Mohawks and Jessie Eisenberg

During my April vacation from teaching, I had the honor of traveling to Canada to teach storytelling on a Mohawk reservation. The Mohawk nation is paying Mohawks to learn their native language from a fellow Mohawk and native speaker who is also a world-renown native language expert.

Their goal is to preserve the Mohawk language and prevent it from fading away. 

The Mohawk language is unlike any of the European languages. The sentence, "I love you," for example, contains half the letters as the actual word "love." It's a language that constructs words from bits and pieces of other words, so it's impossible to you traditional language instruction when teaching it to new speakers.  

The man who hired me has developed his method of instruction over the course of 25 years after using it to teach himself the Mohawk language. He is a truly extraordinary human being.  

I was hired to help his students tell better stories. His hope was that in telling better stories, they might be more enthusiastic about using the language and would enjoy listening to one another more. 

As I stood before his class, ready to teach, I found myself thinking, "In the summer of 2011 I went to New York to tell one-and-only-one story for The Moth. Today I'm about two hours north of Toronto, on a Mohawk reservation, being paid to teach storytelling to Native Americans."

It's crazy where life can take you when you dare to do something difficult and frightening. When you refuse to stand still. When you insist on challenging yourself. 

Last night I was in New York, attending the book launch party of friend and podcast host Mike Pesca, when I saw the actor Jesse Eisenberg waiting for an elevator with his wife and child. Having read the chapter of Pesca's book that he had written, I stepped over to say hello and congratulate him on his success. After exchanging stories about former NBA player Dan Majerle and the video game NBA Jam, I quickly discovered that Eisenberg knew exactly who I was from my appearances on Pesca's podcast and talked to me about some of the stories he liked best. 

"It's you," he said. "The storyteller. I thought you'd be something else. You look so normal."

He was incredibly sweet and generous with his remarks.

I was a little starstruck.

Once again, I found myself thinking, ""In the summer of 2011 I went to New York to tell one-and-only-one story for The Moth. Now I'm chatting with Jesse Eisenberg about my time working at McDonald's and my methods for teaching storytelling to the masses."

It was a night I'll never forget.

And I'll never forget my three days of teaching on the Mohawk reservation, either. I met some extraordinary people, learned a great deal, and left with a new name. 

A Mohawk name:

Rakaraweyenhen

"Teller of great stories."

I've said it before, and I'll say it again:

Do the hard thing. Do the seemingly impossible thing. Never become complacent. Never stand still. Always look for the next hill to climb.  

Mike Pesca wrote his first book. I've started to perform standup comedy.

There's no telling where either of these new paths will take us, and that is a wonderful thing. 

Don't be selfish. Tell a story.

I tell people to tell stories a lot. I know. It's my clarion call.  

But allow me to say it again. 

Last Wednesday night, I performed in The Moth GrandSLAM at the Cutler Majestic in Boston. My plan was to take the stage and tell a story that was a lot more humor than heart. It was a story about meeting my girlfriend's father for the first time and trying desperately to bridge the gap between his traditional, hulking masculinity and my inability to do anything traditionally masculine. 

"He's the kind of guy who can take down trees, and if necessary, put it back up again. I play Miss Pacman on Friday nights at the arcade and read Shel Silverstein poetry."

A funny story, filled with amusing contrasts and healthy doses of self-deprecation, but not something that pulled at heartstrings.

I honestly didn't think it would be a winning story.

Then something amazing happened. It shouldn't have seemed amazing in retrospect, since these things happen all the time, but I still find myself surprised every time. 

Three young men approached me at different times during intermission and at the end of the show to tell me how much my story had meant to them. In each case, these were men who struggled in environments where traditional masculinity is prized above all other things. Each young man described himself as someone who did not represent traditional masculinity in any way and often felt unappreciated and even unloved as a result.

Each of these men were so grateful for my story. One of them was teary-eyed as he spoke to me.  All three hugged me before stepping away. 

This is why we tell stories. This is why authenticity, honesty, and vulnerability are so important. I take a stage planning on telling an amusing story about soft hands that can't change the oil in a car or repair plumbing, and I unexpectedly touch the hearts of at least three people in the audience that night. 

I tell a story that, in the words of one man, "means more to me than you'll ever know."

"I needed this more than you could imagine," he told me. 

You never know who is waiting for your story. You never know who needs your story. You never know when something amusing or incidental or seemingly benign will touch a heart, change a mind, and perhaps make a real difference in the life of a human being.

We tell our stories for many reasons, but perhaps the least selfish reason of all is the possibility that something we say might make a difference in the life of another human being. 

Run to The Moth. Allow stories to lighten your load.

Here is my suggestion:

Run to The Moth. On the radio, the podcast, or a live show. 

As you probably know, The Moth changed my life. It gave me a stage to tell stories. It provided me with a platform to be noticed. It opened the door to a new career. A bunch of new careers. Storyteller. Teacher. Consultant. Inspirational speaker. Producer. Most recently stand up comedian and the author of an upcoming book on storytelling.

In many ways, these careers (alongside my writing career) have allowed Elysha to stay home with the kids for these last nine years. For that, I will be eternally grateful.  

Seven years after telling my first story at a Moth StorySLAM in New York City, and after having traveled the country and the world, performing on stages and teaching and consulting with individuals, nonprofits, schools and universities, the clergy, hospitals, museums, and more, one of my favorite things in the world is still to go to a Moth StorySLAM, drop my name in the bag, listen to stories, and hope to be called. 

But even if your dreams do not include performing, I still say to run to The Moth. Listen to the podcast. Tune into The Moth Radio Hour. Go to a live show. The magic of The Moth (and excellent storytelling in general) lies not the opportunity to stand on a stage and perform but in the opportunity to listen to another human being tell a story and realize that you are not alone in this world.

Case in point:

On this week's Moth Radio Hour and podcast, Daniel Turpin tells a story tells a story about an encounter with a armed man that was eerily similar to my own experience in a McDonald's restaurant 25 years ago. Listening to the story triggered my PTSD and guaranteed me a long night of nightmares, but in listening to the story, I found another human being in this world who understood my experience. 

Suddenly I was not alone. 

Though I have spoken at length about my robbery, first to a therapist for years and then on a Moth Mainstage, there have always been parts of the story that have remained locked away. Aspects that I have never spoken about. Moments that I was still unwilling to admit. 

Included in those locked away parts was the guilt I have always felt about not fighting harder for my life. Not battling to the death and the dirt. The paralyzing fear and inexplicable surrender to men who I knew were about to kill me. 

This is the first time I have ever admitted to this to anyone, and it is because Daniel Turpin did so first. He spoke the words that were hidden away in my heart.  

