June 2010 Archives

The concept of career-as-narrative is not new. Scholars like Larry Cochran and Kerr Inkson, both of whom I mention in this article, have written extensively about the notion.

Now life strategist Walter Akana has taken the concept to a new level in a terrific blog post entitled The Job Interview As Shared Narrative written as part of the Career Collective in which we both participate.

Akana begins with the career-as-narrative and relates it to the commonly accepted concept of deploying storytelling in job interviews: 20080715_star_technique_answering_behavioral_interview_questions.png

Taken as a whole … individual instances of success and failure weave the story of our career, and perhaps even our life message [Akana explains via a link here that life message is a Tom Peters term that relates to Gandhi’s philosophy that his life was his message.] While seemingly disparate elements, they are episodes, or chapters, or plot lines that form a larger narrative. In fact, this relationship to story is not novel. It is clearly captured in the most fundamental approach to interview prep: create accomplishment stories to describe your experience. It’s what the STAR Technique [Here, Akana nicely links to an explanation of the STAR technique on A Storied Career’s parent site, Quint Careers.] is all about; namely, creating stories that tie together discrete situations and/or tasks faced, action steps taken, and results achieved
Our careers represent our narrative, with stories that get told in formal performance meetings, in “water cooler” chatter, after hours with colleagues and friends, during mentoring conversations, and while networking generally. Indeed, our stories are what give us visibility and credibility inside of the communities of practice made up of the people who do what we do, and more broadly in brand communities that include the people we serve.

But here’s where Akana gets really innovative, suggesting that the job-seeker need not be the only storyteller in the interview:

I believe that thinking of our careers as narrative has a powerful implication for how we conceive of professional interactions, in general, and job interviews, in particular. And it’s this: discussions of our professional experience are truly opportunities for shared narrative. Trading stories with an interviewer about our shared experience allows for a sharing of meaning, and supports the kind of bonding that takes place in discovering the things we share in common. It is a fundamental human need that drives folklore, which is often a device for transmitting a culture’s morals and values.

Akana clearly understand the kind of storied emotional bond I wrote about in Tell Me About Yourself:

Stories establish an emotional connection between storyteller and listener and inspire the listener’s investment in the storyteller’s success. When stories convey moving content and are told with feeling, the listener feels an emotional bond with the storyteller. Often the listener can empathize or relate the story to an aspect of his or her own life. That bond instantly enables the listener to invest emotionally in your success.

This job-interview story-sharing can help establish cultural fit, Akana notes — does the candidate fit in with the employer’s organization, and does the organization fit the candidate: “If the final outcome of a job interview is to select the candidate who has not only the required skills but also represents the best cultural fit, then your ability to engage in shared narrative over the course of the process can have an impact on your success.”

SharedNarratives.jpg And bonus! In one of the above passages, Akana linked to a narrative site that was new to me and very interesting, The Shared Narratives project , “a group of websites developed around the idea of collective documentary storytelling about common yet evocative themes. The Shared Narratives sites utilize several emerging web techniques such as the use of blogging systems, photo, audio and video sharing, folksonomies (also known as collective tagging), geocoding (location-based tagging), and user generated content.”



Entry by Kathy Hansen. Learn more.

 

I made several attempts to keep a diary when I was young, but none of them lasted.

My most interesting effort was in junior high, when I fashioned my diary (a spiral-bound notebook) into a sort of newsletter with an audience of — who? I don’t quite remember if I intended to share the newsletter with others. The publication was called The Reader’s Raisin. As I recall, The Reader’s Raisin contained drawings and other doo-dads not typical of diaries.

In that way, it was perhaps typical of the project NPR has launched on Flickr, The Hidden World of Girls and the page shown here from Theresa Anderson’s diary.

HiddenWorldofGirls.jpg I wish I knew more about the purpose of this project and what inspired it. Neither the Flickr site nor the NPR page on the project say very much beyond this on the NPR site:

With enough of them, they could form a comprehensive tapestry — from elation to depression — of life experiences.

The NPR page also offers interesting comments on folks’ experiences with diaries.



Entry by Kathy Hansen. Learn more.

 

A fitting followup to my recent Q&A with David Willows is another conversation with Willows — by blogger Lorrie Jackson. This one focuses on the recently released book Willows co-edited, Effective Marketing, Communications and Development in International Schools. As Jackson notes: david_willows_book_shadow.jpg

One of the threads that unites each contribution to the book is an emphasis on telling the story of a school. But while storytelling itself is timeless, the tools which we use to tell these tales have evolved. Take for example the web. For Willows, the digital world opens doorways into new ways to share our story. As he notes, “No longer limited to printed words on a page, we have access to rich and varied media that provide new dimensions to the stories we are seeking to tell. This opens up for us huge new opportunities. However, there are also new challenges; such as the importance of ensuring that the stories we tell remain coherent across a variety of media platforms.”

“Rich and varied media” evokes another effort that helps tell a school’s story — the Witness to History project at Georgetown University, described as

a state-of-the-art video oral history project to record and celebrate the stories of Georgetown alumni who have been history makers and witnesses to history. The goal of the project is to create a historically valuable product — a rich collection of alumni stories that further tells the story of Georgetown and the impact graduates are making around the globe.

Georgetown.jpg This idea of telling a school’s story through its people is a little more subtle than many school marketing efforts. It also strikes me as an approach that many organizations — not just schools — could use. [Thanks to Terrence Gargiulo for alerting me to Witness to History.]



Entry by Kathy Hansen. Learn more.

 

I’ve posted about Google Search Stories here and here, so I don’t want to belabor the subject (especially since the “story” quality is questionable with this fun tool).

But the wonderful site Women’s Memoirs ran a Google Search Story contest, the winners of which I felt were worth sharing.

Words about the winners from Women’s Memoirs (given that last names are not used, I’m guessing that the winners are part of the Women’s Memoirs community):

In “The Dream Year,” Barbara tells of her and Alan’s decision to take a year off from work to travel and blog about the experience. Her Search Story tells of planning a road trip, researching RVs and learning how to blog. In fact, Barbara and Alan created a blog called The Dream Year.
Tricia went an entirely different direction. Actually it’s a very personal piece. She calls it “Living for Me,” [embedded below] and it’s her story about her daughter’s journey from struggling teen to independent young adult.

