thom Hartmann: Using the Tools of NLP (Neurolinguistic Programming to construct, crisp clear, solid writing

Thom Hartmann attributes much of the success of his best-selling books to a writing style which makes real for readers otherwise didactic information, bringing to life the clear vision of his message, helping them understand its story, and giving them the sensory experience of his examples.  In this workshop, he shares with writers the tools of communication derived from NLP which are now so powerfully used by Madison Avenue…and can help transform your next novel or work of non-fiction into a best-seller by dramatically ramping up the impact, power, and clarity of your words.

Neill D. Hicks: The Essentials of Action- Adventure and Thriller Writing
The Action-Adventure and Thriller genres are often confused because they each contain many similar surface elements.  However, there are very basic underlying differences between the two forms, including the Bounded World, the Ethos of the leading characters, the Narrative Trajectory, and the Timescape that make up the Cosmos of Credibility which encompasses the audience.  The Action‑Adventure wins us over by  enabling each of us to vicariously fulfill our destinies as the moral champions we would be if only we could.  The Thriller, on the other hand,  plunges us by proxy of the main character into overwhelming panic and loss of reality until, like life itself, we grow in order to subdue some primordial fear.  Discover the essential distinctions between these two popular story forms in this lecture/discussion with the leading industry expert in defining film genres.
 
Chris Huntley Eight Essential Questions Every Author Should Know About Their Story
Begin the discovery of your story's underlying dynamics by answering eight, compelling questions about your characters and plot. What is your main character's approach and style of solving problems? How does he need to grow, and does he learn to change or to hold onto his resolve? Do actions or decisions drive the story forward and what brings it to a climax? And what is the ultimate result of the climax and how does your main character fare in all this? Story examples galore and lively Q&A encourage you to learn the answers to these questions for your own story.

Richard Krevolin  Writing Stories from the Soul

Stephen and Robin Larsen The Masks of Creative Mind
Starting from William Butler Yeats' marvelous A Vision, the Larsens explore how four principles, Will, Mask, Creative Mind and Body of Fate supervene in all dramas. Understanding this mythic structure, the participant is invited to develop a story using this Hermetic structure. In particular the Larsens focus on the role of Mask in Imagination, and its effect on Creative mind. Participants will be invited to speak in "The Voice of the Dreamtime,." and both analyze and create tales using this method.

 

Doug Lipman Pitching Through Story: Oral Communication Skills for the Very Important Presentation

When you need to make an oral pitch in a short time, you naturally pay attention to every word. But what about the non-verbal aspects of your communication? In this workshop, I'll teach you to maximize the impact of your presentation, including words, non-verbal oral communication elements, and an overall concern for speaking in a way that stimulates your listeners to imagine. You'll learn a framework for developing oral material, engaging all the senses, finding the key images that spark your listeners' imaginations, and learning to integrate all these in a story-based presentation that supports your key purpose. Whether you're looking to pitch a screenplay, gain a colleague's cooperation, or interpret a quarterly report to those who work for you, you'll gain a new awareness of how to communicate any idea or vision infectiously.

 

sc214-B Sharon Maas Dis-covering Story: finding the source of creativity.
Where do stories originate? Why do some stories fall flat, while others draw you into them from the very first word or scene? Why do some characters feel like cardboard, while others walk right off the page or screen, and into your heart? How can you, as a storyteller, create worlds that seem so real the “real” world disappears?
 
These are the questions I will try to answer in this workshop. I believe that the very best stories are not constructed by the conscious mind, but created unconsciously in the depths of the mind. That there is an innate intelligence in us that can piece together all the elements that make a story which not only works technically, but  sparkles with that ineffable Factor X – a magic story. This is natural storytelling.
 
 Natural storytellers are people who can access that source of creativity at will.  Stories seem to flow out of their fingertips, out of their hearts, and captivate their readers or their audiences.
We say that such people have a gift for storytelling – that they are born with it. I believe that there’s more to it than that. I believe that whereas the source of creativity is latent in us all, most of us have simply not learned to access it., or have forgotten how to do so.
 
I believe it is possible to consciously understand the creative process, and consciously access the unconscious.
If you feel the urge to tell stories, if you feel that wonderful stories that are all locked up within you and that all that is missing is some kind of a magic formula, an open sesame, which will get them to start flowing out, then this workshop is for you. I can’t give you a magic formula, but I can help you break the barriers that keep you from your own magic. For I have been through it all, and have a lot to share.
 
As a child, telling stories seemed second nature to me. I was writing fiction when I was eight; there was nothing I loved better! I was one of those children who could sit looking out the window for hours, lost in exciting worlds far away from the boring  here-and-now. I was brought to my senses by my elders, and lost it – for many decades, no more stories came, for reality had taken over.  And I was desperately unhappy with that reality.
 