Near the end of this story, Turpin says:

"I stared at the ceiling and I'd go back to that moment, that moment when he told me to get on my knees and feeling that gun press up against your head, that gun loaded with lethal possibility. And the sorrow that I felt, the shame of my inaction, its a guilt that doesn't go away. I couldn't under stand how I gave up on my life so effortlessly. 

But there was I was, kneeling on the floor. I wasn't pleading I wasn't struggling, I was waiting. Waiting for this stranger to kill me. People try to make you feel better. They say everything happens for a reasons. And I understand the sentiment, I do. But I don't agree with it. When they say that, it sounds like there's some arcane justification for senselessness. There's some cosmic fatalism at play. What I believe is that everything happens. And it's our job to give reason to it. To give reason to the inscrutable. 

I'm a little more suspicious today. Maybe a little more guarded, because moments like that - they shape you. They change you. You never forget them and that's the terrible beauty of the past. You remember the good and the bad."

I wept when I heard those words. Something hidden inside of me that I had thought was mine alone was suddenly less ugly. Less frightening. Less terrible. 

Daniel Turpin opened a door to my heart. I feel lighter today because of it. Less burdened. Happier. The anger, disappointment, and guilt over my surrender on that greasy floor on that terrible night is gone, not because anything in my past has changed, but because I feel less alone in the present.

Run to The Moth (and if you live in Connecticut, run to our show, Speak Up, too). Listen to stories. Open your heart. You'll feel better for it. 

Why I'm obsessed with that traffic video

Two weeks ago, I wrote about my obsession with this traffic video.

I'm still a little obsessed, and I know that seems weird. I thought it was weird, too, but then I put some thought into why I am so obsessed, and I think I found the reason:

I always think things can be improved. Be made more effective and more efficient. Not everything needs to be made more efficient and more effective, but I think a lot of things do. There is a lot of room for necessary improvement in this world.

Yet so often I see people take the first choice available to them. The most obvious route. The mindless decision. The path of least resistance. 

When I'm working with storytellers, for example, I often see them choose the first anecdote that comes to mind when building their story. The first choice of words. The first means of description. The first pathway into the story.

I'm always trying to find the better way. In some ways, I know this makes me a little crazy.    

For example, I'm engaged in lifelong experiment to determine the fastest way to empty a dishwasher. Dishes first, then glasses? Silverware first? Should I move certain items to the counter to make it faster to access the cabinets? I'm a person who uses a stopwatch when emptying the dishwasher.

That's a little crazy.

I do the same thing when taking a shower. Can I get in and out of the shower in under 100 seconds? Is there a faster, more efficient way of getting myself clean? If I start by soaping my chest, while gravity pull the soap down to my legs, making that process faster? Do I even need to wash my knees? Do knees ever get so dirty that they require a scrubbing?

Crazy. I know.

And when it comes to storytelling, I make lists. Lists of possible anecdotes. Lists of descriptors. I experiment with different places to begin a story.  Different places to end a story. In a lot of ways, storytelling is about choice. The best storytellers make the best choices when constructing their stories.

But so many storytellers make no choices at all. They simply choose the first thing that comes to mind. They see their story as a predetermined construct rather than something that is flexible, malleable, and rife for improvement.

Just like emptying the dishwasher. And taking a shower. And a thousand other processes I dare not mention lest you think I'm losing my mind. Every day of my life, I am trying to find more efficient, more effective ways of doing things, to a degree that would probably surprise and perhaps alarm you. 

But I believe that things can always be made better. Work can be accomplished faster. Time can always be saved.  

Just like that traffic video, which acknowledges in a wonderfully visual way how simple changes in design can yield remarkable results.   

That's why I'm obsessed. The people who design intersections are my people. That video is like looking into my head and seeing how my brain works, for better or worse.

The best compliment wasn't about my hair

A colleague stopped by my classroom the other day. She approached my desk and said, "I know this probably doesn't mean anything to you. I know you don't really care about physical appearance and things like that, but I wanted you to know that I really like your haircut."

This was an amazing compliment. One of the best compliments I've received in a long time.

And it had nothing to do with my hair. 

Instead, this colleague acknowledged that she knew me. Really knew me. 

She knows that except for my wife, children, and mother-in-law, I never compliment physical appearance. In my effort to reduce the obsessive amount of attention we pay to the way someone looks, I refrain from all of these comments and instead compliment words and deeds only. 

She also knows that in addition to this policy, I also take little personal stock in physical appearance. While I would certainly like to appear attractive, she knows that when it comes to things like clothing and hair, utility, comfort, and efficiency are my primary motivators, far exceeding anything related to the way I look. 

I know, for example, that if I wore a jacket and tie on occasion, certain people would appreciate this look and think it attractive. But I reject neckties as ridiculous, pointless, decorated nooses strapped around the necks of men who are conforming to senseless, arcane, sometimes dangerous tradition.  

And if I'm going to wear a jacket, it's probably going to be a hoodie. At the very least it will be something with good pockets. A traditional suit jacket doesn't even keep you warm on a cold day. Many of the pockets are decorative only. 

I rarely wear a traditional jacket, and I threw my neckties away years ago because I prize utility, efficiency, and comfort over physical appearance. I would rather preserve my precious time, achieve more as a result, and feel better while doing so than have someone think that the bit of cloth wrapped around my neck, designed and fashioned by someone other than me, somehow makes me look more attractive.  

That strikes me as ludicrous and absurd. It makes no sense. 

This colleague, who I have worked with for years, knows this about me. 

She knows me.

As a storyteller and a writer of blog posts, newspaper columns, and a hopefully soon-to-be-published memoir, I speak and write to be known. I stand on stages and share my most personal, embarrassing, frightening, and intimate moments in an effort to have others understand who I am. To connect with me. To know me.

My colleague wanted to compliment my haircut, but instead, she offered me something far more meaningful. She told me that she understood me as a human being. She understood my personal philosophy. My primary motivation. My nonconforming eccentricities.  

She knows me. Far beyond my haircut or clothing choices, she knows me as a human being.  

That was a compliment that meant something to me. It meant a whole lot.

And it had nothing to do with my hair. 

Three continents in a single day

There is something to be said about the golden age of literature:

The time when television, film, video games, and the internet did not steal away eyeballs of potential readers.

Authors like Fitzgerald, Hughes, and Austin had enormous audiences of readers just waiting for their next books, aching for a new story or poem, because reading was one of the primary sources of entertainment in the world.

Today we have to shout and flail just to be noticed above the noise. More than a quarter of Americans report not having read a book within the past year. And more books are published today than ever before.