Yes, these are both nice, but the fact that they need setup shows the limitations of Google searches as storytelling media.



Entry by Kathy Hansen. Learn more.

 

I’m not sure how I managed to miss the release (in March) of Madelyn Blair’s new book, Riding the Current.

Riding the Current - front_smaller.jpg A year before the book’s publication, Madelyn talked about some of the ground-breaking content in a webinar I attended, presented by Terrence Gargiulo.

Here’s the book’s premise (and promise), as noted on Amazon:

In Riding the Current, Madelyn Blair shares ways ordinary and extraordinary people from around the world address the limits of time and budget, massive overdoses of information, and even lack of management skill to stay current in a fast-paced world. You’ll learn new ways to keep your knowledge fresh through conscious self-guided learning that is grounded in the world around us! This book will help you discover ways in which your learning can occur outside the classroom and beyond books.

What does it have to do with storytelling? Some of the techniques for riding the current that Madelyn offers are story-based.

I expect to talk more about this terrific book once I’ve finished reading it, but what’s exciting in the meantime is that Madelyn is talking about the book on the radio. Alas, I’ve missed many of these interviews as well, but two are coming up in July:

  • July 7 — 6:30pm EST CKWR Ontario, Canada
  • July 14 — 1:00pm EST WWPR (webtalkradio.net) Minneapolis, MN

She has noted on Facebook that she’s having a blast doing the interviews.

I’d suggest periodically checking checking the right-hand column of her Web site, Pelerei to see if more interviews are added.



Entry by Kathy Hansen. Learn more.

 

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See a photo of Caryn, her bio, Part 1 of this Q&A,Part 2, Part 3, and Part 4.



Q&A with Caryn Mirriam-Goldberg, Question 5:

Q: How can people make a living from TLA (Transformative Language Arts), and do your graduates use TLA to make a living?

A: We have about 50 graduates from TLA in the last decade, and almost all of them are using TLA to make all or some of their living. Some found or created jobs for themselves using TLA, such as Nancy Morgan, who works as arts and humanities director at the Lombardi Cancer Center in Washington, D.C. Her job entails handing out journals to patients, leading arts workshops for oncologists, singing sessions for chaplains, and writing workshops for families. Kairos.gif We also have many who have created their own businesses, such as Stephanie Sandmeyer in Portland, OR, who started up Kairos Narrative, which helps people collect and and preserve family and life stories in meaningful and artful ways. WritingSelvesWhole.jpg Many of our graduates cobble together a living through offering workshops (like Jen Cross, coaching (like Yvette Hyater-Adams, performances (such as Taina Asili, a singer, storyteller and writer) and other blends of the written, spoken, or sung word. RenaissanceMuse.gif Some also infuse whatever they’re doing — such as teaching in public schools, private schools or college, or designing programming for a not-for-profit — with what they’ve learned about through TLA. All of this speaks to something we emphasize throughout the program: right livelihood through TLA. TainaAsili.png I believe that when we can use our gifts and even our challenges to give to our communities, we can find a way to make a living that ultimately fulfills us and truly serves others. I’m also excited that the TLA Network, the not-for-profit organization focused on TLA, will offer next April and annually after that, an intensive in Right Livelihood to help people figure out more about their callings and then how to draw from those callings to create a business or project or program, or even renew the way they’re making a living.



Entry by Kathy Hansen. Learn more.

 

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See a photo of Caryn, her bio, Part 1 of this Q&A,Part 2, and Part 3.



Q&A with Caryn Mirriam-Goldberg, Question 4:

Q: If you could share just one piece of advice or wisdom about story/storytelling/narrative with readers, what would it be?

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A: Use whatever you’re reading, writing, living, and yearning for as a constant way to ask yourself what story you’re living, and if this is the true story of who you are and why you’re alive. Take all the material of life — whatever surprises and challenges you, hurts or threatens your usual way of being in the world — as something to shine up the story of your soul. When I was living through a complex story of cancer and loss, I began to see more clearly how brushing against death brought out my yearning to live more purposely, and I also found ample material in all the challenges to open my heart, my mind, my spirit. Our stories are also shifting, in motion just like the weather, just like time, and the more we can embrace what changes the usual endings, the more we can land in the beginnings that bring greater joy, healing, and wisdom to our lives.


Entry by Kathy Hansen. Learn more.

 

Sometimes when I get an especially meaty comment on this blog, I publish is as a blog entry since comments don’t appear very prominently on A Storied Career. Such is the case with this comment by Paul Stewart of New Zealand’s On Brand Partners, who commented on my entry about strategy and story:

There is no doubt the wave around [strategy as story] is building. We use stories and narrative a lot in our work, but for our friends at Anecdote, it’s their bread and butter. They are doing fantastic work working with CEOs and their teams to help them build stories which explain their companies’ strategies. [Here, Paul referenced a piece on Anecdote’s site about story and strategy.] for a small insight. Interesting to think ‘why’ stories are so effective in this context? Sure there’s the usual thought - stories tick the box on many of the principles of effective communication. Go deeper, and science tells us that stories actually change the way we think and the way we act. For example, neuroscience highlights to us that it is through “stories” and the “experiences” people have that new pathways are created in the brain (by discovering insights for themselves), which ultimately influences how we make sense of the myriads of data — such as in typical strategy documents — we are exposed to in the world (or in this case the organisation).

OnBrandPartners.jpg The CEO’s perspective is unique — I often say that he or she is effectively the only person in an organisation who will really lose sleep over ‘how does everything integrate, or fuse together’. It’s a question I often get asked by CEOs — “what’s the glue? How do I get everyone aligned and engaged.” Of course they can’t do the “fitting” or the “gluing” — they rely on everyone else to do that. Think of culture as the neural patterns of the organisation.

