How to Best Use the Story Crossroads Discord Server – Part 1 of 5 – Getting Started

This is the first of five parts on how to benefit the most from the Story Crossroads Discord Server. Discord is a platform that combines features of Facebook, Zoom, and many others in one place. Text, image, audio, and video communications are possible with a network of people of like-interests.


  • Part 1 – Getting Started – TODAY
  • Part 2 – Text Channels
  • Part 3 – Voice Channels
  • Part 4 – Adding Resources & Links
  • Part 5 – Scheduled & Random “Check-Ins”

If you prefer video approach and/or have these videos running while you glance below:

“Uh…what is Discord?” Or, “I thought Discord was for Video Gamers.”

No worries.

Discord is a platform that allows people to chat in many ways–text, audio, video and even through memes. This fascinating digital networking tool started in the video gaming world though has expanded to library, music, and so many more. Although it kick-started in 2015, it now has 19 MILLION daily users.

Discord has been relatively unknown to the storytelling world.

Let’s change that through Story Crossroads.

The potential with Discord to connect is important considering quarantines and limited-sized/proper-distanced events. Even beyond such circumstances, Discord is “on fire” on growth, momentum, and “stay-ability.” You might as well learn what all the buzz is about.

Here is How to Get Started with the Story Crossroads Discord Server:

  1. Click here for the direct invite/link. Discord can have public and private groups. Youth groups, sports teams, and you-name-it, have created what is called a Discord Server. You can have invite links that expire within 24 hours OR have one that never expires. For Story Crossroads, we opted for “never expires.” Thus, you can even share this direct link/invite:

2. Clicking on the invite/link will take you to a similar image below. You will click on “Accept Invite.” Although called “members,” there are no fees. In fact, many people love Discord because there are NO ADVERTISEMENTS! There may be promotions or announcements from whoever runs the Server, but no outside ones. Facebook, YouTube…well, they do have those “sponsored ads” and such.

3. Complete the basics of creating a handle that either reveals or does not reveal who you are – up to you. I wanted it to be obvious on our side of things so “storycrossroads” was a natural handle/user name. Some people focus on their first name and then their specialty in storytelling. Super easy and basic for sign-up.

4. You can join more than the Story Crossroads Server. You can search keywords, but it is really only through invites. You don’t have to be part of more than one server. However, when we typed in “storyteller” or “storytelling,” we did not get much expect for role-playing groups. Oral storytelling is…lacking, except for us so far. We certainly hope other storytelling organizations create their own Discords. HINT: NATIONAL STORYTELLING NETWORK. UTAH STORYTELLING GUILD. THE SOCIETY OF STORYTELLING. THE FEDERATION OF ASIAN STORYTELLERS (FEAST). NATIONAL ASSOCIATION OF BLACK STORYTELLERS (NAB). In fact, some people only focus on “the one.” There is not the pressure to have “more friends” or “more followers” as other places. Of course, we want a decent number of people on our Server so we can have more storytelling conversations. We will get to these in Part 2 and Part 3 of this blog series.

5. You can get notifications when someone in the Server has a comment. If you Server is growing or inactive, then these won’t pop up so much. However, as the Server grows, you may want to turn off notifications and simply check on it for updates.

BUT…be aware that if you do not “show up,” we have the option to “Prune” you. We can choose from 1-day-no-show, 7-day-no-show, and 30-day-no-show. We probably won’t…but we shall see. Here is what that option looks like for us in this image below:

6. Explore all the “categories” and “channels” on the left side of your screen.

Our categories are: Welcome; Story Crossroads; Text Channels; Voice Channels; Fun & Games; Academic Discussions.

Our channels are within those categories: welcome; rules; introduce-yourself; info-about-us; announcements; videos; livestreams; questions-for-us; general (text); chat-about-stories (text); worldwide-folktales (text); storygames; storymemes; admin-room (locked); moderators-room (locked); general (voice/video); chat-about-stories (voice/video); worldwide-folktales (voice/video); storygames (fun & games); storymemes (fun & games); story-genres (academic); and multilingual-storytelling (academic).

We will explain more in future blog posts of this series. Discord is best by laptop/computer though there is a free phone app. We have scheduled voice/video chats usually within “Voice Channels” and then “chat-about-stories” on Mondays at 10:00pm MDT. We will eventually have regular one during the daytime. Join us! Again, that invite link:

Find our E-Newsletter and Email List Sign-Ups on our website home page at the bottom, the archive page, etc.

See our already-streamed/recorded The Big Why Panel: Historical Storytelling meets Humanities

See our 5-video playlist from the Story Crossroads Spectacular by clicking here

Keen Kinetics (Day 11–A-Z Blog Challenge)

Balancing in ViennaEnjoy all of these A-Z Blog Challenge posts. Versión en Español se puede encontrar a continuación o haga clic aquí para ir allí. Haga clic en mí para saltar a la parte española. Also look forward to the Story Crossroads crowdsourcing campaign May 1, 2015.

“K” is for Keen Kinetics.

Audiences can sit and sit and sit and be grateful for the storytelling experience.  The storyteller engaged them and so time rushed by.  Audiences are more grateful with the invitation to move or to participate during the performance.