It ain't easy finding an audience. 

But there are some distinct advantages to publishing books in today's world. Yesterday was a fine example: 

It started with an email from a teenage girl in Columbia, who wanted to know if my upcoming book, Storyworthy, was going to be translated into Spanish. She's read Memoirs of an Imaginary Friend and The Perfect Comeback of Caroline Jacobs (both available in Spanish) and was hoping for the same from my next book. 

We exchanged emails throughout the day. She asked me questions about my novels and my writing process, and I asked her about the town where she lived and what she wanted to do for a living when she was finished with school. Despite the fact that we lived on two different continents and spoke two different languages, we connected in a way that would've been impossible just 20 years ago. 

I ended my day with an interview via Skype with an Australian-based podcast. The host of the show and I discussed Storyworthy and my storytelling career. Specifically, we talked about the teaching of storytelling, the components of an effective story, the best means of delivering presentations, keynote speeches, and the like.

I was able to engage in a face-to-face conversation with a woman on the other side of the world, and that conversation will be turned into a podcast that can be listened to by anyone in the world. 

Remarkable.    

But the moment that best illustrates the good fortune I feel about being alive today came in the middle of the day, when I received a Facebook mention from a reader in India.

He wrote:

"Awestruck seeing how the basic human emotions n stories are the same across continents and time zones and developed and developing countries.. one of my favourite author Matthew Dicks feeling the same in America which I sit and feel here in a corner in India.. Nostalgia is universal..."

This says everything.

A reader in India is reading my blog.

A reader in India is reading my books.

I'm the favorite author of a man in India. 

Best of all, thanks to the internet, enormous distances, multiple time zones, and countless cultural boundaries are pierced rather easily, bringing two people together in both thought and sentiment in a way that could've never happened before the twenty-first century.

I can't tell you how excited and surprised I was to see this appear on Facebook. Thrilled, even. 

Fitzgerald and Hughes and Austin had larger, more attentive audiences for sure. There were far fewer books being published in their day.  

But none of them could've connected with readers on three different continents, in two different languages, in a single day. If given the choice, I would absolutely take a larger, more attentive, more voracious audience of readers, but if that can't happen, I'll take days like yesterday and consider myself blessed. 

A call to action! Please? Pretty please?

I'm writing to you today for a different kind of reason today. I hope you don't mind. And it's storytelling related. 

I have a book coming out on June 12. It's my first nonfiction title, and I'm excited and nervous. 

• Excited because I've wanted this book to exist for a long time.
• Nervous because it's a departure from my fiction. Something new. I don't want to fail miserably.

I need your help.  

The book is entitled Storyworthy: Engage, Teach, Persuade, and Change Your Life through the Power of Storytelling. It is a book about the art and craft of storytelling.

Part instructional guide, part memoir.

It's written for everyone, because over the past four years, I've discovered that everyone can utilize storytelling to their advantage.

• People who want to perform at The Moth or a similarly styled storytelling show
• Salespeople who want to connect with their customers
• Presenters who want to connect and engage audiences
• Ministers, priests and rabbis
• Teachers, professors, and therapists
• Yoga instructors, cooking instructors, and camp counselors
• TV, radio, and podcast personalities
• Attorneys
• College and job Interviewees
• Real estate agents
• Nonprofit leaders and professional fundraisers
• Politicians and activists
• Archivists, museum docents, and curators
• Grandparents who want their grandchildren to listen to them
• People looking to get beyond the first date
• Folks looking to make new friends or simply become more interesting

All of these people and more have taken my workshops to learn to tell a better story

A woman once attended a workshop because she wanted to make friends at work but couldn't seem to get anyone's attention. "I will never stand on a stage and tell a story. I just want to tell a better story at the cafeteria table."

Not only did storytelling help her make friends at work, but she went on to perform in our storytelling show and now tells stories as part of her job.

I've written this book for everyone. No matter who you are or what you do, storytelling can help you. 

A few testimonials:

"I laughed, gasped, took notes, and carried this book around like a dear friend—because that's exactly what a Storyworthy book should be. As a novelist, I've studied my craft in countless ways, but never before have I seen its marrow revealed with such honest, approachable charisma. Matthew Dicks has written a perceptive companion for every person who has a story to tell—and don't we all?" — SARAH McCOY, New York Times and international bestselling author of Marilla of Green Gables and The Baker's Daughter

“Matthew Dicks is dazzling as a storyteller and equally brilliant in his ability to deconstruct this skill and make it accessible for others.” ― David A. Ross, MD, PhD, program director, Yale Psychiatry Residency Training Program

"Offers countless tips, exercises, and examples to get you on your way to better stories. Anyone who wants to take the stage, become a better writer, or simply tell better stories at Thanksgiving, will benefit from Storyworthy.” ― Jeff Vibes, filmmaker

See? Seemingly intelligent, presumably real people endorse the book. If they like it, you will, too.

And now... how can you help:

1. Preorder the book. Preorders help to determine the size of the first printing and increase my chances of getting noticed right out of the gate. The book is currently available for about $10 via preorder. Please consider purchasing now and having it arrive on your doorstep in June. Buy a bushel, in fact. Give it as a gift. A graduation present. An awkward, unexpected projectile. I've been told that every time you preorder the book, an angel gets its wings. I don't know if that's true, but let's find out. 

You can preorder on Amazon, Barnes & Noble, or at your favorite indie bookstore. You can use these links below:

2. Tell your friends, colleagues, acquaintances, neighbors, and enemies about the book. Ask them to preorder. Share the links on social media. If you know of someone whose company or school or university might be interested in the book, pass on this information. Any and all buzz would be appreciated. 

Thanks so very much for your support. It means the world to me. Truly. Every writer needs readers and every storyteller needs an audience.

You have been remarkable in both regards. 

View fullsize

An unusual and exhausting but unforgettable weekend thanks to a July night in 2011

I'm often astounded by the places that a story told on a stage in 2011 has taken me.

This weekend I had the honor working with caregivers at Yale New Haven Hospital, teaching them how to tell stories about their own experiences as patients and the spouses, parents, and children of patients to doctors, nurses, and other clinicians in an effort to improve care. It was the second Saturday that I spent with these remarkable people, and their stories were incredibly hard to hear but so moving.

Those hours spent in a conference room at the hospital with those extraordinary people will stay with me forever.  

On Sunday I traveled to Harvard, MA to deliver the sermon on a the Harvard Unitarian Universalist Church. I told stories to the congregation and talked about the healing power of storytelling in your own life and the lives of others. Later, I taught a workshop to about 60 members of the church and members of the community who decided to join us. I met some remarkable people who are hoping to use storytelling to change their lives and the lives of people all over the world. 

