A Storyteller’s Guide to Accessing the Muse

A STORYTELLER’S GUIDE TO ACCESSING THE MUSE

As a professional storyteller, in the past I’ve told stories that last four hours. Often, after long story performances, people ask me, “How did you memorize all that?” My answer is always the same: “I don’t memorize anything. I work with my Muse.”

All right, you might ask, what is the Muse?

Our familiar words “music”, “museum” and “amusement” derive from it. It goes back to an Ancient Greek word that described the Nine Muses, the inspirational goddesses of literature, science, and the arts in Greek mythology.

“Inspiration” means “to breathe in.” And that’s exactly what the Ancient Greeks thought happened when an artist, let’s say a storyteller like Homer long ago, started to perform one of his long tales. Homer would call upon the Muse named Calliope. Her name means “beautiful voice”, and she was the Muse of Eloquence. According to the belief, she would appear invisibly behind the storyteller and breathe ideas into his head as he spoke.

But before starting off, he would ask for her help. He would “invoke the Muse.”

The first line of Homer’s The Iliad reads:

“Anger be now your song, immortal one,
Akhilleus’ anger, doomed and ruinous,
that caused the Akhaians loss on bitter loss
and crowded brave souls into the undergloom,
leaving so many dead men…”

Homer is about to “sing” a very long story about how Achilles, the greatest warrior at Troy, became furious with the Lord High Marshall, Agamemnon, for daring to take Achilles’ girl. Homer is also about to pluck a lyre while he’s singing his story. He’s what the Greeks called A Singer of Tales. He and others like him were the cinema of the day around 700 BC. There wasn’t much else in the Bronze Age.

But notice that Homer isn’t saying, “I am now beginning my poem.” Actually, he’s surrendering responsibility for his act to “the immortal one”–to Calliope, instead becoming her vessel. As he begins the daunting task of performing a poem over 15,000 lines long, he’s asking for the Muse’s inspiration.

According to the myths, Calliope was the daughter of Mnemosyne, the Titan of Memory, and Zeus, the King of the Gods. Quite the pedigree in those times.

Homer invokes her again when he begins The Odyssey:

“Sing in me, Muse, and through me tell the story
of that man skilled in all ways of contending,
the wanderer, harried for years on end,
after he plundered the stronghold
on the proud height of Troy.”

Centuries later, when John Milton, the English poet born in London in 1608, wrote Paradise Lost, he invoked the Muse, too. However, since the Greek gods were long gone and he was a Christian, he invoked the Holy Spirit, not a goddess, for help:

 

“I thence

 Invoke thy aid to my adventurous song,

 That with no middle flight intends to soar

 Above the Aonian mount, while it pursues

Things unattempted yet in prose or rhyme.”

 

He was trying to outdo the “Aonian mount,” otherwise known as the mountain home of the Greek Muses, of which he was quite jealous, it appears. “Hey, you oldsters ain’t got nuthin’ on this blind Brit.”

Humor aside, what does all this have to do with you accessing your Muse? Here, in modern times? To learn to tell stories in your own words, direct from your imagination? I think we can add imagination to the long list of what the Muse is. Buried inside the word “imagination” is the word “image.”  Since imagining is the summoning of mental images, let’s say that your Muse begins to work when you consciously create mental images.

I’ll explore with you my method for developing clear, living mental imagery in later blogs.

Countless times I’ve stood backstage in the semi-darkness with my 12-string guitar, walking around behind the drawn curtain, tuning and playing musical motifs I’ll use in the story. Beyond the curtain, the low roar of the audience tells me it’s almost time to step out there, sit in my chair with my microphones ready, and begin. Since I stole this trick from Homer and Milton and many others, I invoke my Muse. “Oh Muse,” I’ll say aloud, “please come to me tonight. I’m just a tiny human being and all these nice people are waiting. Please help me.”

Now you don’t have to believe in the Muse to be inspired by it. In modern language, some might call it the unconscious mind, or human creativity, or the soul, or the Holy Spirit, or simply imagination. Whatever you’d like to call it, I perform this simple ritual anyway to make myself feel better.

And usually, it works. The imagery pours into my mind and I step into a movie I can see, hear, smell and touch. After that, the words begin to flow.

More to follow.

May the Muse be with you.

 

–Odds Bodkin

You can find my stories at my online download shop.

THE BIRD IN THE GOLDEN CAGE: A Storytelling Experiment from Odds Bodkin’s Workshop

THE BIRD IN THE GOLDEN CAGE: A Storytelling Experiment from Odds Bodkin’s Workshop.

The experiment begins with a vivid memory: the room where you sleep at night. As a very familiar place, most people carry detailed visuals of it, even if they don’t think about it often. The bedclothes, the closet and drawers, what’s outside the window on a summer day and how that sounds. Even how the screen smells if you press your nose against it.

All this suggested visualizing among participants takes place while listening to 12-string guitar music––not a song, more like colorful splashes of emotion. Combined with the story, the result is a musico-literary doorway to imagination. Imagining begins when a small sphere of blue light appears above the bed in your room. Eventually you journey into it, imagining yourself in a bird’s body in a golden cage, then seas, caves, clear fruits in various flavors and a multitude of other opportunities to discover your Five Sensory Imaginations.

For the storyteller, these are your paints. The more you practice, the more the door to them opens into a creative state. Telling your story is simply describing that state by using those paints.

Just one cognitive experiment among many in Odds Bodkin’s weekend workshop in Colorado this coming May, The Bird in the Golden Cage doesn’t talk about using the mind’s eye, it experientially draws you into it. It’s instinctual.

If you’ve ever wanted to learn to tell stories in your own voice, here’s a chance to study with a master. No music required, or experience. Just a willingness to experiment with your mind. Based on Odds Bodkin’s graduate courses and workshops conducted worldwide.

On May 26-27, 2018 at Sunrise Ranch in Loveland, CO, Odds will be offering his weekend workshop in storytelling for beginners to experienced tellers. You’ll also learn the secrets of ancient tree lore. Space is limited, so plan your weekend now!

 

 

 

THE MUSE APPROACH TO STORYTELLING

THE MUSE APPROACH TO STORYTELLING

Seven years of teaching adult grad students how to tell stories at Antioch in New England showed me one thing: if they can locate their Muse, they’re golden. I’ve seen it many times. Given a few lines of story on a slip of paper––a folkloric fragment from somewhere in the middle of a tale they’ve never read––students often end up telling a 45-minute long original tale, crafting origins and endings. No kidding. It’s as if an acorn sprouted and instantly grew into an oak

It’s a glorious act to watch. How, without rehearsal and in their own words, they enter the image-rich Muse in their minds and become like jazz musicians of story, making it up as they go along.

The Muse, least Calliope, the Muse of Eloquence as the ancient Greeks thought of it, is a fusion of imagination and a certain kind of memory called “event memory.” Once you learn how to summon it, what James Joyce called “the smithy of the soul” fires up and off you go.

This coming May 25-27 I’ll be offering a full weekend workshop in storytelling in Colorado. Along with its emphasis on ancient tree lore, it provides a step-by-step process for Muse discovery.

Registration is limited to 30.

Details are here.