Stories illustrating and reinforcing vision and strategy are an important conduit in creating new organisational mindsets (c.f., neural pathways at a company level). They allow everyone to have those ‘aha’ moments - an insight that connects what they do to the “something bigger.” As that happens a different pattern of behaviour starts to emerge from within the organisation. Whenever CEOs (and any leader for that matter) ask themselves “How do I create the right mindsets?” rather than “How do I change behaviour directly?”, stories start to become the key tool in their kit. It’s even better if they use the stories as a stimulus to develop dialogue with and, amongst, their people. I suspect that in each of the examples you’ve highlighted, the CEO has either consciously or unconsciously adopted that starting point.



Entry by Kathy Hansen. Learn more.

 

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See a photo of Caryn, her bio, Part 1 of this Q&A, and Part 2.



Q&A with Caryn Mirriam-Goldberg, Question 3:

Q: How important is it to you and your work to function within the framework of a particular definition of “story?” (i.e., What is a story?) What definition do you espouse?

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A: I think of the stories that matter as the myths that inform our lives, tell us who we are and how we’re supposed to live, what we’re allowed to do with our lives and even who we should or shouldn’t love. I like to use Roland Barthes’ definition of myth as a dominant cultural narrative, or the big overstory that informs and shapes our lives. I also think of myth as a series of concentric circles — the outer circle is the cultural story of who we’re supposed to be; the next circle is the story of who we are according to our community; the next circle is the story of who we are according to family and close friends, and the find circle is the story we tell ourselves about who we are. When we start learning what we’re telling ourselves, what we’re absorbing from others about how to live, we’re working with the core of the story of our life. Changing one thing or another, opening ourselves to some possibilities we hadn’t seen before, looking at ourselves from another angle, aiming our lives toward a different ending than the old script — all of this can and does liberate our lives, our families, our communities, our culture.


Entry by Kathy Hansen. Learn more.

 

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See a photo of Caryn, her bio, and Part 1 of this Q&A.



Q&A with Caryn Mirriam-Goldberg, Question 2:

Q: The storytelling movement seems to be growing explosively. Why now? What is it about this moment in human history and culture that makes storytelling so resonant with so many people right now?

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A: Listening to, creating, telling and exploring stories help us better understand the story we’re living, and how accurately that story meshes with our callings: who we’re born to be and what we’re born to do. At a time when our overall cultural stories don’t serve us in so many ways, it becomes even more important to reclaim what we’re living and why we’re alive. To be more specific, we’re living in a time of unsurpassed environmental destruction, unpredictable economics, huge divides between those who have and those who don’t, and all kinds of mysterious and not-so-mysterious dangers (such as the explosive growth of cancers and auto-immune diseases that can change and destroy lives). All of this creates a greater need to reclaim our own stories — to strip away the cultural stories that don’t work anymore or never did, to create stories that bring us home to ourselves and to what truly matters.


Entry by Kathy Hansen. Learn more.

 

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I learned of Caryn Mirriam-Goldberg indirectly through Yvette Hyater-Adams, who completed the Transformative Language Arts that Caryn co-founded at Goddard College. I find the TLA program fascinating, and I’m delighted to present this Q&A with Caryn over the next five days.

CMirriamGoldberg.jpg Bio: Caryn Mirriam-Goldberg is the poet laureate of Kansas and the founder of Transformative Language Arts at Goddard College, where she teaches. She’s the author of 10 books, including four collections of poetry, a memoir on cancer and community, and a beloved writing guide, and for almost two decade, she’s been leading community writing and storytelling workshops widely with many different communities. With singer Kelley Hunt, she co-writes songs (and is a songwriter listed with BMI), collaboratively performs and offers Brave Voice: Writing and Singing for Your Life workshops and retreats. She also co-edited the Power of Words: A Transformative Language Arts Reader and co-founded the Transformative Language Arts Network (Power of Words book available through this site.) For people interested in learning more about TLA, Caryn recommends Goddard’s TLA Program, the Transformative Language Arts Network, and the Power of Words conference, an annual conference held at Goddard College and organized by the TLA Network, which will next be held Sept. 22-26 and feature keynoters Nancy Mellon, Gregory Orr, Greg Greenway, Kim Rosen, S. Pearl Sharp, and many others.



Q&A with Caryn Mirriam-Goldberg, Question 1:

Q: The Web site for the TLA program notes: “Transformative language arts is a new and emerging academic field focused on social and personal transformation through the power of the written, spoken, or sung word.” Can you talk about the roots of this field? It appears that you founded it. What kinds of societal needs were you responding to in establishing this field?

A: TLA is both a new, emerging field and an exploration of a very old human impulse: to make sense of the world through words and arts. I was drawn to found TLA for several reasons: one is that I realized there were all kinds of programs in storytelling, drama therapy, literature and creative writing and so many related fields, but many of these programs fragmented apart writers, storytellers, spoken word performers, theater people, as well as how the language arts can be used for healing and health and how they can be used for community building and social change.

tlan_logo_100.gif I wanted to develop a program of study where people could holistically study the language arts — written, sung or told — according to what gave them meaning, whether that’s through the lenses of spirituality, social change, health, education, mythology, or other areas. I also was inspired by the realization that in Kansas, I could make a living just by leading community writing workshops, and if this were possible in the middle of the country, it must be even more possible in areas where there’s greater support for the arts. I began to research, and I found so many programs and projects around the world — theater for social change, healing storytelling, poetry for political causes — as well as organizations such as the National Storytelling Alliance, National Association for Poetry Therapy, Theatre of the Oppressed, Bread and Puppet, Healing Story Alliance. What everything had in common was the use of the language arts to change the world, whether it was songwriting to bring together teens, writing workshops in prisons, storytelling sessions in hospitals. All of this inspired me to develop the TLA program at Goddard.



Entry by Kathy Hansen. Learn more.