Sandwiched on between those two things, Elysha and I produced a Speak Up show at Real Art Ways. Six storytellers joined me in sharing stories about hunger. For some, it was the first time they had ever told a story on stage. Others entered my life years ago through my workshops and shows, and I'm proud to call a few of them my friends today.

So, too, were members of the audience who I have only met through storytelling.

So many of my friends, and some of the best people I know, have entered my life this way.

I ended the weekend consulting with an attorney for the ACLU on his upcoming TED Talk, helping him craft an outstanding talk on subjects near and dear to my heart. Elysha and I are ALCU members, so it was an honor to assist in this important work.  

This was an unusual weekend to be sure. I'm not leading church services every Sunday or teaching a widow to tell the story of her deceased husband's hospital care. Rarely is my weekend so chock full of storytelling the way this one was. 

Frankly, it was exhausting. Also, I missed my family this weekend. A lot. 

But when I'm better rested in a day or so and I've made up for lost time with Elysha and the kids, I'll look back on this weekend and think about how lucky I am that I decided to do something back in 2011 that was hard and scared me to death. 

Budo, the protagonist of my third novel, says that "The right thing and the hard thing are often the same thing."

I try to remember this always, because I know how often embracing the hard thing has led to a weekend like this past one. 

I'm in a constant search for the next hard, right thing. 

The gift of a memory is one of the best gifts of all

While visiting Hyde School in Bath, Maine, I ate breakfast with a teacher and hometown friend named Sean. We got to talking about our childhoods, specifically the time our parents were members of the Boots & Saddles Club, a riding club in Blackstone, MA.

We would ride the back trails together with our parents on horseback, enjoying the quiet of nature, the camaraderie of friends, and the power of the horse beneath us.

All that came to an end for me when my parents divorced when I was seven or eight, but until then, it was one of the joys of my life.

Sean said, "One of my first memories is of your father." He explained that on a ride one day, we stopped to rest. My father, decked out in his cowboy hat and cowboy boots, dismounted, cracked open a can of beer, drank half of it, and gave the rest to his horse. Poured it right down the horse's throat.

"That was the coolest thing I'd ever seen," Sean said. "I wanted to be just like that guy someday."

Rarely in my life have I been given a better gift than the one Sean gave me that day. The memories of my father are limited. He left my home when I was very young and exited my life at the same time. I rarely saw him after the divorce. 

It's a pain in my heart that will never be healed.

But to hear a man talk about my father in such heroic terms, to be given a new image of my dad, a new memory of sorts, was worth the world to me. I was with Dad that day when he poured half a can of beer down a thirsty horse's throat. I may have been standing just a few feet away.

But I don't remember that moment. Or I missed it entirely.  

When you have so little of something so precious, the gift of a little more of that rare and precious thing is priceless.   

I told Sean that I would speak about the moment he shared that memory with me onstage one day. I told him that I would craft it into a story that will make people cry. I know this because I nearly cried when he told me about his memory of my father. 

Sean was surprised. It didn't seem like much to him. But that is the thing about stories:

They are not the measure of what has happened. They are a measure of how a moment has filled our heart. Or cracked it open. Or broken it into pieces. The importance of a moment is often unseen by anyone but the storyteller, and it's the storyteller's job to make the importance of the moment as clear as possible to the audience. 

On Sean's end of the table, not much happen. He shared a memory.

On my end of the table, my heart cracked open, spilling out thankfulness and regret, pride and sadness, and a longing for something I can never have. He didn't see any of this, because it all happened on the inside. But of all the things that constantly rattle around in my brain, searching for a home, that moment has been rattling around the most, trapped in the mechanics of thinking and emotion that fill my head. 

It'll be a story, all right. A good one if I craft it well. Also a moment I'll never forget.

And an incredible gift. 

A sign, a grade book, and a bathtub are just a few of my memories of Hyde School

I had the honor of spending two days in Bath, Maine, recently, visiting with the eleventh and twelfth grade students of Hyde School. I taught them about storytelling, performed my one-person show in the evening, and hosted a story slam on the final afternoon of my visit. 

It's a fantastic school, filled with some of the hardest working teachers who I have ever met and a diverse group of students who are ready to take on the world. 

Great storytellers, too. They had incredibly compelling stories, and they told them so well. 

I had many big, beautiful moments at Hyde School that I will never forget. Moments with students and teachers that will stay with me forever. But a few of the smaller things that I loved:

This sign is posted in the main academic wing of the school. I just love it.

I met a teacher who is still using the identical attendance and grade book that my teachers were using when I was in high school. The nostalgia of seeing the grade book was almost overwhelming. I found myself staring down my French teacher, Mr. Maroney, arguing about a test grade, or debating my homework completion with Mr. Compo. 

It's funny how a single object can transport you to the past so quickly and easily.

I also took my first bath in a clawfoot bathtub. I was in Bath, Maine, and the bathtub was beautiful. It felt meant-to-be. 

The bath lasted about four minutes before I got bored and decided to take a shower and be more productive.  

I've never understood the allure of a bath. 

I performed in the dark. Without amplification. The results were surprising.

The worst experience I ever had while telling a story was on election night 2016 at a live show of Slate's The Gist. I was telling the story about my run for the Presidency of my college when things started to turn in the election returns and eyes quickly shifted from me to phones. 

Trump was winning. The world was ending. People were literally hugging one another in the audience. And I was still blabbering onstage. There was a moment in my story when I nearly said, "I should stop. This is ridiculous. You don't want to laugh. I want a hug, too."

I persevered, but I'm quite certain that no one has the faintest recollection that I performed that night. Deservedly so.   

My second worst onstage experience was during the Mayor's Charity Ball years ago. I was emceeing the event, and while the entire evening was lovely, but no one was terribly interested in what the emcee had to say. It was nearly impossible to get anyone's attention, and once again, I'm fairly certain that no one has the faintest recollection that I was even there. 

I thought that last night might go just as poorly. I was scheduled to tell stories at a benefit for a local television network, but strong wins from the Northeaster had knocked the power out about an hour before I was set to perform, depriving me of a microphone or any light save candlelight. The room, which I have performed many times as a DJ, minister, and storyteller, isn't easy even with a microphone. It's long, cavernous, and unforgiving. 

Trying to get the attention of 200 people with no amplification in the dark was not going to be easy.

One of the organizers proposed that we just scrap my performance. People were laughing, drinking, and having a good time already. No sense in disturbing their fun in these conditions.

"Yes!" I thought. "Cancel me. This isn't going to work!"  