However, my time was not wasted, for I was learning. I travelled to India, and lived in an Ashram. I learned meditation. I learned to still the mind. I learned to plunge in beneath the surface, and find the treasures buried there. And finally, in my late forties, those stories began to emerge – fully formed in spirit, ready to be crafted - by the conscious, rational mind - into workable, well-structured, publishable novels. Novels with the potential, as it turned out, to be best-sellers.
I would like to share some of what I have learned with you. With a minimum of theory and a maximum of practical, easy, exercises, you will find out some of the secrets of tapping the unconscious mind. You will learn to link your creative mind to your writing hand. You will learn, that, as Dorothea Brande (Becoming a Writer) put it, “There is a magic to writing”… and that that magic is learnable. 

James Phelan What Is Narratology and Why are They Saying Such Good and Bad Things about It

This workshop will be an introduction to narratology, that branch of structuralism concerned with narrative as a form of human expression.  We will focus primarily on what narratology can do for both writers and readers.  We will examine the elements of narrative as identified by narratology: story and discourse; character, event, and setting; vision and voice; duration, frequency, and speed of narration.  We will also look at some phenomena that become particularly intriguing from a narratological perspective, primarily first-person narration and the concept of endings. There will also be an opportunity to tailor some of the workshop time to the particular interests of the participants.  

 

Melanie Anne Phillips The Story Mind:  Exploring the Model of Psychology Hidden in Story Structure.

Every Story has a mind of its own - its own personality; its own psychology.  A story’s personality is developed through an author’s subject matter and style, but it’s psychology is determined by its underlying dramatic structure.  Structure is the carrier wave on which the passionate program is transmitted from author to audience.  When it is done properly, it is invisible.  But when it is flawed it adds static and can even prevent transmission of the program altogether.

The Story Mind model of story structure was developed over a 15 year period.  It is unique in that it goes beyond seeing individual characters as having their own psychologies and proposes that the story has a psychology of its own, as if it were a single, thinking entity itself.

Structurally, characters are seen as facets of the Story Mind - its conflicting drives or motivations, theme is explored as the Story Mind’s troubled value standards, plot describes the problem solving methods of the mind externalized and made tangible, and Genre explore the overall outlook or perspective of each story’s particular mind.

This workshop outlines the components of the Story Mind Model of structure, how they interrelate, and the dynamic forces that wind up the dramatic tension of a story.

Modern Brand Management is realising that the Brand is no longer merely a superficial coating of Imagery. The Brand is no longer a list of adjectives. The Brand is a Story told as apposed to a product sold. Like all Stories it represents the Character and Journey of the Hero. What kind of Story do you want it to be? What kind of Hero do you want to be? This 2 hour workshop will teach you how to apply the principles and power of Story to Corporate Strategy, Brand Management, Marketing and Advertising.
 
Ashraf Ramzy (1961) has been an (International) Brand Strategy Director for some 15 years before he founded Narrativity Strategy & Story; a corporate consultancy that uses the principles and power of story to develop Identity & Strategy for Companies, Brands and Leadership. Having lived on three continents he can also speak from personal experience about cultural differences and similarities between the Middle East, Europe and America.
 
Linda Seger THEME AND IMAGES: GIVING YOUR STORY MEANING. 
Every good story is about something.  What are the ideas that storytelling can explore, and how does it explore these ideas without getting preachy, esoteric, or talky?  In this workshop we'll look at the relationship of ideas to the target audience, and then look at ways to communicate these ideas through images and image systems.  Includes lecture, film clips, and Q & A.
 

Pamela Jaye Smith Story ArchePaths: Five archetypal paths to character illumination.

 

 

Warrior, Monk, Magician, Scientist, Lover.   According to the ancient Mystery Schools an individual must master, balance and integrate these paths into a five-pointed star, the symbol of the illuminated human.

 

Each of these unique Paths presents its own challenges and rewards to the individual.  Besides being an exceptionally valuable tool for self-improvement, these ArchePaths also provide rich and realistic details for crafting your story characters. 

 

A character can arc through the three levels of each Path from the Novice to the Adept to the Master.  They can struggle on either side of the Path: the Mental or the Emotional.  And within a story they will interact with other characters on other Paths, creating great dramatic conflict.

 

Using this template to enhance your character development can help you fulfill some of the basic necessities of story-telling: “Familiarity and Surprise” and “Sympathy, Danger and Salvation”.  By aligning your characters to the profile of their ArchePath you can plug into the Familiarity of the ArchePaths yet put your own individual spin on it and give your audience Surprise.  Using the vulnerable and/or positive aspects of a character you can gain audience Sympathy for them.  Using their fears and weaknesses you can design a believable Danger into which to cast them.  Using their strengths and goals you can lead them towards an appropriate Salvation.

