The Creator Studio

  • Transcript: “Sleepwalking Thru Kaleigh’s Surgery”, a Story By Matthew Dicks

    This is a transcript of Matthew Dicks’s story, Sleepwalking Thru Kaleigh’s Surgery, at a Boston Moth StorySLAM.


    I’m standing in my classroom, about half an hour before the school day starts, when my phone rings. I answer it, and a woman on the other end tells me that she has good news. My dog has survived the first surgery, and they’re getting ready for the second one. I tell her, “No, you’ve called the wrong person. My dog is at the hospital, but she’s just constipated and being watched in case she explodes in some horrible way.”

    The woman apologizes and says, “Could you hold for a moment?” She clicks off, and as I wait, I think about how someone in the world is waiting to hear if their dog survived surgery. I just can’t imagine it. My dog’s name is Kaylee, she’s a white Lhasa Apso, and she’s my best friend. I can’t imagine getting that phone call.

    The woman clicks back on, but it’s not her anymore. A man’s voice says, “Mr. Dicks, my name is Dr. Lindgren. I just did spinal surgery on your dog, and I’m about to begin a second surgery.” I’m confused and respond, “That’s not possible.” He says, “Last night, I called you at 2:00 AM and told you your dog wasn’t constipated. She had a spinal rupture, and you agreed to the surgery.”

    Instantly, I know exactly what has happened. I ask, “Can I call you back in a minute?” He responds, “No, I need to do surgery on your dog right now or she’ll die.” He gives me a number to call, and I hang up.

    I run out of my classroom, up the hallway, and into my wife’s classroom. I didn’t see her this morning because she sleeps in and I leave early. She’s walking in, hands full of bags, and she sees me and asks, “How’s Kaylee?” I say, “You know, she had surgery,” and she replies, “Yes, you don’t know?” Now I know for sure I’ve been sleepwalking my entire life.

    When people talk about sleepwalking, they usually think of people wandering around the house, banging into walls. But that’s not what it’s like. I compare it to having two operating systems in my head. One is running right now, allowing me to tell this story, but the second one comes online about once a month. It does everything this first system does, except it doesn’t talk to the other one. So when I sleepwalk, I have no memory of what I’ve done.

    When I was a kid, I would wander down a couple of hours after going to bed and sit with my parents, watching the Celtics. They’d ask, “So what girl do you like now, Matt?” And I’d say, “Melissa’s our it.” Then in the morning, they’d ask, “Who’s Melissa’s our it?” and I’d have no idea what they were talking about. When I was in Boy Scouts, the Scoutmaster had to tie my ankle to a tree because otherwise, I’d wander out of the tent and just walk into the woods until I tripped on a root. I’d wake up, have no idea where I was, and sit at the base of a tree until everyone woke up and I figured out where camp was.

    Nowadays, when I sleepwalk, I mostly eat cereal at night. I only know this because I come downstairs in the morning and find half-eaten bowls of Cheerios, sometimes with a book open next to them, as if I was reading but have no recollection of it.

    Last year, I signed three book contracts, which meant I had to write three books in a year. It was the worst decision I’ve ever made. There was an enormous amount of stress on me. One morning, I came downstairs and found my laptop open with 500 words written for the book I was working on. They weren’t the 500 words that matched up with what I’d been writing the night before. It was 500 words for the next chapter, but they were still the same words that exist in the book today.

    My wife knows this about me. We’ve had long conversations in the middle of the night that I have no recollection of, and they strike fear into my heart in ways you can’t imagine. She says, “You were sleepwalking,” and I say, “I guess.” She says, “We turned on the lights, we talked about it for an hour,” and then she tells me that the doctor said Kaylee needed surgery, with a 50% chance of surviving the first one. She needed a second surgery to stabilize her spine, with another 50% chance of survival. Even if she survived both surgeries, she’d probably end up in a doggy wheelchair, and we’d have to catheter her and give her a colostomy bag for the rest of her life. The surgery cost $8,000. I say, “We agreed to all of that,” and she says, “Yes.”

    And suddenly, I fall more in love with my wife than I ever have, because that dog is mine first. She’s not easy, and the fact that my wife agreed to all of that—I can’t believe it.

    Later, while I’m teaching my students, I get a call. It’s the doctor, and he says, “She survived the surgery.” I ask, “Is she going to walk?” and he says, “I don’t think so.”

    Three days later, I bring Kaylee home. She’s a mess—shaven, falling apart. The worst part is, she looks at me, and she doesn’t know why this has happened to her. I can’t tell her, and it breaks my heart. We’re sitting there watching TV that first night. She’s on a towel, asleep, and I see her wake up and look at me. She gets up on her feet and walks toward me.

    I call the doctor and say, “She’s walking!” He says, “That’s impossible. She can’t do that right now.” I say, “I know, but she is.”

    Kaylee passed away last summer. She lived for 18 years, and they were the 18 best years of my life. She was my best friend. When people ask me, “If you had been awake, would you have made the same decision?” I understand why they ask, because it was a lot of money for a very little chance of survival. But I always say the same thing: “Yes, I would have made the same decision. I would have made it in my sleep.”


    Disclaimer: this transcript is a product of Youtube-auto-generated transcript and simple ChatGPT cleaning, and I do not own any intellectual property in any shape or form mentioned. The content on this blog is for informational purposes only and should not be considered professional advice. While every effort is made to provide accurate and up-to-date information, I make no guarantees about the completeness, accuracy, or reliability of any content. Any actions taken based on the information provided here are done solely at your own risk. I am not liable for any losses, damages, or consequences arising from your use of this blog or its content. Please consult with a qualified professional before making any significant decisions.

  • Transcript: “Charity Thief”, a Story By Matthew Dicks

    Transcript: “Charity Thief”, a Story By Matthew Dicks

    This is a transcript of Matthew Dicks’s story, Charity Thief, at a Boston Moth StorySLAM.

    It’s the fall of 1991. I’m twenty years old. I’m driving down a lonely stretch of New Hampshire highway. I’m driving home from the very first booty call of my entire life, and I’m excited because I don’t know that this is also going to be the very last booty call of my entire life.

    It’s in this moment of excitement that the right front tire of my 1976 Chevy Malibu blows out, but it doesn’t just deflate. It disintegrates. It throws rubber and wire across the road in a way I didn’t think was possible, and it takes everything I have to get the car over to the shoulder and to a stop.

    And it’s 1991. I don’t have a cell phone. I don’t have a spare tire. I haven’t seen a car on this stretch of road for a long time. So I do the only thing I can think of doing: I start hiking back up the road to search for help.

    Seven hours later, after having given all my money to a half-naked mountain man named Winston in exchange for a balding spare tire, I’m back on the road, heading home, a hundred miles between me and my apartment in Attleboro, Massachusetts, when I look at the instrument panel and see that I have no gas.