Ultimately it was decided that I should give it a try, so reluctantly, I slid two wooden boxes over to the center of the room, climbed atop them, asked a few people to point their cellphone lights at me, and I started speaking.

Loudly. 

Instead of telling three stories covering 30 minutes, I told two stories that filled about 15 minutes before my voice wasn't going to allow me to tell a third. Though I didn't capture the attention of the entire room, I managed to grab a sizable portion and made them laugh with two stories that I punched up on the fly.

I wasn't great, but it wasn't terrible either. People listened and laughed.

When I was done, I sat down beside a woman who I know but hadn't seen in years. It turns out that she hosts a show on the TV network now with three friends. She asked me appear as a guest.

As I was leaving the building, an attorney stopped me in the lobby and asked if I would be willing to consult on storytelling and communications with his firm.

Someone in the parking lot then stopped me and thanked me for the laugh. A tree had fallen on his house that night, and he was heading home to inspect the damage. "I didn't think I'd be laughing at all tonight. I really appreciate it."

I'm constantly counseling people to say yes when an opportunity presents itself, even when that opportunity is less than ideal. I know people who would've refused to perform under those conditions last night, and honestly, I wouldn't have blamed them. It was an awkward, almost impossible situation. Had they asked me to cancel my performance, I would've happily obliged.

But I agreed to entertain an audience, so when they proposed that I give it a shot, I said yes. I stood up on those precarious wooden blocks, spoke with all the volume I could muster, and told two funny stories 

It wasn't perfect, but people laughed and enjoyed the performance. I received an offer to appear on a television show, an offer to consult at a local law firm, and I brightened the evening of a man who was having an otherwise very bad day. 

Not bad for performing in the dark, without amplification, under the light of a handful of phones. 

They couldn't play tic-tac-toe because of bandwidth.

Yes, this is absolutely the worst game of tic-tac-toe every played. The fact that this all happens in front of thousands of people is even more embarrassing. 

But it's also an outstanding demonstration on the nature of bandwidth. 

Every human being has a certain amount of bandwidth available to them at one time. Some people can simply process input in greater quantities than others. 

The amount of input that you process at any one time is the measure of your bandwidth. 

Bandwidth is also context dependent. When I started playing golf, for example, all of my bandwidth was used on striking the ball with the head of the club. It needed to be in order to make contact. As I became a more experienced (but still terrible) golfer, I was able to use less and less bandwidth to hit the ball and began to incorporate other elements of the game into my thinking. Grip. Posture. Wind. Elevation. Contours of the course. 

The more experience a person has with a task, the better the chance of processing more input. 

I see this in new teachers all the time. While they are focused on delivering their lesson, they often fail to notice student behaviors that are as clear as day to me (and will hopefully one day will be to them). Once they become more confident and proficient in delivering content to students, more of their bandwidth will be freed up for other processes. 

As a storyteller, I am often changing and manipulating aspects of my story onstage. I can punch up the humor in a story if an audience is responding well or circle back on a part of the story that seemed to require more attention. I oftentimes find new and better endings to stories while performing. A memory will suddenly occur to me. A new collection of sentences will enter my mind. A divergent path to the conclusion will reveal itself to me in the process of telling the story and I'll manage to execute some verbal gymnastics in order to get there.

Twice in my life Elysha has accused me of holding back a great ending to a story in order to surprise her onstage. But neither time was it true. I simply realized onstage that there was a better, smarter place to end.     

But for my storytelling students, I would never advise this course of action. I tell them to take the stage with a plan and stick to it. I have the benefit of greater bandwidth onstage.

• I'm never nervous.
• I've performed hundreds of times in front of audiences of all sizes and in theaters, bars, libraries, auditoriums, bookstores, churches, and synagogues of all sizes and types.  
• I've crafted and told more than 120 stories in my seven year storytelling career. I have a familiarity and facility with stories that my students do not. 

I have a large amount of bandwidth available to me onstage. 

The two women in the video surely understand how to play tic-tac-toe better than they demonstrated that night. But their bandwidth was restricted by the other conditions of the game.

• Shoot baskets in order to put down an X or an O.
• Run.
• Play on a board hundreds of times larger than your typical board. 
• Perform in front of thousands of people. 

They were processing so much new information that a task as simple as tic-tac-toe became challenging for them.

Bandwidth must be considered by teachers at all times. It's why students might be able to complete all the required operations of a long division problem (division, multiplication, and  subtraction) and might even be able to explain the process of ling division to you, but when it comes time to actually complete a problem, they fall apart. 

It's bandwidth. Independently, these operations are not taxing on the student's mind, but put them all together in a complex system and simple errors quickly emerge.

This is why we must practice. We practice so that our minds can gain facility with a process such that bandwidth is no longer an issue. For some students blessed with greater bandwidth, this might mean far fewer practice problems. For students with reduced bandwidth, it might mean many more. 

The best birthday gift for a teacher might surprise you

Here's one of the beauties of being a teacher.

Last night I had the opportunity to perform at the Cutler Majestic Theater in Boston as a part of The Moth's GrandSLAM championship.

It was the 20th GrandSLAM in my storytelling career, and on my birthday no less. 

The Cutler Majestic is a spectacular theater that seats 1,200 people, and last night the theater was packed. I was telling stories alongside some of my favorite storytellers from the Boston area and some new storytellers who were spectacular. One particular woman told the story of raising a baby pig that sent my spirits soaring and broke my damn heart. 

It was perfection. A story that I will remember forever.

The host of the evening was the brilliant Bethany Van Delft, who I am always thrilled and honor to share the stage, and the producers of the show were also some of my favorites.

I even adore the sound guy. 

I had many friends in the audience. Folks from Connecticut and locals from my days of living in Massachusetts. Storytellers from the area who I am so proud to now call my friends. Elysha Dicks was sitting beside me. It was a grand night.

I told a story about my love for the New England Patriots, and my choice of the Patriots over a woman. It's a story I love to tell. It always brings me such joy to tell stories from that period of my life just after high school, when I was living with my best friend, struggling to survive. Those were such great days. 

At the end of the night, I was declared the winner of the GrandSLAM. It was my fifth GrandSLAM victory. As several audience members pointed out, I've got as many wins now as Tom Brady. It was sweet. 

A perfect birthday.  

Here was my very first thought when I awoke this morning:

"Linda was so good."

Linda Storms, a woman who first heard me on The Moth Radio Hour years ago then started coming to my storytelling workshops and performing for Speak Up, was also competing in the GrandSLAM last night. She told the last story of the night, and she did so brilliantly. She was vulnerable and eloquent and funny. Her story was perfectly crafted and so honestly told. She could not have been better. She was fantastic. 