 

Examples of the ArchePaths will be drawn from myths and media and will include illustrative video clips.

 

Workshop attendees will receive Character Profiles for each ArchePath, including: 

Mission, Desires, Fears, Strengths, Weaknesses, Styles of Speech and Action, Symbols, examples from myth, history and story.   

 

From this workshop you’ll gain a new set of classical story-telling tools to enhance your craft and illuminate your art.

 
 
David Sonnenschein SOUND DESIGN IN STORY
Using examples from clips of well-known films, principles of psychoacoustics, sound-image counterpoint and audio sculpting will be reviewed. Techniques of bipolar pairs, visual-sound mapping, sound effects with emotional envelopes, and human-animal combos (introduced in the Plenary talk) will be applied with audience participation in selecting the most suggestive, intense or funny elements of sound design for a story spontaneously provided by a workshop member.
 
Richard Stone Story Jam
 In this experiential workshop, I will show participants how to tap into the depths of their imagination through the enactment of stories. You’ll discover new ideas for any endeavor—whether it’s writing a screenplay or coming up with a concept for a new product. If you’ve been stymied on a current assignment, wondering where to find a breakthrough idea for the next one, or simply want to expand the horizons of your mind, through Story Jamming you’ll discover how to unleash the power of your thinking and imagination. 
 
Robert Burdette Sweet Do you Write Primarily For Yourself or For Others: surviving as a writer in the modern world
The essential requirements for a successful story—and there are only three—simply put and in hierarchical order, are Significance (the universality of the content), Structure (the shape or form), and Style (the imprint of the writer’s personality in relation to the time frame within which the work is created).  My suggestion is that our lives, too, succeed or fail depending on the attention we pay to these three story essentials and particularly to their hierarchical order.
For instance, to what extent is our own existence dependent on a universal significance relevant to all human beings regardless of time, place or culture?  Is there a pattern to our lives which can give shape and form to whatever universals we might espouse?  And because style is our personal imprint, have we attempted to discover who we are. 
Writing a story, then—which we thought to be a meaningful hobby at the least and at the most an occupational absurdity—can actually be seen as a method for unmasking our existence and making it realizable.  Writing a story presents us with a kind of unified field theory for being, one whose guidelines, whose patterns and concerns, come from within and do not impose themselves from without.  Comprehending what comprises a story can free us from institutional forces whose existence depends on trying to alter, rather than aiding us in discovering, who we are and who we can be.  What is charisma, after all, but not being afraid to accept who we are?  And yet most of us are afraid.  To write a story is to find out who you are, possibly to become charismatic—first on the page, learning to trust story guidelines as a form of practice, then daring the stage of life.
 
Daniel Taylor Leaving a Spiritual Legacy: Telling the Master Stories of Your Life   Each of us wants it to matter that we have lived. At some point in our lives, we move from an emphasis on success to a search for significance, from the accumulation of valuables to reflection on values. Memoir writing has long been an important way to record and preserve a life, but the highest form of memoir can do more than document and entertain. Stories can become legacies if we tell the right ones in the right way to the people we love.
This workshop will focus on the concept of spiritual legacies and on story as their natural vehicle. It will discuss key terms and concepts, help you generate a list of your life-defining stories, articulate your core values and connect them to your master stories--the stories that tell you who you are, why you are here, and how you should live.
 
Rob Tobin How to Build a Relationship Between the Hero’s Flaw and the Life Changing Event which Creates a Powerful Second Act
 
 
David Vanadia Your Web Site as a Story:
The Internet is a storytelling venue. This workshop will teach different ways in which story can be and is used in websites to convey your message without distracting from it. Beyond the "post and read" methodology, we will explore how sites use story to build brands and change lives. Find out why is eBay is one of the best storytelling sites on the web! By using easy to grasp analogies and applying them to your own project you will learn how to streamline your communication in this new form of media. Participants will create "do and don't" lists that become a checklist for you to follow when creating your own Internet presentations. While we will examine and understand the importance of web site architecture, there's no need to know specific technology because we'll be discussing web site aesthetics as they are specifically related to story. By comparing the ideas
to "real life" settings, the message will be clear and you'll walk away with immediately useful solutions.
2002 StoryCon Meeting Sponsors

  Presenting Solutions offer a great range of LCD projectiors at great prices for sale or rent.

    

Michael Wiese Productions

 

We thank the above sponsors for supporting the first Storycon meeting.

 

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