Keen Kinetic Choices in Storytelling:

  1. Warm-Ups for Everybody
  2. Stretch
  3. Individual and/or Audience Participation
  4. Performance through Dance or Movement
  5. Sign Language

Warm-Ups for Everybody

We carry on the tradition of doing warm-ups with the audience during the Utah Youth Storytelling Showcase (state level event that links to National Youth Storytelling Showcase).  This transforms the normally pure-performance into a performance merged with a mini workshop.

After each youth teller performs, we lead the audiences in one of these warm-ups.  The youth tellers come with their families to this concert, and doing these exercises grabs the attention of the “littles” and on to the older ones.  We explain that storytellers use more than their mouths.  The families experience what allows storytellers to perform better.  We also figure that the youth tellers either forgot or did not think to do any warm-ups.  The warm-ups serve to calm the nerves of the youth tellers.

Here are some examples:

1.       Loud Yawns, circulates oxygen and stretches the mouth to better tell

2.       Deep Breaths, helps the same as Loud Yawns

3.       Stretching Mouth (like say “Hee, Haw, Hee” and making the mouth tall or wide), physically gets the mouth ready while improving pronunciation

4.       Tongue Twisters, helps the same as Stretching Mouth

5.       Touching Toes & Slowly Bring Arms Up, calms nerves and slows breathing to help with focus


Depending on the needs of the audience, an emcee or a performer could opt to give a moment for the audience to stretch.

Instead of spreading out arms and leaving it only to that, storyteller Kevin Cordi asks for his audiences to think of their favorite story and reach for the sky to capture it in their hands.  However, this favorite story is feisty and will not come down on the first try.  He demonstrates to everyone of the struggle to bring that darn story down through his scrunched and tightened face.  The audience reflects these efforts when grabbing their own favorite stories from the sky.  Then the favorite stories escape and everyone must slowly pull down those stories and hold them tight in their hands.  Finally, once protected in their hands and kept near everyone’s tummies, Kevin has everyone talk to their neighbor a little about their favorite stories.  The audience is ready to continue with the performance or workshop.

Individual and/or Audience Participation

Some storytellers bring one or more people from the audience onto the stage with them whether planned or impromptu.  The storyteller notes any signs of restlessness when making these decisions.

A character, a prop, or a specific movement is often assigned.  For example, the story could involve a magical shovel that can dig on its own.  The individual on stage could represent that shovel and be the only one digging.  Other choices are for an audience member or the storyteller to leads the whole audience in pretend digging.

Performance through Dance or Movement

Many storytellers involve dance or movement such as Dustin Loehr or Robert Kikuchi-Yngojo and Nancy Wang from Eth-Noh-Tec.  Dustin Loehr is a tap-dancer who uses the sounds and movements of that dance to the stories he shares.  Eth-Noh-Tec is a husband and wife tandem team who specialize in kinetic story theatre.  Dustin and Eth-Noh-Tec must choreograph their stories and movements to reflect the plot, the mood, and the intended effect.  Story dance is beautiful.  The structure does take away from the improvisational nature of storytelling.  The planning could involve moments within the choreographed work to be more spontaneous.

Besides individual or tandem performers, entire dance companies could combine forces with professional storytellers.  As dances link to cultural influences and symbols, there are also stories to be revealed.  The trick is to balance the story and the dancing so that these arts enhance each other rather than distract.  When the story is remembered at the end of the day, then one knows it was done right.

Sign Language

Rick Rossiter teaches his audience several signs so the audience can follow along when he later tells the story completely in American Sign Language.  He encourages the audience to interpret the story out loud.  He chooses familiar tales like “Goldilocks and the Three Bears” to boost the comfort level of the audience.  Oftentimes, the audience members mirror the signs as they interpret the story out loud.  People who lean more towards a kinetic experience are in heaven.

There are also many amazing American Sign Language Storytellers like Peter Cook who tell with or without interpreters.  Peter studies the audience and determines what is clear or what is fuzzy for the audience and adapts as necessary.  Sometimes interpreters are added to the performance.

With Story Crossroads, we will make many kinetic choices for on and off the stage.  After all, storytelling is an active art.

We appreciate Steve Evans granting permission to use the picture he took in Vienna. You can find all of his images here:

Aquí lo tiene.

Balancing in Vienna

Vivo Cinética

Rogamos disculpen esta traducción al español que hemos utilizado un software de traducción. Estamos en proceso de hacer que las personas ayudar a traducir estos A-Z Blog Desafío puestos, así como todas las demás entradas del blog.

Los espectadores pueden sentarse y sentarse y sentarse y estar agradecidos por la experiencia.  El narrador les por lo que el tiempo se precipitó.  El público son más agradecidos con la invitación a pasar o a participar en el ejercicio.

Opciones de Interés Cinética cuentos:

  1. Calentamientos de para todo el mundo
  2. Tramo
  3. Individual y/o la participación del público
  4. Rendimiento a través de la danza y el movimiento
  5. Lengua de Signos

Calentamientos de para todo el mundo

Seguimos con la tradición de hacer calentamiento con el público durante la exposición narrativa Juvenil Utah (nivel estatal evento nacional que vincula a los jóvenes La narración vitrina).  Normalmente se transforme el puro rendimiento a un rendimiento combinado con un mini taller.