That is what I thought first when I awoke today. I thought of Linda, my friend and student, shining on that beautiful stage like the star that she is.

This is the beauty of teaching. You have the opportunity to experience so much joy in the success of those who you have taught, and oftentimes that joy in a student's success can be more important and meaningful than your own. You sit in quiet rooms and teach the skills and strategies to help someone realize their dream, and when you're really lucky, you get to sit back and watch that dream realized right before your eyes. 

Watching Linda on that stage last night was the perfect end to a perfect birthday for me.   

Moth StorySLAM: Clara Wants a Sister

This summer I took about 30 young ladies from Miss Porter's School to a Moth StorySLAM in Somerville, MA as part of a weeklong program on writing and storytelling. 

It was kind of a magical night for these young ladies, who came from all over the country and the world to attend this program. As fate would have it, eight of the ten storytellers were women. The host of the show, the brilliant Bethany Van Delft, as well as the producer, Gina James, were also women. 

Such a great opportunity to show these young ladies how women can take and own the stage. 

I told a story that night about the birth of our son, Charlie and the problems that his sister, Clara, posed during the process. 

Five sausages and a good story

The New England Patriots defeated the Jacksonville Jaguars on Sunday in the AFC championship game at Gillette Stadium. It was the eighth AFC championship game that I have attended in my lifetime.

Patriot fans have indeed been blessed over the last 16 years. 

Prior to the game, about ten of us gathered in the parking lot across the street from the stadium for our traditional tailgate. My friend, Tony, does this cooking. My friend and seat mate, Shep, brings tables, grill, and a TV. 

I hand over money and thank them for taking care of me.

After the game, the group gathered back in the parking lot for a post-game tailgate. Since we remained in the stadium to watch the championship festivities on the field, we knew it would be at least an hour before we could exit the parking lot, so burgers, dogs, and the first half of the Eagles-Vikings game was on tap. 

That is, until we realized that one of our friends decided to skip the post-game festivities, flee to the parking lot, and escape the traffic. This would have been fine except he took all the food with him, knowing full well that a post-game tailgate was planned.

Needless to say the eight remaining souls were not pleased to discover that all we had to eat were five sausages and a little cornbread. 

Not exactly a meal for eight people who had just spent five hours standing in the stadium, cheering on their team.

After speaking about our departed friend in the most vile of terms and declaring him dead to us now and forever, we decided to take the one item we had in abundance - alcohol - and attempt to barter for meat from our fellow tailgaters.  Before long we had traded hard liquor, beer, and space around our TV for a little bit of chicken, two pieces of steak, a small army of pigs in a blanket, potato chips, and more. A couple people came over with cooked food and brownies, offering us some of their food out of pity for our miserable condition. Our huddle mass of eight grew to as many as fourteen at one point, and I had the pleasure of meeting and chatting with some fellow Patriots faithful.

Don't get me wrong. Burgers and hot dogs would have been fantastic, and they should've been there, damn it. You don't leave early with the food when you know that a large group of hungry football fans are expecting to eat. 

Leaving with the food was not cool. It will not be forgotten. 

But the result - bartering for food, the chance to meet new people, and the collective, creative resentment for a single individual - was kind of great. A otherwise ordinary post-game tailgate turned into something memorable and meaningful under the sodium lights of that dirt parking lot.

There's a phrase that my friend, Catherine, uses about storytelling:

"You have a good time, or you have a good story."

In this case, we were lucky. We got both. 

When cowards hide behind digital walls and hurl grenades...

Someone did something rotten to me a few weeks ago.

A person who I have never met but who performs in the same New York storytelling community as me, who knows many of the same storytellers that I do, and who was connected to me via Facebook, decided to block me.

I didn’t notice. Though I post to Facebook regularly, I don’t routinely scroll my feed. Even if I did, I have more than 1,300 Facebook friends and 1.400 fans. It’s unlikely I would’ve noticed the departure of someone who I had never actually met.

Once I was blocked and unable to see any of her content, she wrote a scathing post about me. 

Already disenchanted with me (thus the block), this person had seen my post on an NYC storytelling group promoting my monthly author newsletter (which includes storytelling tips), and this had apparently sent her over the edge. She took to Facebook, calling me, among other things, obnoxious, egotistical, self-important, average, and “Mr. Full of Himself.”

She didn’t name me directly but included enough biographical info to make it perfectly clear it was me. “Produces his own show.” “Published author.” Multiple Moth StorySLAM winner. Other details very specific to me.  

There was no doubt over who she was writing about.

It was a cruel and scathing post that painted me as a self-absorbed, opportunistic narcissist who treats the storytellers in my shows with contempt. She called for someone in the community to “sit me down” and inform me that I’m “not all that.”

“He needs to STOP,” she wrote.   

There were also factual inaccuracies in the post. Some of her accusations were simply untrue. She was criticizing circumstances that she did not fully understand.

All of this was upsetting, but I’m a grown man. I can accept criticism, as unfounded and unhinged as it may be. After a decade of publishing novels, magazine columns, podcasts, and a blog, in addition to performing on stage hundreds of times around the world and writing and producing my own musicals, I’ve received my share of criticism. I can accept that. I’ve grown a very thick skin.

But there’s one important difference here.

Because this person blocked me on Facebook before posting her diatribe, I could not see (and would never see) this otherwise public post that was fully visible to my colleagues, friends, competitors, and business partners in the storytelling community. Rather than addressing me directly or posting something on the public network that I could also see, she attacked me behind my back. 

It was an act of cowardice. She called for someone in the community to "sit me down" and make me stop while conveniently and cowardly hiding behind her Facebook wall. 

Had multiple friends in the community not sent me screenshots of her post and cut-and-pasted the text of the post into emails to me, and had she not mistakenly remained Facebook friends with Elysha (whoopsie!), I would have never seen this scathing, libelous attack.

This is one of the insidious parts of social media that doesn’t receive enough attention. As an elementary school teacher for 20 years, I have witnessed firsthand the rise of cyber bullying and know all too well how terrible it can be. It’s devastating to see ugliness, hate, and lies published on a network for the world to see.

But this is different. It hurts to hear that someone despises you and is publicly critical of your craft, but to know that everyone who is important to you professionally can read and respond to the accusations but you cannot is downright insidious and terrifying. To think that this person could continue to attack me again and again, behind my back, in such a cowardly, despicable manner, without me knowing or having any recourse, is scary as hell. To know that your community is reading such hateful comments while you are unable to respond is both enraging and unsettling.  

Elysha didn’t sleep well for days after seeing this post. She couldn’t understand how someone who I have never met could be so angry to attack me online in such a nefarious way.

I can’t either. I can’t begin to imagine her motives or what she hoped to gain from this bit of nastiness.

In response, I wrote to the woman, asking to speak on the phone. I promised to be open-minded and polite. I offered to let bygones by bygones in hopes of finding a middle ground of understanding. And I meant it. I'm nothing if not forgiving. 

Not surprising, she refused. Instead, she sent another screed, calling me among other things a liar. She also widening her target package to include Elysha, who she referred to as a “ditz and a flake.”

It’s an email filled with anger and cruelty and stupidity, and I am so pleased to be in possession of it if I decide to take action someday or (even better) simply post our exchange of emails online for entertainment purposes.

It makes for a fun read. Perhaps a holiday gift to my readers. 

But at least the attack was directed at me this time instead of behind my back. At least I knew what was being said about me. At least I had an opportunity to respond. Defend myself. Challenge her blatant inaccuracies with stubborn little facts.     

Human beings have undoubtedly been speaking behind the back of other human beings since the beginning of time. This is nothing new. It’s awful but unavoidable. But with the ability to block people on platforms like Facebook, we can now speak poorly, cruelly, damagingly, and libelously about another person without their knowledge and reach an audience of thousands with a single click. We can malign a person within their own online community without them ever seeing the insult. We can besmirch their reputation. Levy false allegations. Damage their means of making a living.

All without the victim ever knowing.   

This level of behind the back cowardice is new, and it is terrifying.

The good news about my situation is that the community came to my defense. They did the right thing. They alerted me to the post and offered to respond on my behalf. Elysha was then able to find the post and take screenshots as well. 

It’s important that we all do this.

Public criticism, as harsh and even unfair as it may be, is something that I’m willing to accept. As an author, storyteller, podcaster, playwright, and blogger, I accept my position as a public figure. Criticism is part of the deal. Those who create understand this reality. 

But insidious, behind-the-back criticism that allows critics to block their victims while taking advantage of a network effect that allows them reach large online communities must be rejected and repulsed every time. You have a right to know if someone is criticizing you, fairly or unfairly, on a platform like Facebook. You have a right to know if someone is writing scathing, libelous content about you that can be read and shared by the masses.

When we see these things happen, we must stand up and say no. We can’t accept this level of cowardice and cruelty.

I’m grateful that my community rose to my defense, but then again, I wasn’t surprised. Storytellers are good people.

Most of them, at least.

How I delivered an inspirational talk at a human trafficking conference (while knowing nothing about human trafficking)

I was speaking to some of my former storytelling students - children of Holocaust survivors who had gone through a workshop series with me  that culminated in a storytelling performance.

One of them told me, "Now I see stories everywhere. Everything is a story."

While I don't agree that everything is a story, I knew exactly what she meant. Our lives are filled with storyworthy moments. More than you would ever imagine. Those who mine their lives for these moments and develop them into a treasure-trove of stories constantly add depth and breadth to our lives and their own. 

We are the ones who remember our lives best. We remember our lives through story. 

But possessing so many stories has an added value. When you have a lot of stories, you have the potential to inspire, amuse, entertain, or change minds, regardless of circumstances. No matter the context or need, you'll always have something to say. 

A couple years ago, I was in Indiana, speaking and performing at a variety of events at college campuses in and around Purdue University. I spoke about storytelling, writing, and personal productivity, and I produced and hosted a story slam for students.

A large conference on human trafficking was also underway on campus. I was asked if I'd be willing to close the conference with a speech to the attendees. 

I agreed.

Two weeks before the speech, one of the organizers called and asked about my expertise in human trafficking.

"I have none," I said,

I'll never forget what he said:

"I guess that's what Google is for?" he said nervously. "Right?"

Wrong. 

It turns out that when you have a treasure-trove of stories, you can speak to almost any audience regardless of the topic, purpose, or need. 

Besides, after three days of speeches, breakout groups, and seminars on the topic of human trafficking, did his audience really want one more speech on human trafficking from a guy who had to conduct a Google search on the subject?

Instead, I told a funny story about how I helped a shy student emerge from her shell after years of withdrawal, and in doing so, I came to realize that although I had "saved" this one girl, there were many other shy, silent children who I had not, primarily because I had stopped trying. I had given up on them. I had presumed that someone else would come along and fix their problem. 

Once the story was finished, I explained that when engaged in important work like teaching or seeking to end human trafficking - people work - we can never give up. We can never quit. We cannot assume that someone else will solve the problems.

More importantly, we can't afford to act slowly. We are not making widgets or selling keepsakes. The quality of a human being's life is in our hands. The very last thing we can do is allow bureaucrats, politicians, and ineffective administrators tell us that meaningful change takes time. Institutional transition can't happen overnight. We can't allow ineffective leaders to tell us that large ships don't change their direction overnight. 

This might be fine if you're selling real estate, building furniture, or coding an app, but when you're dealing with the lives of human beings, these passive, placating statements cannot be allowed to stand. 

As a teacher, I cannot be slow to action when a child's future is at stake. I cannot stop trying to save a child simply because every tool in my belt has failed.

Like me, the people who work to end human trafficking cannot afford to move slowly. Cannot waste a moment of time. The people of the world who choose to make a career out of saving lives must be the fastest, hardest, most dedicated people possible. They must be red tape destroyers. Bureaucratic assassin. Fast moving missiles of good.

I knew nothing about human trafficking except that it was too important to not work like hell to bring it to an end. Happily, I had a story that applied similarly and was filled with stakes, humor, and heart. 

It went over very well. The organizer called me the following week to tell me that it was the only time all week that anyone laughed and that my message was heard loud and clear by conference attendees:

We are human saving warriors. We must move at lightning speed. We cannot allow anyone to stand in our way or even slow us down. Human lives are at stake.   

If you are a person with a treasure trove of stories, you can speak anywhere about just about anything. It's hard for me to imagine someone calling tomorrow and asking me to speak on a topic that I couldn't find an entertaining, enlightening story and associated message that would work.    

Want to become a person full of stories? I recommend Homework for Life:

Things that make me cry

Speaking to a producer at a show in Boston last night, she asked me why I'm willing to share so much about my life on stage and in writing. 

There are lots of answers to this question, but amongst them is my belief that vulnerability is a very good thing, both for me and for the people who listen and read my stories. 

Vulnerability is a sign of strength. It's a willingness to open your heart and share your life with others, as odd or embarrassing or private as those parts of your life may be. For the listener or reader, it's an opportunity to connect to another human being in a deep and meaningful way. It's a chance to feel a little more normal.