    All the money I had — every penny to my name — is in the hands of a half-naked mountain man. I don’t have a credit card. I don’t have an ATM card. I don’t even have a checking account.

    So I take the next exit and roll my car into a Citgo station, and as I park the car on the edge of the lot, facing a field of fall foliage, I grip the steering wheel in anger. I’m angry, but I’m also sad. I’m twenty years old. I’m a McDonald’s manager. I make $7.25 an hour, and I am the richest person I know. My mother is living on welfare with my pregnant teenage sister. My brother joined the army a year ago, and I haven’t heard from him since. My father disappeared from my life ten years ago. The only person I know who can help me, who even has a credit card or a car that can make this hundred-mile trip to New Hampshire, is my friend Bengi, and he is off on some college weekend. I can’t get in touch with him, because in 1991, when you want to call someone, you need to make a phone ring on a wall, and you need to make that phone ring at the moment the person you want to speak to is near that phone, and you need the number for the phone to make it ring, and all of that is impossible for me to get.

    This was not the plan for my life. I’m sitting behind the wheel, staring into a field of bright colors, yet I feel anything but bright. I was not supposed to be this alone this early in my life. You’re not supposed to be twenty years old and have absolutely no one in your life to call for help. As I sit there in my car, staring into that field of orange and yellow, I see my future ahead of me. An endless series of moments just like this one, when I need help but will have none.

    So I make a plan. I’m going to beg for gas, because it’s 1991. Gas is eighty-five cents a gallon, so eight dollars is all I need to get me home. I’ll offer my license, my wallet, everything in my car as collateral in exchange for eight dollars’ worth of gas and the promise that I will return and repay the money and more. Whatever it takes.

    So I rehearse my pitch, take a deep breath, and walk in. There’s a kid behind the counter, probably about my age. I tell him my problem. I ask him to help. I make my offer. The kid refuses. He doesn’t want to risk his job.

    So I leave. I go back to my car. My plan is simple. I’m going to wait for this kid to go home. Wait for the next person to come on duty, and while I wait, I’ll refine my pitch. I’ll beg again. I’ll beg until someone, anyone, gives me some money for gas. But as I climb back into the car, I see my crumpled McDonald’s uniform on the backseat, and I suddenly have an idea.

    An hour later, I’m standing on the porch of a small, red-brick house on a quiet residential street. I’m knocking on a blue door.

    I’m wearing my McDonald’s manager’s uniform. Blue shirt. Blue pants. Blue tie. Gold name badge. I’m holding a gray McDonald’s briefcase with a big engraved on the front like a shield.

    I knock on that blue door again.

    When the door opens, a man is standing in front of me. He looks about fifty, but he might as well be five hundred. He’s one of these guys who looks as if he has all the wisdom of the world wrapped up in him, and in that moment, I know that he knows that I’m about to do something terrible.

    And I agree. This is a terrible idea. I know this now.

    But it’s two o’clock on a Sunday afternoon. I’m standing on his porch in a McDonald’s uniform. It’s one of those moments when you realize that the only way to get out of a terrible situation is to go through with it. So I take another deep breath and say, “Hi, I’m Matt, and I’m collecting money for Ronald McDonald Children’s Charities.”

    The man doesn’t move. He doesn’t say a word. He’s like Stonehenge. Frozen in time and forever waiting for this moment. Waiting for me to arrive.

    The next words that come out of my mouth surprise me as much as they surprise him, because they are completely unplanned. “My mom died of cancer when I was a little boy, and now my sister is dying of cancer, and I’m just trying to do whatever I can to help.”

    The man finally moves. He points his finger at me and says, “You stay right there.” Then he walks back into his house, and I know what he’s doing. He’s calling the police, and they will come and arrest me for stealing money from McDonald’s (which will actually happen two years later, but not on this day). On this day, he returns to the door with a twenty-dollar bill in his hand, which is like $20,000 to me on this day. As I raise my hand to say, “No, it’s too much,” he says, “No. My wife, Lisa, died of cancer five years ago.”

    Now it’s my turn to freeze.

    He keeps talking. He tells me about her cancer. Her death. He tells me that his two kids came back from California for the funeral, but he hasn’t seen them since that day. He says that the last two years of Lisa’s life were hard, but it was the very last year that he regrets the most. He tells me how hard his wife fought to stay alive, and he wishes now that he could have told her that it was okay to go, but he loved her too much to say the words.

    Before I realize what is happening, I’m sitting on the porch with this man as he spills his guts to me, and in that moment, I know that I am, without a doubt, the single worst person on the face of the earth.

    The man talks to me for twenty minutes about his wife and his children, and when he’s done, he hugs me as if he hasn’t hugged a person in five years. Then he presses the twenty-dollar bill into my hand. It feels like poison now.

    I say good-bye. I walk down the stone path, up the street, and back to the gas station. I use his money to put gas in my car, and I hit the road, once again heading in the direction of home. And as I pull onto the highway, I remember the last time I was sitting behind this wheel, just an hour or so ago, feeling lonely, worried that I would be alone for the rest of my life. Now I know how stupid I was, because tonight I’ll sit with my friends in the living room and eat pizza, drink beer, and watch The Simpsons.

    But that man — he will be alone tonight behind that blue door. He’ll be alone tonight and tomorrow night and probably for many, many more nights. I leave New Hampshire knowing that I know nothing about loneliness, but also knowing that I never want to know about loneliness the way that man understood it that day and will probably understand it for many, many days thereafter.


    Disclaimer: this transcript is a product of Youtube-auto-generated transcript and simple ChatGPT cleaning, and I do not own any intellectual property in any shape or form mentioned. The content on this blog is for informational purposes only and should not be considered professional advice. While every effort is made to provide accurate and up-to-date information, I make no guarantees about the completeness, accuracy, or reliability of any content. Any actions taken based on the information provided here are done solely at your own risk. I am not liable for any losses, damages, or consequences arising from your use of this blog or its content. Please consult with a qualified professional before making any significant decisions.

  • Transcript: “This Is Going To Suck”, a Story By Matthew Dicks

    This is a transcript of Matthew Dicks’s story, This is going to suck, at a Pittsburgh Moth event.


    It’s December 23, 1988. I’m seventeen years old. I’m coming out of a record store. As I hit the sidewalk, my friend Pat sees me. He asks me what’s in the shopping bag I’m holding. I tell him it’s a concert T-shirt. It’s a Christmas present for Bengi, our friend, and my best friend. A surprise Christmas present.

    Pat looks at me a little funny. He’s only fourteen, but he’s already cooler than I will ever be in my entire life. So when he looks at me like that, I always pay attention. Pat tells me that guys don’t buy Christmas presents for other guys. Especially surprise Christmas presents. He tells me that he’s had girlfriends for six months and never bought them a thing. So for me to buy Bengi a Christmas present is a little odd.

    I’m suddenly feeling very self-conscious about the betta fish in the backseat of my car — the one that I bought at the pet store for Pat an hour ago — and the comic books for Coog, and the sweatshirt for Tom, and all the presents I bought for my friends on this day. I know that Pat is right. It’s strange that I’ve done this, but it’s been a long time since I’ve had a good Christmas, and I want this one to be special.

    The combination of my unending childhood poverty, my absentee mother and my evil stepfather, and their now failing marriage, has made every Christmas for years a misery. But for the first time in my life, I have money in my pocket. I’m a manager at McDonald’s making $5.75 an hour. I’m working full-time while I’m in high school, and I am the richest person I know. I am going to use this money to buy myself a great Christmas.

    I’m heading home now. I need to get my uniform, because I have a shift at McDonald’s later and I need to get these presents into the house. I need to get the betta fish out of the cold. It’s starting to snow out. It’s kind of lovely. I’m driving my mother’s 1976 Datsun B210, a car about the size of a box of Pop-Tarts, through the town of Mendon, Massachusetts. The lawns of each home are turning white. It’s the first snowfall of the year. As I drive by each house, it’s as if I’m passing a picture postcard of Christmas. I feel this might be a good Christmas after all.

    I’m coming around a corner and I’m heading down a hill when my car starts sliding to the opposite lane on the snowy road. I look up, and I see a white Mercedes-Benz coming right at me.

    They say that in moments like this, time will slow down or even freeze, and it is absolutely true. In the three seconds it takes before our two cars hit head-on, I have exactly three thoughts.

    The first is: I’m not wearing my seat belt. I always wear my seat belt, but in the excitement of buying Christmas presents and the rush to get home, I’ve forgotten to put it on, on the worst day of my life to forget.

    My second thought is: in moments like this, I’ve been told to steer into the skid, but it occurs to me now that I don’t know what the hell that really means. (I still don’t know to this day.)

    My third thought is just one sentence, it’s five words long, and I say it aloud: “This is going to suck.”

    And it does. When our cars collide, I’m thrown forward, and my head crashes through the windshield. My chin catches the steering wheel on the way, and the entire bottom row of my teeth comes flying out and into the back of my mouth in one large chunk. At the same moment, my legs come forward, and my right leg becomes embedded down to the bone in the air- conditioning unit. My left leg hits the emergency release brake, knocking the handle off and skewering my left leg. My chest crashes into the steering wheel, breaking ribs and knocking all the air from my lungs. It’s all over in a second. Then shock descends upon me, and I feel no pain or fear.

    I climb out of the car. I’m sort of crumpled next to the car, half standing, half crouching, when I see the woman in the Mercedes get out. She’s completely unharmed. Her seat belt and the size of her car have protected her completely. Then she sees me, vomits, and passes out.

    The first to arrive at the scene is a pickup truck full of teenagers. A kid about my age gets to me first. He lies me down in the mud and the snow on the side of the road. He gives me a look over, and then he crouches close to my ear and whispers, “Dude, you’re fucked.”

    It is the most accurate medical assessment that I will receive that day.

    A police officer arrives and puts a coat on me to keep me warm. I’ve got broken ribs, so it feels like a thousand pounds. I’m looking up at a white sky, and the snow is really starting to fall now, so I close my eyes.

    When I open my eyes again, I’m in an ambulance. A young woman is straddling my hips and she is pounding on my chest, which is now on fire. There’s a man trying to shove a clear tube down my throat, and the woman starts screaming, “He’s back! He’s back!” And I’m wondering, “Who the hell is back?”

    It’s me. I’m back. I’ll find out later that my heart stopped beating and I stopped breathing for about a minute.

    No white light.

    Now I’m in the emergency room, and the doctors get to work on me right away. They’re picking out glass from my forehead with tweezers.

    They’re getting my legs ready for surgery. Dental surgeons wire that chunk of teeth back down into my jaw. It’s the most painful thing I’ve ever felt.

    A nurse comes over and asks me for my phone number. My clothes were cut off at the scene, so I have no ID. I give her my parents’ number, and then I give her the number for McDonald’s because I’m supposed to be working that night. She sort of scoffs at this and looks at me as if I’m crazy, which I kind of am. I was dead twenty minutes ago and now I’m worried about work, but that drive-through does not run well without me, and they’re going to have to get someone in.

    Bless her heart. She makes the call.

    As the doctors and nurses work on me, I notice that their expressions begin to change. I see it, because I am thinking the same thing they are: Where the hell are my parents?

    I’ll find out later that when they heard I was in stable condition, they went to check the car out first. I won’t see them before surgery.

    I’m waiting for a surgeon, because it’s December 23, and they’re hard to find. I’m waiting and waiting and waiting, and I’m feeling as alone as I’ve ever felt.

    But I’m not alone, because when the nurse called McDonald’s to tell them about the accident, the manager on duty told my friends, and those friends started calling other friends. An old-fashioned phone tree begins, with friends calling friends calling friends, and the waiting room is now filling up with sixteen- and seventeen- and eighteen-year-old kids in ripped jeans and concert T-shirts, and one fourteen-year-old boy who is cooler than all of them. And my friend Bengi is the first one to arrive.

    They can’t come into the emergency room to see me, because they’re not family, but when the nurses realize that my parents won’t be arriving in time, they roll my gurney to the other side of the emergency room, and they open a door. One by one, each of my friends stands in the doorway. And they wave. And they give me the thumbs-up. The boys say incredibly

    inappropriate things to make me laugh, and the girls tell me that they love me, and I can hear them chanting my name as I am rolled into the operating room.

    None of the presents ever make it into my friend’s hands. Bengi never gets his concert T-shirt and Coog never gets his comic books, and the betta fish is the only fatality in the accident that day.

    But it turns out that Pat is wrong. You can give your friends surprise Christmas presents, because they give me the best one I’ve ever received. They give me family, and until I meet my wife fifteen years later, they are the only family that I have. And it turns out they’re the only family that I need.


    Disclaimer: this transcript is a product of Youtube-auto-generated transcript and simple ChatGPT cleaning, and I do not own any intellectual property in any shape or form mentioned. The content on this blog is for informational purposes only and should not be considered professional advice. While every effort is made to provide accurate and up-to-date information, I make no guarantees about the completeness, accuracy, or reliability of any content. Any actions taken based on the information provided here are done solely at your own risk. I am not liable for any losses, damages, or consequences arising from your use of this blog or its content. Please consult with a qualified professional before making any significant decisions.

  • Transcript: “Karen Vs. the Patriots”, a Story By Matthew Dicks

    This is a transcript of Matthew Dicks’s story, Karen Vs. the Patriots, at a Boston Moth GrandSLAM.


    I tell my friend Benji that Karen likes me, and he laughs at me. It’s 3 o’clock in the morning. We’re in the kitchen cleaning, the party’s cleared out, and in the living room, there are the last remnants of the party. There’s a huddled faithful under the glow of a black-and-white TV set atop a baby changing table. They’re watching Monty Python and the Holy Grail for the 1,000th time on VHS. I would normally be there, but I’m in the kitchen cleaning because we’re going to a Patriots game tomorrow morning. We want to get a head start, and I love the Patriots. I have loved them all my life. When I was a little boy, I used to tape a football with duct tape to my foot and go out trick-or-treating as the placekicker, Tony Franklin.

    When the Patriots lost to the Bears in the Super Bowl in ’86, I wept for days. I was in math class, just tears streaming down my eyes. I once dated a girl only because she once lived on the same street as Steve Grogan, the Patriots quarterback legend. So I love these guys, and I want to get to the game tomorrow. 

    I should be cleaning, but I’m not, because Benji is laughing at me. I know why he’s laughing. There is no way Karen could like me. I am, in the words of one of my friends, a necklace stump with legs and arms, and Karen is the most beautiful girl who walks into every room. She’s not a girl I would chase. In fact, no guy chases Karen. Karen is like a bug light. She sucks you in, and when you get close, she stabs you in the heart until you’re dead.

    But at the party tonight, every time I turned, Karen was there. She was sort of laughing at the things I was saying and touching my arm. I think, like, maybe she likes me, but I know Benji’s right, and it’s impossible. Two days later, the phone rings. It’s Karen. She asks when the next party is. I tell her Saturday, and she says the four most beautiful words I have ever heard: “That’s not soon enough.”

    So I say, “How about Thursday? A movie and pizza at my place?” She says yes. And so it’s Thursday, and we’re on the couch, watching the movie. Except we’re not watching the movie anymore. We’re making out on the couch. I am making out with Karen. It’s the only time in my life I’ve had this out of body experience at a moment when I should absolutely be in my body. I flow above my body and look down at us. I turn to an audience that is not there and say, “Do you see what is happening here right now? I am kissing Karen like the impossible is possible.”

    At the end of the night, Karen says, “When can we see each other again?” I say, “Saturday at the party.” She says, “I can’t. I have a family thing.” And she says, “How about Sunday?” I say, “I’m going to the Patriots game, but I’m more than willing to ditch Benji and take you instead.” She says, “Great! I’ve never been to a football game.” And I think, this is fantastic.

    Then Sunday comes, and I realize this is not going to be fantastic. It is five degrees with the wind chill. When she shows up to my house, she is not dressed properly. She’s got a pair of jeans on and those thigh-high boots that look great but do nothing to keep your feet warm. She’s got a jacket on—like, just the word “jacket” is not enough. I have taken my entire wardrobe and transferred it to my body. I am the Michelin Man. I have everything I own on me.

    I say, “Karen, you can’t go to the football game. You will die.” She says, “I’ll be fine.” And I can’t say no to Karen, so we go to the football game. And it is bad. It’s cold. It’s old Foxboro Stadium. It is made up of metal benches and Soviet architecture and despair. Nothing good happens in that stadium, and nothing good is happening today because Karen is freezing. We’re approaching halftime, and Karen turns to me and says, “Thank God it’s almost over.” She doesn’t know there’s another whole half of football to go. So I tell her, and she says, “Man, I can’t make it.” I agree with her. She may die if she stays here, but on the other hand, I’m thinking, “I told you, woman. I said this was not going to be right. This is on you, it’s not on me.”

    Now I have a decision to make: I either stay in this stadium and watch the worst football team of the season, a 2-14 football team, or I leave with the most beautiful girl in every room. So I choose love. I hand Karen my keys and tell her she has to go wait in the car because these guys need me. And it’s a terrible game. They lose 6 to nothing in the worst football game I have ever seen in my life.

    When I go back to the parking lot, my car is probably not going to be there, but I was there for them. When I get to the spot where my car is supposed to be, I can’t believe it. It’s there, and it’s running and warm. I get into the car and tell Karen, “Bad news, we lost.” She doesn’t say anything to me. For the rest of my life, I bring her home, and I never see her again.

    There are moments when I question my decision in Foxboro Stadium that day, when I think about that woman who I sent back to the car. But I also knew that day that those guys on the field— as terrible as they were in 1992— were always going to be there for me, and Karen was not going to be the girl I was going to marry. I knew that day that those guys would be there for the rest of my life, and that is what they’ve been. Whether they were terrible or they were great, they have been there for me, and I have loved them. They have been everything to me on days when I’ve been there for them, and they have been there for me through better and through worse. And that, my friends, is what true love is all about.


    Disclaimer: this transcript is a product of Youtube-auto-generated transcript and simple ChatGPT cleaning, and I do not own any intellectual property in any shape or form mentioned. The content on this blog is for informational purposes only and should not be considered professional advice. While every effort is made to provide accurate and up-to-date information, I make no guarantees about the completeness, accuracy, or reliability of any content. Any actions taken based on the information provided here are done solely at your own risk. I am not liable for any losses, damages, or consequences arising from your use of this blog or its content. Please consult with a qualified professional before making any significant decisions.

  • Book Notes: Storyworthy by Matthew Dicks

    Storytelling is the most underrated skill in history. An okay engineer with storytelling skills will get a job that a great engineer without them fails to get. To many employers, those hard skills are teachable; soft skills like storytelling are “unteachable”. 

    Recently, I read one of the greatest books on breaking down the skills of storytelling – Storyworthy by Matthew Dicks. I wrote down detailed and structured notes while reading, and I hope you will find it helpful too. 

    But before you dive in, and if you don’t plan to read the whole thing, just remember this: 

    A story is about CHANGE. The main character MUST experience some sort of change. Without it, you don’t have a story. 

    Now enjoy. And if you like, reach out on X and I’d love to discuss the book.


    Storyworthy Book Notes

    Some requirements to ensure you are telling a personal story:

    • Change:
      • Your story must reflect change over time. A story cannot simply be a series of remarkable events. You must start out as one version of yourself and end as something new. The change can be infinitesimal. It need not reflect an improvement in yourself or your character, but change must happen. Even the worst movies in the world reflect some change in a character over time.
      • So must your story. Stories that fail to reflect change over time are known as anecdotes.
    • Your story only:
      • You must tell your own story and not the stories of others.
    • Your story MUST pass the dinner test:
      • The Dinner Test is simply this: Is the story that you craft for the stage, the boardroom, the sales conference, or the Sunday sermon similar to the story you would tell a friend at dinner? This should be the goal.
        • Storytelling is not theater. It is not poetry. It should be a slightly more crafted version of the story you would tell your buddies over beers.

    WAYS TO GET UNLIMITED STORIES FROM YOUR LIFE

    Homework for life: If I had to tell a story from today — a five-minute story onstage about something that took place over the course of this day — what would it be? (a method to accumulate stories)

    • As benign and boring and inconsequential as it might seem, what was the most storyworthy moment from my day?
    • Don’t write a full story; write a snippet – just a sentence or two that capture the moment.

    Crash and Burn (a method to generate stories)

    • Three rules of crash and burn:
    1. Rule #1: You must not get attached to any one idea.
    2. Rule #2: You must not judge any thought or idea that appears in your mind.
    3. Rule #3: You cannot allow the pen to stop moving.

    First, Last, Best, Worst

    • How to: see the picture attached
    • After completing my chart, I analyze it. Specifically, I ask myself three questions:
      • 1. Do any entries appear more than once (the signal of a likely story)?
      • 2. Could I turn any of these entries into useful anecdotes?
      • 3. Could I turn any of these entries into fully realized stories?

    Write Your Story

    Every story takes only 5 seconds to tell (and Jurassic park wasn’t a movie about dinosaurs)

    Until you find your five-second moment, you don’t have a story. And once you find it, you are then ready to craft it.

    • Your five- second moment is the most important thing that you will say. It is the purpose and pinnacle of your story. It’s the reason you opened your mouth in the first place. Therefore it must come as close to the end of your story as possible. Sometimes it will be the very last thing you say.

    Finding Your Beginning

    1. So how do you choose the right place to start a story? Simple. Ask yourself where your story ends.
      1. What is the meaning of your five-second moment? Say it aloud.
    2. Once you’ve distilled your five-second moment down to its essence, ask yourself: What is the opposite of your five-second moment?
      1. Simply put, the beginning of the story should be the opposite of the end. Find the opposite of your transformation, revelation, or realization, and this is where your story should start. This is what creates an arc in your story. This is how a story shows change over time.
    • I was once this, but now I am this.
    • I once thought this, but now I think this.
    • I once felt this, but now I feel this.
    • I was once hopeful, but now I am not.
    • I was once lost, but now I am found.
    • I was once happy, but now I am sad.
    • I was once uncertain, but now I know.
    • I was once angry, but now I am grateful.
    • I was once afraid, but now I am fearless.
    • I once believed, but now I don’t.

    How to tackle the challenge of having too many potential beginnings to choose from:

    A couple more practical tips for choosing a beginning:

    1. Try to start your story with forward movement whenever possible.
      1. Establish yourself as a person who is physically moving through space. Opening with forward movement creates instant momentum in a story. It makes the audience feel that we’re already on our way, immersed in the world you are moving us through. We’re going somewhere important.
    2. Don’t start by setting expectations.
      1. Listen to people in the world tell you stories. Often they start with a sentence like, “This is hilarious,” or “You need to hear this,” or “You’re not going to believe this.” This is always a mistake, for three reasons.
        1. First, it establishes potentially unrealistic expectations.
        2. Second, starting your story with a thesis statement reduces your chances of surprising your audience.
        3. Third, these are simply not interesting ways to start a story. (Start with the story, not with a summary of the story. There is no need to describe the tone or tenor at the onset.)

    Stakes: 5 ways to keep your story compelling (and why there are dinosaurs in Jurassic Park)

    #1: The Elephant

    • Every story must have an Elephant.
      • The Elephant is the thing that everyone in the room can see. It is large and obvious. It is a clear statement of the need, the want, the problem, the peril, or the mystery. It signifies where the story is headed, and it makes it clear to your audience that this is in fact a story and not a simple musing on a subject.
      • The Elephant tells the audience what to expect. It gives them a reason to listen, a reason to wonder. It infuses the story with instantaneous stakes.
      • The Elephant should appear as early in the story as possible. Ideally, it should appear within the first minute, and if you can say it within the first thirty seconds, even better.
    NO ElephantWith Elephant
    My mother was the kind of woman whom everyone adored. The model of decorum and civility. She served as PTO president and treasurer of the ladies’ auxiliary. She was the only female umpire in our town’s Little League. She baked and knit and grew vegetables by the pound.I don’t care how perfect my mother was. When I was nine years old, I wanted to disown her. Leave home and never return. Forget she ever existed. My mother was the kind of woman whom everyone adored. The model of decorum and civility. She served as PTO president and treasurer of the ladies’ auxiliary. She was the only female umpire in our town’s Little League. She baked and knit and grew vegetables by the pound.
    • Elephants can also change color. That is, the need, want, problem, peril, or mystery stated in the beginning of the story can change along the way. You may be offered one expectation only to have it pulled away in favor of another.

    #2: Backpacks

    1. Backpack is a strategy that increases the stakes of the story by increasing the audience’s anticipation about a coming event. It’s when a storyteller loads up the audience with all the storyteller’s hopes and fears in that moment before moving the story forward. It’s an attempt to do two things:
      1. Make the audience wonder what will happen next.
      2. Make your audience experience the same emotion, or something like the same emotion, that the storyteller experienced in the moment about to be described.
        1. Example (Charity Thief)
      3. Backpacks are most effective when a plan does not work. If I had described my plan for begging for gas, and then the plan worked perfectly, there would have been no payoff for the Backpack.
        1. It’s an odd thing: The audience wants characters (or storytellers) to succeed, but they don’t really want characters to succeed. It’s struggle and strife that make stories great. They want to see their characters ultimately triumph, but they want suffering first. They don’t want anything to be easy.
          1. Perfect plans executed perfectly never make good stories. They are the stories told by narcissists, jackasses, and thin-skinned egotists.

    #3: Breadcrumbs

    1. Storytellers use Breadcrumbs when we hint at a future event but only reveal enough to keep the audience guessing.
      1. Example: Charity Thief
    2. Breadcrumbs are particularly effective when the truly unexpected is coming. I am about to impersonate a charity worker in order to steal money from innocent homeowners. That is unexpected. The perfect moment to lay a Breadcrumb.

    #4: Hourglasses

    • There comes a time in many stories when you reached a moment (or the moment) that the audience has been waiting for. Perhaps you have paved the way to the moment with Breadcrumbs and Backpacks, or maybe you’ve used none of these strategies because you’ve got yourself a stake- laden story, and now you’re approaching the payoff. The sentence you’ve been waiting to say. The sentence your audience has been waiting to hear.
    • This is the moment to use an Hourglass. It’s time to slow things down. Grind them to a halt when possible. When you know the audience is hanging on your every word, let them hang. Drag out the wait as long as possible.

    #5: Crystall Balls

    • A Crystal Ball is a false prediction made by a storyteller to cause the audience to wonder if the prediction will prove to be true.
    • In storytelling, deploy Crystal Balls strategically:
      • Only when your prediction seems possible. Only when your guess is reasonable. And only when your prediction presents an intriguing or exciting possibility.

    How to make sure your story has stakes:

    Ask yourself:

    • Would the audience want to hear my next sentence?
    • If I stopped speaking right now, would anyone care?
    • Am I more compelling than video games and pizza and sex at this moment?

    If the answer to any of these questions is no, you need to raise the stakes. Use these strategies to engage your audience and bring them to the edge of their seat.

    The Five Permissible Lies of True Storytelling

    Three important caveats before we proceed with the five types of permissible lies in storytelling:

    • Important Caveat #1: We lie in our stories only when our audience would want us to lie — only when the story is better for our doing so.
    • Important Caveat #2: Memory is a slippery thing, and as storytellers, we must remember this. Research suggests that every time you tell a story, it becomes less true.
    • Important Caveat #3: As storytellers, we never add something to a story that was not already there. Making something up is cheating, and great storytellers are not cheaters.

    The Five Permissible Lies of Storytelling

    1. Lie #1: Omission: We all omit elements from our stories, but great storytellers do this strategically and for a variety of reasons.
      1. Eliminate people from stories when they serve no purpose. Pretend they aren’t there. Ghost them.
        1. Example: Charity Thief
      2. No one wants redemption. People want the clown. A story is like a coat. When we tell a story, we put a coat on our audience. Our goal is to make that coat as difficult to remove as possible. I want that coat to be impossible to take off. Days after you’ve heard my story at the dinner table or the conference room or the golf course or the theater, I want you to be thinking about my story. I want that coat to cling to your body and mind. The longer that story lingers in the hearts and minds of our audience, the better the story.
        When I write novels, I try to end my story about ten pages before the reader would want the book to end
        . The best storytellers omit the endings that offer neat little bows and happily-ever-afters. The best stories are a little messy at the end. They offer small steps, marginal progress, questionable results. The best stories give rise to unanswered questions.
        1. Example: Charity Thief
    2. Lie #2: Compression:
      1. TIME: If the first scene of your story takes place on a Monday, for example, and the next scene happens on Friday, and you are concerned about the audience wondering about Tuesday, Wednesday, and Thursday, you simply push time together and turn your Monday-through-Friday story into a Monday-through-Tuesday story. Placing scenes closer together also heightens the drama and suspense of a story. It makes the world seem more visceral and cinematic.
        1. Example: Bike Off Roof
      2. GEOGRAPHY: Geography can also be compressed for the sake of comprehension and visualization. There is never room for needless complexity in a story. Remember that stories are like rivers. They continue to flow even as your audience struggles to understand a time line or attempts to construct a complicated mental map in their minds. For this reason, simplicity should be prized at all points. Compression can often be helpful in this regard.
        1. Example: The Basin
    3. Lie #3: Assumption:
      1. Storytellers use assumption when there is a detail so important to the story that it must be stated with specificity, so the storyteller makes a reasonable assumption about what the specifics may be. This does not mean that a storyteller should assume all details. It is only when the forgotten detail is critical to the story that an assumption should be made.
        1. Example: Batman and Robin
    4. Lie #4: Progression:
      1. A lie of progression is when a storyteller changes the order of events in a story to make it more emotionally satisfying or comprehensible to the listener.
      2. This is the least common lie told.
        1. Example
    5. Lie #5: Conflation:

    Cinema of the Mind (Also Known as “Where the Hell Are You?”)

    • A great storyteller creates a movie in the minds of the audience.
    • ❌NEVER open stories by pontificating and proselytizing:
      • Stories are not supposed to start with thesis statements or overwrought aphorisms.
    • HOW TO create a movie in the minds eyes of audiences: Always provide a physical location for every moment of your story. If the audience knows where you are at all times within your story, the movie is running in their minds.
      • Example #1: My grandmother’s name is Odelie Dicks, which probably explains why she is who she is. She’s a crooked old lady in both body and mind. She wears only dark colors and likes to serve food that has stewed in pots for days. I like to imagine that there was a time in her life when she smiled — or at least didn’t scowl — but if that time existed, it was long before me.
      • Example #2: I’m standing at the edge of my grandmother’s garden, watching her relentlessly pull weeds from the unforgiving soil. My grandmother’s name is Odelie Dicks, which probably explains why she is who she is. She’s a crooked old lady in both body and mind. She wears only dark colors and likes to serve food that has stewed in pots for days. I like to imagine that there was a time in her life when she smiled — or at least didn’t scowl — but if that time existed, it was long before me.

    The principle of BUT and THEREFORE

    • Use But and Therefore; don’t use AND
    • the negative is almost always better than the positive when it comes to storytelling, because it contains a hidden but.
      • I am dumb, ugly, and unpopular. vs. I’m not smart, I’m not at all good-looking, and no one likes me.
    • A short, positive statement at the end of a paragraph of description can often serve as an amusing button to a scene.
      • Heather laughed at me when I wasn’t trying to be funny. She refused my offer of a birthday cupcake, claiming she’d already had a cupcake that day, even though it was only 9:30 AM. She chose to walk five miles home from school, even though I offered her a ride and she lived next door to me. Heather despised me.
    • Simple, positive statements are also preferred when answering questions.
      • In answer to the question, “Who is Heather?” a statement like “my ex-girlfriend” is more effective than “She was once my girlfriend.”

    The Secret to the Big Story: Make It Little

    • Here’s the surprising thing: despite what most people think, these are the hardest stories to tell.
    • The goal of storytelling is to connect with your audience, whether it’s one person at the dinner table or two thousand people in a theater.
      • Storytelling is not about a roller-coaster ride of excitement. It’s about bridging the gap between you and another person by creating a space of authenticity, vulnerability, and universal truth.
    • This is the trick to telling a big story: it cannot be about anything big. Instead we must find the small, relatable, comprehensible moments in our larger stories. We must find the piece of the story that people can connect to, relate to, and understand.
      • The story of my beesting is really the story of the death of my mother, and of my hope that we might still be connected, even though she is no longer alive.
      • The story of firefighters rescuing me from my home is really about the greatest “I told you so” of my life.
      • The story of my arrest is really the story of my struggle with faith and of an unexpected plea to the Almighty, and the story of my subsequent jailing is really about missing a second date with a girl I liked a lot.
      • The story of the robbery is really the story of my ongoing, persistent existential crisis and its impact on my relationship to my children.
      • The story of the attempt to destroy my reputation and get me fired is really the story of the power of the anonymous assailant but the greater power of public support.

    There Is Only One Way to Make Someone Cry (The answer is simple: surprise.)

    • When it comes to storytelling, I believe that surprise is the only way to elicit an emotional reaction from your audience. Whether it’s laughter, tears, anger, sadness, outrage, or any other emotional response, the key is surprise.