Después de cada joven cajero realiza, las audiencias en una de estas cálidas.  Los jóvenes narradores vienen con sus familias a este concierto, y hacer estos ejercicios capture la atención de los “pequeños” y a los más viejos.  Les explicamos que narradores utilizan más de sus bocas.  La familia experimenta lo que permite narradores para realizar mejor.  Tenemos también la figura que los jóvenes narradores ha olvidado o no que hay que hacer un calentamiento.  El warm-up sirven para calmar los nervios de los jóvenes narradores.

Aquí se muestran algunos ejemplos:

1.       Fuerte bostezo, circula el oxígeno y se extiende la boca para contar mejor

2.       Respire profundo, ayuda a que el mismo es tan ruidoso Bostezo

3.       Estirar Boca (como decir “Hee, Haw, Hee”, y de que la boca de alto o ancho), llega físicamente la boca listo mientras que mejora de la pronunciación

4.       Trabalenguas, ayuda a que el mismo se extiende boca

5.       Tocar los dedos y poner lentamente brazos arriba, calma los nervios y reduce respiración para ayudar a con enfoque


Dependiendo de las necesidades de la audiencia, un presentador o un artista intérprete o ejecutante podría optar por dar un momento para que el público pueda estirar.

En lugar de distribuir las armas y lo que sólo para que, narrador Kevin Cordi pide su público a pensar en su historia favorita y llegar hasta el cielo para capturar en sus manos.  Sin embargo, esta historia favorita es alegre y no bajarán en el primer intento.  Él demuestra a todo el mundo de la lucha para poner fin a esa maldita historia en y a través de su perra muy apretados.  La audiencia refleja estos esfuerzos cuando se agarran sus propias historias favoritas  del cielo.  A continuación, las historias favoritas y todo el mundo debe escapar lentamente hacia abajo esas historias y se mantienen firmes en sus manos.  Por último, una vez protegidos en sus manos y se mantiene cerca de todos acostados boca abajo, Kevin ha todos hablar con su vecino un poco acerca de sus historias favoritas.  El público está dispuesto a continuar con el rendimiento o el taller.

Individual y/o la participación del público

Algunos narradores que una o más personas de la audiencia en el escenario con ellos si improviso.  El narrador observa signos de inquietud cuando estas decisiones.

Un personaje, un sostén o un movimiento concreto a menudo se asigna.  Por ejemplo, la historia podría suponer una pala mágica que puede cavar por su propia cuenta.  El individuo podría ser que una pala y ser la única excavación.  Otras opciones son para un miembro de la audiencia o al narrador a todo el público de aparentar excavar.

Rendimiento a través de la danza y el movimiento

Muchos narradores incluir danza o movimiento como Dustin Loehr o Robert Kikuchi-Yngojo y Nancy Wang de Eth-Noh -Tec.  Dustin Loehr es un toque de bailarina que utiliza los sonidos y los movimientos de la danza a las historias que comparte.  Eth-Noh -Tec es un esposo y una esposa equipo tándem cinética que se especializan en historia teatro.  Dustin y Eth-Noh-Tec debe ser coreógrafo sus historias y a los movimientos que reflejan la parcela, el estado de ánimo, y el efecto deseado.  Historia danza es hermosa.  La estructura no se puede apartar de la improvisación de la narración.  La planificación puede implicar momentos dentro del obra coreográfica a ser más espontáneo.

Aparte de los artistas intérpretes o ejecutantes o en tándem, las compañías de danza todo podría combinar sus fuerzas con narradores profesionales.  De danzas enlace a influencias culturales y símbolos, también hay historias que se den a conocer.  El truco consiste en equilibrar la historia y el baile para que estas artes mejorar el uno al otro en lugar de distraer.  Cuando la historia es recordar al final del día, luego se sabe que fue hecho a la derecha.

Lengua de Signos

Rick Rossiter le enseña su público varios signos para que el público pueda seguir más adelante, cuando narra la historia completamente en Lenguaje de Señas Americano.  Él anima a los destinatarios a interpretar el cuento en voz alta.  Él elige tan conocidas historias como “Ricitos de Oro y los tres osos” para aumentar el nivel de confort de la audiencia.  A menudo, los miembros de la audiencia espejo los signos como ellos interpretan el cuento en voz alta.  Las personas que se inclinan más hacia una experiencia cinética están en el cielo.

También hay muchos increíble Lenguaje de Signos Americano narradores como Peter Cook quienes cuentan con o sin intérpretes.  Peter estudios la audiencia y determina lo que es claro o lo que es difuso para el público y se adapta según sea necesario.  A veces los intérpretes se añaden a la actuación.

Con Historia Cruce de caminos, vamos a hacer muchos kinetic opciones para activar y desactivar la etapa.  Después de todo, la narración de cuentos es un art.

Agradecemos Steve Evans conceder el permiso para utilizar la foto de Vienna. Usted puede encontrar todas las imágenes aquí: