lessons

Life Lessons from Improv

July 1, 2010 by Nabil 8 Comments

This week I took a deep dive into improv via a one-week course with the Upright Citizens Brigade (UCB). As we wind down, my instructor Nick handed out a worksheet that summarizes the rules of improv that he’s worked to instill into my 16 classmates and me. The last item reads: “Final Rule: You can break all of the preceding rules, however, most of the time you’ll be better off if you don’t. Improv rules tend to be life rules.”

Given what I’ve learned in this course, I suspect that the intended meaning of this last point is that good improv is realistic. For improv to be funny, it needs to have a grounding in reality. If it’s completely fantastical, and the characters and scenarios are simply crazy, the audience will stop caring.

That said, I also interpret this in another way: the more comfortable you are with life, the more receptive the audience will be to your improv. From the two shows I’ve viewed and through my experience with my classmates, I find that the performers who consistently get the most laughs are those who truly don’t care about how they’re perceived, who are okay with complete lack of control in a scene, and who are totally focused on the moment (as opposed to the audience, or other distractions). In short, the more comfortable they are with their place in the universe (and whatever it throws at them), the more readily the audience connects with their work.

My last day of class is tomorrow, followed by a show at the UCB theater on Saturday evening. Here we go-

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The Stories We Tell Ourselves

May 25, 2010 by Nabil 1 Comment

A couple of weeks ago a friend told me, “the most powerful stories are those that you tell to yourself.” Shane Murphy, a tech entrepreneur based in London, has taken this premise and built diarydoo, a microblogging diary platform. This platform combines the publishing facility of Twitter with the privacy of a personal journal.

My conversation with Shane sparked a question: why do some of us write down our embarrassing stories? My guess is that act of writing down a story is cathartic. The more we get them out of our heads and in front of our eyes (a journal), or into the ears of others (a performance), the less they weigh us down. Case in point: yesterday on The Moth Radio Hour a guy recounted an incredibly embarrassing story about the first and only time he served as a prostitute (spoiler: they ended up cuddling). I can only imagine that the mix of fear and embarrassment that he felt from telling the story must have been outstripped by the relief of getting it off his chest. Otherwise, why would he have done it?

Which leads me to the next question: if externalizing a story is necessarily cathartic, is there value to keeping a story secret, for secret’s sake? And, in our current culture, where privacy is increasingly opt-out (e.g. Facebook photos, Blippy, etc), is it natural to assume that the private story is an endangered species?

10 Storytelling Lessons from a Journalist

May 23, 2010 by Nabil 5 Comments

Last week I had coffee with Cara Solomon, a former journalist for the Seattle Times and founder of thesmallstory.com. Cara’s site is based on a premise that I believe in deeply: that everyone has an interesting story to tell.

Through Cara I uncovered a treasure trove of tips and tricks for my storytelling project. Among them, these were my favorites:

On unraveling a new town:
– Visit community gathering spots: often the town diner, coffeeshop, or park, and sometimes (surprisingly) the town dump.
– Ask strangers: who should I hang out with if I want to get a sense of what this town is about?
– For ideas on what to cover in town, as well as who the players are, read the events and help wanted sections of the local newspaper.

On choosing a topic:
– Be flexible: if I try to fit everything into a mold, I will miss out on a lot of great content.
– Approach interviews with as few preconceived notions as possible. Listen hard. What I thought might be most interesting thing about a person at the start of the interview may not be what I find most interesting at the end. That said, if the story is not holding my interest, it will not hold someone else’s; cut my losses and move on.

On hero stories:
– People like hero stories however they’re not rooted in reality. Everyone has a weakness, and it’s that weakness that makes them even more interesting. Discover it.
– Ask: We already know what you’re good at, so what do you wish you were better at?

On dealing with an interviewee’s anxiety:
– Focus on the person, not my questions. Many reporters don’t take out notebooks until later in the interview.
– Explain to people why it is that I’m interested in speaking with them.
– Don’t introduce the video camera without permission, and don’t use the tape to simply recap the interview. Instead, after the interview I should ask myself: what are the five questions that I now want to answer? Use this as my starting point for the taped segment.

I know that Cara’s advice has saved me from making countless mistakes on my journey, and I feel fortunate to have been introduced to her. I also particularly love Cara’s reflection on her work. Writes Cara: “Through the lens of their lives, I can see more clearly my world.” Here’s to the small stories.

7 Lessons from a Storytelling Workshop

May 11, 2010 by Nabil 7 Comments

This evening I attended a super helpful workshop in Boston, hosted by seasoned storytellers Norah Dooley and Karen Chace. In our workshop I, along with eight others, practiced storytelling technique and then performed, on stage and with a mic. Brilliant.