    Common mistakes that storytellers make that ruin surprise include:

    1. Presenting a thesis statement prior to the surprise.
      1. This often takes the form of an opening sentence that gives away all that is surprising about the story.
        1. “This is a story about a time in my life when my friends became my family.”
        2. “This is a story about a car accident so serious that it took my life, if only for a moment.”
        3. “This is the story of a waiting room full of surprise guests.”
      2. It sounds ridiculous, I know, but this is done all the time, both onstage and in less formal situations. People feel the need to open their stories with thesis statements, either in an effort to grab the audience’s attention with a loaded statement or (more likely) because this is how they were taught to write in school: thesis statement, followed by supporting evidence and details.
      3. But storytelling is the reverse of the five-paragraph essay. Instead of opening with a thesis statement and then supporting it with evidence, storytellers provide the evidence first and then sometimes offer the thesis statement later only when necessary. This is how we allow for surprise.
    2. Failing to take advantage of the power of stakes to enhance and accentuate surprise.
      1. Take advantage of the STAKES in the story
        1. If you are using a BACKPACK tactic – tell a plan that will eventually fail
          1. Example: Charity Thief
        2. If you are using a BREADCRUMB tactic – give a brief hint of what you might do but DON’T describe the plan, then surprise the reader
          1. Example: Charity Thief
    3. Failing to hide critical information in a story.
      1. As storytellers, we must hide pertinent information from our audiences to allow the surprise to pay off later. I often refer to this as planting a bomb in a story that will explode when the time is right.
      2. Method #1:Hiding the Bomb in the Clutter
        1. We hide these important moments by making them seem unimportant. We do this by hiding critical information among other details. We make the important information seem no more important than the rest of the information by pushing it all together.
          1. Example: This is going to suck
      3. Method #2: Camouflage
        1. Laughter is the best camouflage, because it is also an emotional response, and audience members assume that the laugh is the result of the storyteller’s wanting to be funny. This is never the case. Comedians want to be funny. Great storytellers want to be remembered. For this reason, they deploy laughter strategically.
          1. Example: This is going to suck

    Milk Cans and Baseballs, Babies and Blenders: Simple, Effective Ways to Be Funny in Storytelling (Even If You’re Not Funny at All)

    1. Humor should never be at the end.
      1. If you want your story to linger with your audience (and that should be your goal), you should end in a place that is moving, vulnerable, or revealing, or establishes connection with the audience.
      2. Save your laughs for the middle, when you want to keep your audience engaged. Allow them to carry your audience to the end. But end your story with something bigger than a laugh.
    2. 4 types of humors in stories:
      1. Start with a laugh. (to have full control of the stage, if it’s a live event)
      2. Make ’em laugh before you make ’em cry. (make readers experience the emotion more intensely)
      3. Take a breath. (from some very intense emotion)
      4. Stop crying so you can feel something else.

    The two easiest ways to achieve these humorous surprises are through Milk Cans and a Baseball, and Babies and Blenders.

    1. Milk Cans and a Baseball: Milk Cans and a Baseball refers to the carnival game where metallic milk cans are stacked in a triangular formation and the player attempts to knock them down with a ball.
      1. In comedy, this is called setup and punch line. The milk cans represent the setup, and the ball is the punch line.
      2. The more milk cans in your tower, the greater potential laugh. The better you deliver the ball, the more of that potential will be realized. The trick is to work to the laugh by using language that carefully builds your tower while saving the funniest thing for last.
        1. Example: Homeless and the goat
      3. Specificity is funny. Oddly specific words are also funny. It’s funnier for me to say, “I’m pouring water over Raisin Bran because I am too stupid and lazy to buy milk” than it is to say, “I’m pouring water over a bowl of cereal.”
    2. Babies and Blenders: Babies and Blenders is the idea that when two things that rarely or never go together are pushed together, humor often results.
      1. Example: hungry as a boy
      2. Example: grandma
      3. Example: swallow of a penny
      4. Example: Sesame Street
    3. Exaggeration (another form of Babies and Blenders): We push an unreasonable description against something that doesn’t normally fit that description, and a laugh is the result. But this only works when everyone agrees that you’re exaggerating. If I’m falsely exaggerating in the attempt to make my audience believe that my exaggeration is accurate, that is not an exaggeration. It is a lie — an unacceptable one in my book.
      1. Example: Xmas Tree

    Finding the Frayed Ending of Your Story (or, What the Hell Did That Mean?)

    1. Stories can never be about two things. I explained to my students that even though that moment in the bathtub came to mean two different things to me, the story that I tell onstage someday about that moment can only be about one of those things.
      1. This is because of what you already know:
        1. The ending of the story — your five-second moment — will tell you what the beginning of your story should be. The beginning will be the opposite of the end.
    2. This does not mean that I can’t tell both versions of this story. In fact, as a storyteller, I’m thrilled to have two stories that center on the same moment. Those two stories, which have yet to be fully crafted, will start entirely differently but will ultimately converge on the same moment in the bathtub.
    3. Ask yourself “WHY” and often you will find meanings previously undiscovered.

    The Present Tense Is King (but the Queen Can Play a Role Too)

    1. the magic of the present tense is that it creates a sense of immediacy.
      1. Example: Charlie needs to pee on an Amtrak (Even though you are reading these words in bed or by the light of a roaring fire or perhaps naked in your bathtub, a part of you, maybe, is on this train with me, staring at a little boy who desperately needs to pee.)
    2. You can tell a backstory in past tense.
    3. Stories cannot have two or more events that took place at different times happen in the present time of the story.
      1. Example: Charlie needs to pee on an Amtrak
    4. If you want to bring your readers to the scene, use present tense; if you don’t want to bring them to the scene but keep them at distance, use past tense. The important thing is to choose intentionally.
      1. Example: Charlie needs to pee on an Amtrak

    The Two Ways of Telling a Hero Story (or, How to Avoid Sounding Like a Douchebag)

    1. failure is more engaging than success.
    2. Nevertheless, there are times when you might want to tell a success story, and when you do, there are two strategies that I suggest you employ.
      1. Malign yourself.
      2. Marginalize your accomplishment.
      3. First, human beings love underdog stories. The love for the underdog is universal. Underdogs are supposed to lose, so when they manage to pull out an unexpected or unbelievable victory, our sense of joy is more intense than if that same underdog suffers a crushing defeat. A crushing defeat is expected. An unbelievable win is a surprise. Example: Bring Me a Shrubbery
      4. Second, human beings prefer stories of small steps over large leaps. Most accomplishments, both great and small, are not composed of singular moments but are the culmination of many small steps. Overnight success stories are rare. They can also be disheartening to those who dream of similar success. The step-by-step nature of accomplishment is what people understand best. This is how to tell a success story: Rather than telling a story of your full and complete accomplishment, tell the story of a small part of the success. Tell about a small step. Feel free to allude to the better days that may lie ahead, but don’t try to tell everything. Small steps only. Example: Bring Me a Shrubbery

    Storytelling Is Time Travel (If You Don’t Muck It Up)

    • My goal as a storyteller is to make my audience forget that the present moment exists. I want them to forget that I exist. I want their mind’s eye to be filled with images of the movie I am creating in their brains. I want this movie to transport them back to the year and spot that my story takes place.