 

I have a very embarrassing confession, especially as a former business professor. Three alliterative business concepts — strategy, sustainability, and scalability — elude my total comprehension. I basically understand the concepts on a rudimentary level, but I have not completely wrapped my head around them. If you asked me to explain them, I could not do so in any truly articulate way. And they are not easy concepts to explain; for example, see if you can draw a picture that explains “strategy.” When I searched for graphics to accompany this post, most of the images that came up showed chess games. Yeah, chess requires strategy, but does a picture of a chess game explain strategy?

But two recent blog posts have boosted my understanding of strategy by tying it to story.

strategy.jpg The first is posted on Ben’s Blog by Ben Horowitz, cofounder and general partner (along with Marc Andreessen) of the venture-capital firm Andreessen Horowitz. In this piece about how Andreessen Horowitz evaluates CEOs, Horowitz states that “in good companies, the story and the strategy are the same thing. As a result, the proper output of all the strategic work is the story.” Here’s more, including the CEO’s role in the storied strategy:

The CEO must set the context that every employee operates within. This context gives meaning to the specific work that people do, aligns interests, enables decision-making and provides motivation. Well-structured goals and objectives contribute to the context, but they do not provide the whole story. More to the point, goals and objectives are not the story. The story of the company goes beyond quarterly or annual goals and gets to the hardcore question of why? Why should I join this company? Why should I be excited to work here? Why should I buy your product? Why should I invest in the company? Why is the world better off as a result of this company’s existence?

When a company clearly articulates its story, the context for everyone—employees, partners, customers, investors, and the press—becomes clear: When a company fails to tell its story, you hear phrases like:

  • “These reporters don’t get it.”
  • “Who is responsible for the strategy in this company?”
  • “We have great technology, but need marketing help.”

Toward the end of the section on strategy (Horowitz goes on to discuss decision-making, getting the company to execute, and measuring results against objectives), the writer makes the startling statement in the headline of this post.

Commenter “Deckerton” notes that storytelling, which he/she characterizes as “setting context in emotionally and intellectually compelling ways,” is a skill that is rarely taught. (Which is why I wish I were still teaching).

Examples of strategy as story? Horowitz offers the first one on this list, while commenters to the post suggested additional examples:

Commenter Scott Allison also suggests the storied exercise in this blog post.

Which leads to the second blog post that elucidated strategy for me. In Moving From Strategic Planning to Story Telling by Roger Martin, dean of the Rotman School of Management at the University of Toronto, Martin suggests “think[ing] about a strategic options as being just a happy story about the future.” Further:

When you have assembled the happy stories/options, you can then begin to deploy the most important question in strategy: what would have to be true? For each individual story, what would have to be true for it to be a terrific choice? Work backward from an attractive possibility to see what would have to be true to make this a feasible and attractive option.
That is the dead-easy way to produce great strategies.

Now, those are some approaches to strategy I can wrap my feeble brain around.



Entry by Kathy Hansen. Learn more.

 

Zack’s story, is a recent ad campaign from Tampax that is accompanied by a website, blog and Twitterfeed in the voice of 16-year-old-Zack, who supposedly wakes up with a vagina one day.

The campaign has received some criticism from feminists for gender stereotyping. Miriam on Feministing writes: “The series also over-emphasizes the differences between men and women — all of sudden because of a vagina he sees the world totally differently.”

I don’t disagree, but I’m a lot more interested in the storytelling aspects of the campaign.

You can read more about it here and here.

What do you think? Does the storytelling succeed? Is this an example of storytelling providing an entry point for awkward topics?

[Thanks to Liz Sumner for making me aware of the campaign.]



Entry by Kathy Hansen. Learn more.

 

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See a photo of Steve, his bio, Part 1 of this Q&A, and Part 2, Part 3, and Part 4.



Q&A with Steve Spalding, Question 5:

Q: If you could share just one piece of advice or wisdom about story/storytelling/narrative with readers, what would it be?

A: Find the essence of the thing.
If you are telling your own story, you must “find your voice.” No, not the thing that your writing teacher told you to find in the eighth grade when she was making you write persuasive essays about capital punishment. I mean the thing you use every day to talk to your peers, the thing that separates the way you behave and the way you see the world from everyone else on the planet Earth. That is your voice, and before you can tell a great personal story, you have to tear away all the artifice and get in touch with that.

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If you are trying to tell someone else’s story, that’s even harder because finding the essence of a product or service often means cutting through the great, big pile of nonsensical business jargon that is standing in your way. It’s the hardest thing in the world to figure out what makes a thing tick, because most of the time even the people who designed it don’t really know. People don’t buy products for their features. They buy them for the feelings they evoke. You buy a $1,000 DSLR or a $1,500 MacBook because it makes you feel a certain way, because a carefully crafted narrative is there and that narrative speaks to something real inside of you. If they tried to sell you on the shutter speed or the hard-drive size, they’d never see the inside of your wallet. Which makes most companies incredibly sad. Canon and Apple know this, and if you are going to tell stories for companies you have to know this, too.


Entry by Kathy Hansen. Learn more.

 

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See a photo of Steve, his bio, Part 1 of this Q&A, and Part 2, and Part 3, and Part 3.



Q&A with Steve Spalding, Question 4:

Q: Are there any current uses of storytelling that repel you or that you feel are inappropriate?

A: Advertising can be storytelling, but a lot of times it’s not. I think we’d all be better off if people who are pure marketers stopped casting themselves as storytellers.
Don’t get me wrong. I love advertising. I love marketing, and I love those who create new and interesting ways to sell products. It’s what I do, and if I didn’t like it I would have become a doctor or a used car salesman or something.

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What I am saying is that I think those who do commercial storytelling well are brilliant and are raising the bar and setting the standard for the rest of us. However, since it is so utterly fashionable to cast yourself as a storyteller these days, the result is that everyone with a Twitter account and a dream thinks that they are Kubrick and worse, they think that their particular brand of seminar-shilling wisdom represents that future of narrative.
What that does is that it destroys the trust in “storytelling” as a viable form of marketing and it makes everyone else have to work that much harder to convince people that this isn’t just the snake oil of the week.
I never fault anyone for trying to make a buck, but I do take exception when those attempts hurt the industry as a whole.


Entry by Kathy Hansen. Learn more.

 

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See a photo of Steve, his bio, Part 1 of this Q&A, and Part 2.



Q&A with Steve Spalding, Question 3:

Q: The culture is abuzz about Web 2.0 and social media. To what extent do you participate in social media (such as through LinkedIn, MySpace, Facebook, Twitter, YouTube, Second Life, blogs, etc.)? To what extent and in what ways do you feel these venues are storytelling media?

A: Everything is a storytelling medium.
A blog is a vehicle for stories. A greeting card is a vehicle for stories, and so are Aunt Ethel’s home movies. Social media is where I live, and if it has taught me anything at all, it’s that if you give people the tools they will use them almost exclusively to tell stories.

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Sometimes these stories amount to little more than screeds about taking showers and going to dog parks, but in some cases you hear some really gripping stuff, like when we learned about the geopolitical crisis in Iran during the election on Twitter or the hundreds of videos about cutting-edge research that find their way onto major universities’ YouTube channels.
We live in a world where we have, for the first time, turned the camera on ourselves and given everyone the ability to tell the world every, little detail about their lives. It’s really no surprise that so many of us are using these tools to tell stories. We do well to recognize this fact and take notice.


Entry by Kathy Hansen. Learn more.

 

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See a photo of Steve, his bio, and Part 1 of this Q&A.



Q&A with Steve Spalding, Question 2:

Q: The storytelling movement seems to be growing explosively. Why now? What is it about this moment in human history and culture that makes storytelling so resonant with so many people right now?

A: Every marketer worth his [or her] MBA is calling himself [or herself] a storyteller these days. There is a really good reason for this beyond the fact that it’s a fashionable little buzzword.

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The Internet that we all know and love has brought us to a point where the only thing a company can sell effectively is its story.
Whether you produce blog posts, music, or calendaring software, there are about 10,000 other people who are doing precisely the same thing you are. Most of them are doing it pretty well too, and since your average consumer doesn’t have the time or desire to figure out the subtle differences in your software’s color scheme versus your competitors’; the only way you are going to stand out above the noise is if you have a story to tell.
You have to break through the layers and layers of distrust and apathy that we have all built up around ourselves and find a way to transform a cold transaction into an emotionally charged experience. That’s really hard when you’re selling productivity software. Even if you aren’t selling anything, you still have to find a way to beat out the tens of millions of videos of cute cats and sneezing bears that people would much rather spend their time looking at. Advertising just isn’t cutting it anymore and traditional marketing techniques are becoming less effective and more expensive on a cost per eyeball basis. For the marketer without a big Hollywood budget and a huge team ready a rearing to do quantitative user segmentation and SWOT analysis, all you have are the stories you tell.
People are starting to learn this, and they’re realizing that if they are going to survive in an information-rich world, they better get pretty good at it.


Entry by Kathy Hansen. Learn more.

 

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Steve Spalding, who calls himself “chief storyteller” at his firm, initially caught my eye because he’s based in one of my all-time favorite cities, Gainesville, FL, where I met my husband, married him, and had my first child. Then I became intrigued with the work he’s doing in digital storytelling, Web design, branding/imaging, social-media strategy, advertising management, SEO, and education/coaching, as well as his interesting blog, How to Split an Atom. Finally, I marvel at his unlikely background as an electrical engineer — and how it led him to storytelling. I’m very happy to present his Q&A over the next five days.

steve_spalding.jpg Bio: Steve Spalding is the founder of How to Split an Atom, a blog about the intersections of web technologies, small business and culture. In his ample free time he also acts as managing partner at Crossing Gaps, a marketing and design firm that specializes in helping brands and creative professionals find innovative ways to match their business strategy to their web strategies to increase revenue, brand awareness, and overall communication quality.

He has experience building start-ups, working at them, tweaking, fixing and developing campaigns for them as well as speaking to dozens of their Founders and CEOs. He has acted as an adviser for startup entrepreneurs and a host of creative professionals. His work has been cited by the LA Times, Forbes, Mashable, RWW, as well as Geoff Livingston’s marketing and new-media book, Now Is Gone.



Q&A with Steve Spalding, Question 1:

Q: How did you initially become involved with story/storytelling/narrative? What attracted you to this field? What do you love about it?

A: I took a roundabout path to the “story” industry. I started off as an electrical engineer, primarily because I loved the idea of putting things together from scratch. There is something about being able to look at a problem and solve it from first principles that has always excited me, and being able to do that with robots seemed like a pretty solid bet.
As I was finishing up my graduate work, what I realized was that the things I really enjoyed doing would not be the things that I ended up spending most of my time working on in industry. There is a frightening amount of cubicle work in engineering, and my temperament doesn’t do well with whiteboards and testing documentation.
Long story short, I came to a few conclusions to go along with this revelation.
They were as follows: I loved to write. I loved entrepreneurship and business. I knew how to create systems. I liked working with people. After a few detours working with startups and puttering my way through projects, I finally landed on Crossing Gaps, the company I started and have been working on for the last two years.
What has been absolutely fantastic about this latest venture is that it has given me the opportunity to take all of the digital communications tools that are being turned out, the technology that I utterly adore and use it to help companies tell meaningful stories about their products and have real interactions with the people who they are trying to sell their wares to.
As for how this all relates to what I love about storytelling, I’ll save that for the next question.


Entry by Kathy Hansen. Learn more.

 

I have faithfully watched the Tony Awards for as long as I can remember. Like most viewers (I’m guessing), my experience with seeing Broadway shows in the flesh is quite limited. My dad, who was living in the Big Apple in the 70s, once treated me to a glorious weekend of seeing two Broadway and two off-Broadway shows.

But I love the Tonys because, for one night, they transport me to The Great White Way (just got curious about the derivation of that term. Wikipedia says: “a mile of Broadway was illuminated in 1880 by Brush arc lamps, making it among the first electrically-lighted streets in the United States”). One doesn’t need to have seen any of the plays or shows to get the flavor of the just-past Broadway season from the Tonys.

In honor of tonight’s Tonys, I’m posting a video of six-word stories from Tony nominees, a collaboration with SMITH magazine. I know some of my readers feel that SMITH’s six-word memoirs are gimmicky and disrespectful of the concept of story. So this is for those who aren’t offended by the concept:



Entry by Kathy Hansen. Learn more.

 

Storytelling is a hot topic in fund-raising and philanthropy. Andy Goodman is arguably the leading evangelist for storytelling in fund-raising; the folks at NTEN (membership organization of nonprofit professionals who put technology to use for their causes) regularly hold storytelling webinars; and my friend Thaler Pekar consults with nonprofits about storytelling and writes about story on PhilanTopic.

TheWrittenVoice.jpg Thus, you might think that discourse about fund-raising is story-laden. Not so, says Frank C. Dickerson, PhD, whose doctoral-dissertation research revealed that fund-raising discourse:

  1. focuses more on transferring information than creating interpersonal involvement; is
  2. cold, detached and abstract rather than warm, connected and concrete;
  3. is lexically complex rather than informal like person-to-person conversation; and
  4. is more like argumentation aimed at the head than human-interest narrative aimed at the heart.

Dickerson, who wrote to me this past week to share his research, deployed discourse analysis, using methodology from the field of “corpus linguistics,” to address the research question: “What common text genre does fund-raising discourse most closely resemble?” Dickerson further describes his methdology:

The protocols used were developed in the 1980s at USC by Douglas Biber… . computer routines based on factor analysis that profiled 23 genres of texts. Biber’s seminal study made it possible to tag and tally counts of linguistic features in discourse.
Once averaged, these feature counts made it possible to profile written and/or spoken discourse of fund raisers. I examined the fund-raising discourse produced by 735 of America’s elite nonprofit organizations whose IRS form 990s identified them as raising at least $20 million annually in direct public support

Dickerson derived his findings from an evaluation of patterns across 1.5 million words of text in 2,412 fund-raising documents. “I performed a ‘linguistic MRI,’” he says, “to reveal the underlying linguistic substrate of what fund raisers write.”

Dickerson calls his findings provocative. “They are opposite what most would have expected.”

In fact, Dickerson continues:

Nothing about this is comforting. The message is a bit like that of an Old Testament prophet, uncovering a dysfunctional pattern in the way fund raisers communicate that has implications for
  • fund-raising practice,
  • future research, and
  • the education and training of development professionals.

“Although the study examines written texts,” Dickerson says, “the data apply equally to anyone who communicates with donors — whether raising significant gifts face-to-face from individuals of high net worth or soliciting entry-level gifts online or by direct mail. Anyone who talks with or writes to donors will benefit from this information. But like a mirror, statistics only reflect reality. They’re descriptive … not generative. But knowing how WRITERS WRITE and TALKERS TALK is the critical toward making incremental improvements in fund-raising discourse.”

Dickerson titled his dissertation Writing the Voice of Philanthropy: How to Raise Money with Words. “In my consulting over the past 40 years,” Dickerson explains, “I’ve observed that individuals need to learn how to write the VOICE OF PHILANTHROPY (the voice of the FRIEND-OF-MAN). That is, they need to write as if they are speaking for a PERSON in need or a cause affecting PEOPLE — whether the hurting and vulnerable poor, education, the arts, the fragile environment or defenseless animals.”

Fundraising writing at its best, Dickerson asserts, “should read like a conversation sounds. It should read like the banter between friends over a cup of coffee — filled with personal views, concerns, stories, and emotion about what matters to them. But fund raising has a serious problem.”

At his research site, The Written Voice, Dickerson offers two articles that review samples of actual texts studied and the results of several fund-raising campaigns conducted. He says: pliny.jpg

One article (the longer version of The Way We Write is All Wrong) is a 35-page version from which my published pieces were derived. Near the end of this article I reproduce the world’s oldest extant fund-raising letter, written circa 98 A.D. to Cornelius Tacitus by Pliny the Younger [pictured]. It was penned during the reign of Roman Emperor Trajan to raise money for a school in Pliny’s hometown of Como Italy. Pliny’s letter is significant because it’s better constructed than most modern-day fund appeals.


Entry by Kathy Hansen. Learn more.

 

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See a photo of Steve, his bio, Part 1 of this Q&A, Part 2, Part 3, and Part 4.



Q&A with Steve Krizman, Question 5:

Q: In your LinkedIn profile, you note that in your current job, you “direct a team that integrates storytelling, internal communications, marketing, public relations and multi-media relations.” Can you offer an example or two of how you integrate storytelling into this work?

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A: I direct integrated communications for the Colorado region of Kaiser Permanente, a health insurer and health-care provider. Our mission includes improving the health of our entire community, so we support many healthy lifestyles programs along the Colorado Front Range. Recently, we helped Denver Mayor John Hickenlooper launch the first-ever citywide bike-sharing program. Participants can check out a bicycle at one of 50 stations around the city and check it back in when they reach their destination. Computers on the bikes provide riders information about calories burned and carbon offsets.
We are a major funder of the program because of its obvious impact on the health of individuals and of the community. When the mayor launched the program, the Kaiser Permanente Integrated Communications team was there to help tell the story, using various media and tailoring it for our different audiences. The stories included:
  • Share-a-story. We asked people via our Facebook fan page to tell us their fondest cycling memory. They could have written one sentence to get the free bike helmet we were offering, but the 53 who responded took the opportunity to tell a personally significant story — about their first bike, about the freedom they feel, about a bad accident. More proof that people gravitate to story.
  • Video stories. Integrated Communications team members interviewed bicycle riders at the launch ceremony and put together a short video that combined the information about the bike-share program with vignettes from participants. The video was posted on our Facebook fan page and also shared with our 6,000 staff and physicians on our intranet site. Also on the intranet site was a video clip made by one of our physicians, who rode to all 50 bicycle stations in one day.
  • Twitter stories — If you consider 140-character micro-blogs as stories (which I do): Several of us Tweeted during the speechifying, sharing the story of Denver’s launch of the first-ever city-wide bike sharing program (take that, Portland). I quoted the mayor in a few Tweets, which were duly re-Tweeted by the mayor’s communications people.