We all walk through our lives at times, wondering if we are the only ones feeling the way we do. Plagued by embarrassment. Stewing in our shame. Feeling disconnected from the rest of the world. Believing that we are alone in our failure, fear, and weakness.

When someone is willing to be vulnerable and open up that which often remains hidden, we are all better for it. I know I am better and happier and more joyous about my own self when hearing others tell their stories.  

"Is there anything you won't share?" the producer asked.

"I won't share parts of my life that might embarrass another person at the same time," I said. "I respect the privacy of my friends, my wife, and my colleagues. But otherwise, no. I don't think so."

  So here was her challenge: 

"Tomorrow, on your blog, write about things that make you sad. Things people might not know about you or be surprised to hear." 

That request was made just seven hours ago, so I didn't have much time to think, but here are three to come to mind.    

1. I cannot think about my children and my mother (who died before meeting them) simultaneously without crying.
2. I am fiercely proud of my independent, boot-straps, self-made-man existence, but it also hurts so much to think that there was a time when no one wanted to help me and no one believed in me.
3. I can speak to people about my post traumatic stress disorder without becoming emotional, but I cannot can't listen to a story about the cause of someone else's PTSD without crying. 

When I say crying, I don't mean that I become a blubbery mess when these things arise. I might choke back tears. Find myself unable to speak. That kind of thing.

I reserve the blubbery mess for things like the death of a pet, the end of Field of Dreams, the election of Barack Obama, the cracking of my wisdom tooth, existential thoughts involving my children, and New York Yankees World Series victories. 

Dan Kennedy is right. Reach out to people whose work means the world to you.

Dan Kennedy, writer, storyteller, and Moth host, tweeted earlier this week:

 (@DanKennedy_NYC) Gonna get better at sending notes to people whose work means the world to me. Feels fanboy, but beats waiting to send an RIP tweet.

I like this advice a lot. 

I receive emails, tweets, and Facebook messages almost daily from readers around the globe who have liked my books and/or have questions about my stories. Every time I receive one of these messages, my heart skips a beat and I find myself more excited than ever about writing.

It occurs to me:

Despite all of this generosity from my readers, I've never followed their example and done the same.

In short, I'm a jerk. 

Dan says that reaching out to people whose work I love feels a little fanboy, and perhaps that's why I've hesitated from doing so in the past.

That, and I really am a jerk.

But as a daily recipient of these messages from readers - this morning from a teenage girl in Newberg, Oregon - I can assure Dan and everyone else that it doesn't feel fanboy at all from the recipient's perspective. 

It's a joy. A blessing. A spark that often arrives at the moment I needed it most. 

Next month I begin deciding upon my goals for 2018, and I think this will be one of them. I will write to at least one person per month whose work I admire every month in 2018. 

It's a good goal. 

As a warm-up for 2018, I'll mention that Dan Kennedy - dispenser of this excellent advice - is someone who I admire a great deal.

I first heard Dan's voice back in 2008 when Elysha and I listened to his memoir Rock On: A Power Ballad together in the car. We loved that book. I listened to it again a few years later on my own.

I heard Dan's voice again in 2010 on The Moth's podcast. Each week he delivered new stories to my ears.

In July of 2011, I met Dan for the first time when I took the stage at the Nuyorican Poets Cafe and told my first story for The Moth. By then he was an icon in my mind. I couldn't believe I was standing beside him. Dan hosted my first Moth GrandSLAM a few months later (I lost to Erin Barker, someone else who I admire deeply and will probably write to in 2018), and then slowly, over the years, I've gotten to know him better and better as I attended and performed in more and more Moth events. 

Eventually we performed together on The Moth's Mainstage. I listened to him tell stories for the first time about the death of his therapist and his ill-advised trip to find an enormous snake, and I was blown away. Those stories are still trapped inside my heart. 

Dan is a brilliant performer. An incredibly gifted storytelling host. A talented storyteller. 

But it's Dan's most recent novel, American Spirit, that I love most. I listened to that book on the way back from Maine last year, and I have never laughed so much by myself. There are certain books that are so exquisite that you remember exactly where you were while reading or listening to them, and American Spirit is one of those books for me.

I will never forget that too-bright sun, that impossibly blue sky, the blessedly open road, and Dan's voice, making the miles melt away.

It's a hilarious, poignant, brilliant book. You should read it. 

Thank you, Dan, for sharing the book and your voice with the world.

I hope this doesn't feel too fanboy.  

How can you possibly have so many stories?

It's a question I get a lot. Whether it's stories that I'm sharing on the golf course or at the dinner table or on the stage, I always have a new story to tell.

A small part of this is the unusual life that I've led, filled with chaos, bad luck, and at times, disaster. My friend and the Artistic Director of The Moth Catherine Burns has said to me, "You either have a good time or you have a good story."

A much larger part of it is the system that I use to find stories in my life called Homework for Life. People who use my system with fidelity and rigor find themselves awash in stories about their lives. It works.

But having many stories to tell also has a lot to do with the understanding that a story is not always a series of fantastic events or shocking developments. You need not move mountains to have a great story to tell. A story can be small. Infinitesimal, really, if it speaks to something about your heart, reflects your experience as a human being, or offers some fundamental truth about who you are.

That's why I love Bill Bernat's story "Oreo Relapse," which was featured on The Moth Radio Hour last week. Bill's entire story - more than five minutes long - takes place in a grocery aisle as he tries to decide if he will purchase a bag of Oreo cookies and thus fall off his dietary wagon.

That's it. If I were to summarize the story, I would say, "Man battles his inner cookie demons as he tries to decide if he should purchase a bag of Oreos."

And yet the story is filled with humor and heart. It speaks to something universal in all of us:

The power of temptation. The fragility of will power. Our constant inner battle of right vs. wrong. The shame of not having full control over our desires.

Bernat's story is brilliant in its simplicity. Very little happens in the story, yet when he is finished, I feel like I have been offered an honest, unflinching look at the man's soul. I feel connected to the man. I love the guy.

I don't know Bill Bernat, but I bet he has lots and lots of stories to tell.

"Nothing interesting ever happens to me."
"My life is boring."
"Nothing too terrible has ever happened to me."

Refrains I hear all the time to would-be storytellers who worry that unless you've died on the side of the road or been arrested for a crime you didn't commit or lived on the streets, you won't have any good stories to tell.

Not even close to true.

If you are willing to speak honestly, embrace vulnerability, think introspectively, and share a part of you that most would not normally share, you will have more stories than you could ever imagine.

Do your Homework for Life.

Listen to Bill Bernat's story.

Become the person who always has a new story to tell.