    Here are some rules to avoid popping this mystical bubble (aka ruin the time travel experience:

    1. Don’t ask rhetorical questions.
      1. Actors in movies never ask rhetorical questions of their audience (Ferris Bueller’s Day Off being the only exception I have found so far), and neither should you. Asking a rhetorical question causes the audience to devise an answer in their mind. You have just turned your story into a Q&A session. You’ve reminded them that you exist, they exist, and this moment that you and they are occupying exists.
    2. Don’t address the audience or acknowledge their existence whatsoever.
      1. Avoid phrases like “You guys!” for the same reason you shouldn’t ask rhetorical questions. When a storyteller says something like “You guys, you’re not going to believe this!” the bubble is instantly broken. Time travel has abruptly ended. The audience is keenly aware that someone is standing in front of them, speaking directly to them and the people sitting around them.
    3. No props (道具). Ever.
      1. Example
    4. Avoid anachronisms (时代混乱).
      1. An anachronism is a thing that is set in a period other than that in which it exists. It’s a microwave in the Middle Ages. A refrigerator during the Renaissance. The internet during the Inquisition.
      2. If you’re telling a story about something that happened in 1960, but at some point you say that your mission was as unlikely as the moon landing, you’ve created a temporal impossibility in the story and likely popped your time-traveling bubble.
    5. Don’t mention the word story in your story.
      1. Phrases like, “But that’s a story for another day,” or “Long story short” serve to remind our audience that we are telling a story. If your audience knows that you’re telling a story, then they’re not time traveling.
    6. Downplay your physical presence as much as possible.
      1. When I tell a story onstage (or even in a workshop or at a conference), I wear blue jeans, a black T-shirt, and a hat. I wear this every time. It’s my uniform, chosen because it suits me as a person and is fairly nondescript.
      2. My goal is to downplay my physical presence. I want to increase the likelihood of becoming a disembodied voice in the mind of my audience. I want them to completely forget that I’m standing in front of them.

    Words to Say, Words to Avoid

    Profanity

    1. Avoiding swearing. In most cases, a swear word can be replaced by a better word or phrase. The swear word is easy and may engender a laugh, but it’s rarely the best word to choose.
    2. That said, there are times when I think it is appropriate to swear:
      1. Repeated dialogue: The kid who arrives at my car accident swears. He says, “Dude, you’re fucked.” It’s his words, repeated exactly.
      2. When a swear is simply the best word possible: There is no better way to describe my former stepfather than asshole, so that is the word I choose every time.
      3. Moments of extreme emotion: There are certainly times in our lives when the best way to capture the heightened emotion of a moment — particularly when it comes to anger and fear — is with profanity.
      4. Humor: Though I would never rely solely on profanity for humor, there are moments when a well-placed swear word makes a perfect punch line to a joke.

    Vulgarity

    1. Vulgarity is the description of events that are profane in nature. This includes actions of a sexual nature, anything involving bodily fluids, and the like.
    2. The rule with vulgarity is simple: If you are speaking about a topic that would be awkward to talk about with your parents or grandparents, tread lightly. Take care of your audience.

    Other People’s Names

    1. I’m often asked how to handle using real people’s names in my stories. I tell storytellers that changing the names of people to protect their anonymity is perfectly reasonable. When you change the name, however, I always suggest that you choose a similar name to make it easier to remember.
      1. Barry becomes Bobby.
      2. Sally becomes Sandy.
    2. Sometimes we just don’t tell certain stories. Speaking them aloud might irreparably damage relationships with loved ones. You may expose someone else’s secret. You may put your job or your company in jeopardy. Sometimes it’s just not worth the story.

    Celebrity / Pop Culture References

    1. In general, don’t include.
    2. When we refer to celebrities in our stories, we make three mistakes:
      1. We risk alienating half of our audience, who might not be aware of the reference. While one side of the room nods and laughs in recognition, the other side of the room feels foolish or lost.
      2. Comparing a person to a celebrity sticks that celebrity into the story and pops that mystical time-traveling bubble. I once heard a storyteller say that her father looked a lot like Ronald Reagan. As a result, Reagan was now playing the role of her father in the story, and having a former president walking around her cruddy little apartment made no sense. It’s impossible for an audience to picture someone looking “kind of like Ronald Reagan.” They will just use Reagan, turning a formerly sensible story into something dreamlike and strange. Just don’t do it.
      3. It’s lazy. We gain very little by saying “so-and-so looks or acts like so-and-so.” It’s shorthand, but it doesn’t reveal much about character.

    Accents (when you are telling a story in person)

    1. Don’t.
    2. There is one exception to this rule: you can always do the accents of parents and grandparents. Parental love conquers the potential hazards of racial stereotypes.
    3. I also think that you can imitate the accents from the region where you grew up, particularly if you share a race with the people who you are imitating. For example, I grew up near Boston and had a Boston accent. I’ve lost much of it after living in Connecticut for almost twenty-five years, but I could reproduce the accent for a story if I wanted, and it occasionally creeps into my speech.
    4. When in doubt, don’t do an accent.

    Time to Perform (Onstage, in the Boardroom, on a Date, or at the Thanksgiving Table)

    1. Don’t memorize your story.

    1. It’s hard to be authentic and vulnerable when you’re reciting lines. It’s also obvious to an audience when a storyteller is simply reciting a story instead of telling a story.
    2. Instead of memorizing your story word-for-word, memorize three parts to a story:
      1. The first few sentences. Always start strong.
      2. The last few sentences. Always end strong.
      3. The scenes of your story. Example: This is going to suck
        1. Some Tricks:
          1. Some people remember their scenes in a list, but I actually remember these scenes as circles in my mind. The size of the circle reflects the size of the scene. The color of the circle reflects the tone and tenor of the scene. This is not something I do purposefully. It’s just the way I have always remembered my stories. I tell you this because for some people, this method has been exceptionally helpful.
          2. I try not to have more than seven scenes in a story. The phone company uses seven digits in our phone numbers because they determined that seven bits of information is the most that the average person can retain at one time. Seven feels right to me. I have some stories that only have three scenes — even better. I have a story composed of just one scene. But seven is my max.

    2. Make eye contact.

    1. Find a person on your left, a person on your right, and a person dead center who likes you. These will be the people who are smiling. Nodding. Laughing. Use these three people as your guideposts.

    3. Control your emotions.

    1. A trick to stay calm: When I was a kid, I played video games in arcades. One of these games was a car-racing game. I would sit behind the wheel and race against other players behind other wheels. The game had an A and a B button to the left of the gearshift. If you pressed the A button, the screen displayed the road as a driver would see it through the windshield. If you pressed the B button, your perspective shifted to outside and above the car, looking down upon it. As the moment of heightened emotion approaches in a story, I press the B button. I shift my perspective from seeing my story through my eyes to seeing my story from above.

    4. Learn to use the microphone.

    Learning storytelling will make you a superhero

    1. So do it.