All this material remains at our disposal, to be used whenever we need a story to describe our commitment to community health. For example, we have photos, videos and people stories to insert into presentations to community groups and potential customers.



Entry by Kathy Hansen. Learn more.

 

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See a photo of Steve, his bio, Part 1 of this Q&A, Part 2, and Part 3.



Q&A with Steve Krizman, Question 4:

Q: What future trends or directions to do foresee for story/storytelling/narrative? What’s next for the discipline? What future aspirations do you personally have for your own story work? What would you like to do in the story world that you haven’t yet done?

A: There already is greater emphasis on visual storytelling in organizational communication. The sensational success of YouTube told us that’s what the audience wants. The challenge now is using the right visual medium for the right audiences at the right time. My team is using Flip camera video — and expert editing — to develop Web-only stories that are told in a less formal context (Facebook fan page or employee intranet, for example). Higher production values are used for videos that will be shown on TV or large screens and for which polish is needed to convey our health care expertise (advertisements and patient care videos, for example).
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I look forward to what expert storytellers can do with all the visual storytelling tools now at our disposal. Wouldn’t it be great, for example, if PowerPoint were used to tell stories as opposed to displaying speakers’ notes?
Personally, I would like to explore ways to calibrate stories so they resonate with people of different cultures. Health care providers use stories and analogies to help patients understand their condition. If providers were aware of African or Latin American story traditions, would that help them frame stories that are more effective for their African-American or Latino patients?
I am currently intrigued by fotonovela technique — using photographs with comic-like dialogue bubbles to tell a story. The Mexican culture has some familiarity with this storytelling technique, and I wonder whether we can use it in health care to convey important health information.


Entry by Kathy Hansen. Learn more.

 

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See a photo of Steve, his bio, Part 1 of this Q&A, and Part 2.



Q&A with Steve Krizman, Question 3:

Q: The culture is abuzz about Web 2.0 and social media. To what extent do you participate in social media (such as through LinkedIn, MySpace, Facebook, Twitter, YouTube, Second Life, blogs, etc.)? To what extent and in what ways do you feel these venues are storytelling media?

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A: I am an early and enthusiastic adopter of social media. I have written several blogs (currently Tropes), I Tweet (@Dialogdog), I am active on LinkedIn, Facebook and Vimeo, I check-in on Foursquare, I follow several blogs via feeds to my iGoogle page, and I have contributed to Wikipedia. I love this stuff precisely because I consider them storytelling — bits of stories that I weave together and watch others weave together into a grand narrative of our times, our selves and our beliefs. It’s real-time anthropology.
I don’t see how anyone can be successful in organizational communication and PR without participating in social media. I can’t see how anyone can be in this business and not want to. Just as I enjoyed getting phone calls after a newspaper story, I love seeing the immediate impact of my organization’s storytelling. How many people watched the video in which our sports medicine doctor talked about preparing for the upcoming marathon? What are employees saying in response to the healthy lifestyles challenge? How many prospective customers have scoped out our physician bio pages? How many people have shared our latest TV commercial? What are the comments like in that online Denver Post article?
I think a lot of people in my field have held back because they wonder whether social media will stick or because they worry about liability. It’s a safe bet that people will be talking about your company long into the future, whether that is at the beauty parlor, on Facebook or in some other venue yet to be invented. The sooner you get into the conversation, the greater influence you will have on the conversation in the future. As for liability — let’s look at the flip side, the good you and your company can do by impacting more people at the time and in the place when they are ready for your product or service.


Entry by Kathy Hansen. Learn more.

 

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See a photo of Steve, his bio, and Part 1 of this Q&A.



Q&A with Steve Krizman, Question 2:

Q: If you could identify a person or organization who desperately needs to tell a better story, who or what would it be?

A: We need a strong story - or stories — to make our broken health-care system more real to more of us. Facts: The United States pays more per capita on health care than any other country, yet our quality of care is among the worst in the industrialized world. Despite these well-known facts, we fight partisan wars instead of addressing the underlying problems.

health_care.gif

We need the equivalent of my gassed dogs story. The problem in Montrose was an overabundance of unwanted strays and lack of concern about the outcome. I could have written an article detailing the problem, but it would not have been as effective as the article that described precisely what became of the dogs that went unclaimed.
The problems with health care are so complex and experienced in different ways by so many people, it is difficult to get a good outrage going. It’s not like there’s TV footage of a broken pipe spewing oil into the Gulf of Mexico.
A recent front-page article in the Denver Postdemonstrates that even when we make the system work better, it’s hard for the story to surface the outrageous problem that is being fixed. The article told how Kaiser Permanente patients who were given technology to e-mail their doctor with daily blood pressure results were much more likely to change their diet and keep their blood pressure within safe limits. As a result, they are 40 percent less likely to have a stroke and 25 percent less likely to have a heart attack. But here’s the underlying, outrageous problem: the vast majority of hypertension patients and their doctors will not soon get access to this technology because the dominant economic model in U.S. health care does not reward the investment. So we go on with 62 percent of hypertension patients letting their blood pressure go through the roof and risking heart attacks and strokes (the treatment of which is covered under our current economic model).
We need more stories that shine the light on things that happen when we haphazardly throw 16 percent of our GNP at an industry and don’t hold anyone accountable for outcomes. Things like post-op infections that are bad for the patient but financially good for the hospital (longer stay, more procedures, more billable hours). Or like losing a limb to diabetes because you are black and that’s just the way the odds play out. Or like hauling your sick self to the doctor’s office for a five-minute look-over instead of a phone consult because the doctor doesn’t get paid unless he/she actually sees you.


Entry by Kathy Hansen. Learn more.

 

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I believe it was through a comment to this blog that I first learned of Steve Krizman. We share common roots in journalism. I’m so pleased to present his Q&A over the next five days. If you are squeamish and/or an animal lover, brace yourself for his first paragraph below.