A few key lessons that I learned:
– Shed my ego: To be a great storyteller I should realize that it’s not about me; I’m merely a conduit for the story itself. Once I realize this, and my ego subsides, I will connect with my story more deeply and so will my audience.
– Don’t memorize: I need to see the imagery in my story in order for the audience to see it. This is easier to do when I’m making up the story as I go along, as opposed to reciting a memorized transcript.
– Project confidence: If I appear nervous on stage, the audience will feel an urge to take care of me and will lose focus on the story itself.
– Slow it down: There is a lag between when I speak a word and when it is processed by my audience. Allow my audience to process one image before moving on to the next one.
– Kill my darlings: Superfluous narrative needs to go. No matter how beautiful it is, if it’s not the meat of the story, my words will lose my audience. We practiced this until 30 seconds felt longer than 60 seconds.
– Recover gracefully (clever): If I accidentally omit a part of the story that is critical to understanding the ending, rather than saying, “I forgot to tell you something,” instead say: “but what you don’t know…” or, “what I haven’t told you yet…”
– Take a moment: At the beginning and end of my performance, take a moment to connect with my audience. Starting too soon or leaving the stage too quickly will undermine the power of my story and might also slight my audience.

Among us was also a 10 year old girl. I was amazed at the ease with which she spun stories, and it reminded me that storytelling is less about learning a new craft and more about rediscovering an old one.

Choosing a Story to Tell

May 9, 2010 by Nabil 2 Comments

Lately I’ve had some great brainstorms on how to frame my storytelling project this summer. My friends, sis, and I have come up with a list of eight ideas that I’m excited about and, the longer I sit with this list the more excited I feel about one idea in particular.

The question that I want to answer is: Why will people be excited to move to Los Angeles in 10 years? In an era where Hollywood has been killed by distributed content creation and distribution (a la YouTube), where foreign investors are no longer pouring money into skyscrapers in Los Angeles (but rather new megacities in the Far East), where Americans are immigrating abroad for blue collar jobs, why will people still pack up their lives and move, with excitement and purpose, to the city of Los Angeles? What is it about LA’s DNA, its lifeblood, that will continue to draw both fresh immigrants and tourists? What are the immutable, timeless values that can be found in LA and nowhere else?

I like this question because it’s one that I’m genuinely curious about, and it’s one that I feel that Los Angeles, and America more broadly, will really have to grapple with if (when?) it’s overtaken, economically, culturally, and militarily, by the rising tigers of the Far East. Other former superpowers — take France for example — have gone through this introspective process (arguably after WW2), and have done a pretty good job at finding their core values (or articulating their story). Over 80 million tourists go to France annually (more than the country’s population!) to fall in love with French culture — that timeless, unique, immutable set of values that can only be found in the alleyways, boulevards, parks, and art galleries of France.

So why will people come to Los Angeles when its skyline is unimpressive, its economy is stagnant, and its cultural impact is negligible? What are LA’s other assets that fill a big hole in the hearts of its residents, many of whom may not be interested in Hollywood, or a glam lifestyle, or may have better job prospects elsewhere, but stay in LA because they love the idea of raising their families there? If I can help LA to answer this question, perhaps I can help America to find itself in a world where its economy is second to China’s (or, according to the Wall Street Journal, in 10 years).

My main concern about this story is that it’s so big. I have this hypothesis that the more specific the story, the more compelling it is. And so one of my challenges is how to tell this story in a way that’s extremely personal, and yet speaks to the larger narrative. Here’s to figuring that out-

A few related thoughts:
– Professor Antonio Muntadas: “The fastest way to determine if you have the right story is to try to tell it. Before you head to LA, interview people in Boston. You’ll know very quickly what works and what doesn’t”
– Professor Ricardo-Pitts Wiley: “The difference between story — and news — is how deeply the person is invested in sharing it.” What I like about this story is that I feel that most residents of Los Angeles (those who plan to stay there indefinitely) have a vested interest in sharing it. This is potentially powerful.
– If I do tell this story, I’d love to integrate it into my cross-country drive to Los Angeles. One idea is to ask for peoples’ (say a farm-hand in Kansas) opinion’s on Los Angeles. Perhaps people outside of LA have an easier time articulating why it’s a great city than those who live in it.
– As I think of this story, I’m often brought back to the “Lose Yourself in Melbourne” commercial presented in my marketing class by Professor Ritson.

SyrianamericanA: Omar Offendum visits MIT

May 4, 2010 by Nabil Leave a Comment

Earlier this afternoon, in the heart of MIT’s campus, I joined 40 members of the MIT Arab Students Organization and their friends and consumed story in an oral tradition that runs deeply in our shared ancestry.

Omar Offendum, a Syrian-American with a talent for hip-hop and spoken word took us on a journey through the streets of Syria, as well as the unique liminal space that he resides in between his ethnic motherland (Syria) and his childhood home (America). His songs, inspired by the works of Langston Hughes, did an incredible job of conveying the beauty and shared culture that flows through the streets of Damascus. My favorite song of Omar’s was about a “Street Called Straight,” or a street in Damascus that’s purported to be the longest inhabited street in all of civilization. He walked us down it, and as he did so he spoke of the storytellers and shopkeepers that he met along the way, men and women who who represent a modern manifestation of a spirit that is as older than time and unique to Syria.

I was excited to find out that Omar is based on Los Angeles, and I hope that we have the opportunity to collaborate this summer.

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