SteveKrizman.jpg Bio: [From Steve’s LinkedIn profile]: “I enjoy using my communication and team-building skills to bring people together in common cause for the betterment of our world. I currently lead the Integrated Communications and Brand Management team at Kaiser Permanente Colorado. The health care provider and health insurer has been reforming health care for more than 50 years, shaking the establishment by paying doctors salaries, coordinating care across all specialties, and more recently building an electronic medical record accessible to all 8 million patients.

I spent 21 years as a newspaper editor and reporter, before going into public relations and organizational communication. I earned my MA in organizational communication and occasionally entertain the idea of working on a doctorate.”

Steve’s blog is Tropes, about which he says: “Tropes are common patterns in storytelling — the hero’s journey, the turn of fortune, the three guys walk into a bar … I have this hunch that all of life’s lessons can be categorized into a finite number of tropes.”



Q&A with Steve Krizman, Question 1:

Q: How do the storytelling lessons you learned as a journalist translate into the work you now do in PR, organizational communications, etc.?

A: Once a week in the ’70s, the animal control officer in Montrose, Colo., led a few unwanted dogs into a squat brick shed, backed up his truck and connected a hose from the shed to his exhaust pipe. He gunned the engine both to speed the gassing and to drown out the noise of animals in their death throes. It wasn’t long after I described this procedure in the local newspaper that the mayor put a halt to it and a fund-raising drive to build a new animal shelter was launched.
I wrote or edited thousands of articles over 21 years in newspapers, some packed with facts and politics and some that unfolded in story. I always got more phone calls after a storytelling article, whether it be eyewitness accounts of midnight garbage dumping off cruise ships, a woman’s daily cat-and-mouse game with a stalker or the inhumane dispatch of strays. I covered city councils and state legislatures that debated the important issues, but those articles did not capture the attention or provoke an emotional response as did storytelling.
Ironically, there is more call for storytelling in organizational communication than in newspapers. While newspapers chronicle, organizational communication teams try to affect behaviors or opinions. For that, you need storytelling: object lessons, analogies and cultural narratives, to name a few. My journalistic experience gives me a good sense what will resonate with large audiences. It helps me spot a “good story” rather easily. And I have 21 years of practice in written storytelling.
But I have had to learn a lot in the 11 years since I moved into organizational communication. Analogies were not big in daily newspapers, but leaders need them to help explain complex ideas. Helping to identify and affect an organization’s culture requires more anthropology and sociology than I picked up in my newspaper days. In my last years in newspapers, we were testing new ways to visually tell stories (graphics, primarily). Now, visual storytelling in the organizational setting is multi-faceted — video, sound slides, and, yes, PowerPoint.
I feel journalism gave me a good base to branch off into organizational communication.


Entry by Kathy Hansen. Learn more.

 

One of my occasional forays into my own story…

I am extremely uncomfortable — nay, phobic — when it comes to talking on the phone. I dread making phone calls and very rarely answer the phone.

phobia.png Many people find my problem very weird. Some even disdain me. I don’t think my issue is any stranger than the phobia my mother and sister have about driving over bridges. (Neither can do so, and they have to plot out intricate routes when they drive to ensure they won’t encounter any bridges.)

I wasn’t always this way. I would not say I went out of my way to talk on the phone, but I had people in my circle that I would have regular, long phone conversations with. I don’t remember having my current dread of the phone in my earlier years.

Two things happened in the 1990s that gradually made me anti-phone. The first was the Internet. I first went on the Internet in 1993, and I think I came to a subconscious realization that, for the most part, I didn’t have to talk on the phone anymore. I used to have at least monthly long conversations with my best friend, who for years has lived far away from me, but once she went on the ‘Net a month after I did, we carried out virtually all our conversations online. We’ve had personal phone calls only twice in these last 17 years — once to discuss the OJ Simpson verdict and once when my father died.

Which brings me to the second influence on my phone issues. When my dad died in 1997, I learned that he, too, had hated the phone. Somehow that made my quirk OK. I was validated. It was genetic.

It’s usually not that hard to work around my discomfort. In my role as associate publisher for Quintessential Careers, I get a fair number of requests from media for interviews. I either ask to do them via e-mail or pass them off on my partner.

Some phone interaction is unavoidable, though. Some people press me to communicate by phone. I did a number of phone interviews when I was actively pursuing a college-teaching position. My phobia made me absolutely awful at these interviews, but I did learn to get somewhat better (my husband suggested pacing while on the phone to channel nervous energy; that helps a lot). I do monthly conference calls for an executive board I serve on. I am capable of making phone calls if I absolutely have to. I generally have to psych myself up for days. My greatest triumph in confronting my fear was the teleconference I did last fall for Worldwide Story Work.

I know there are ways to get over phobias, and some friends have even suggested methods. But I’m not sure I want to get over it. If my phobia does not greatly impede my personal and professional lives, do I really need to get over it?

The same best friend with whom I no longer have phone conversations has a simple rule for life: Do what you love. Don’t do what you hate. I feel as though I have earned the right at my age to not have to do what I hate.

What do you think? Am I selfish, inflexible, and bizarre for refusing most phone contact and being unwilling to get past my fear?



Entry by Kathy Hansen. Learn more.

 

Steve Denning published a blog entry last month on an important but often overlooked topic in organizational storytelling — how to create a culture of storytelling within the organization. He offers six steps for doing so.

storycircle.png Though grounded in Denning’s earlier work in storytelling, the steps seem very much tied to his more recent work for his upcoming book, The Leader’s Guide to Radical Management.

If I ever have the opportunity to teach again, I would consider implementing these steps to create a storytelling culture in the classroom that students could take into their future workplaces. I always found it a bit difficult to get buy-in from business students on the value of storytelling.

Denning’s six steps follow, but his elaboration on each step is the real meat of his prescription, so I hope you’ll check it out:

  1. The goal that is being pursued in establishing a storytelling culture is to foster high-quality interactive human relationships.
  2. Stories should be recognized as one of the ways of fostering high-quality human relationships, but not the only one.
  3. The organization must have as its goal to satisfy, please and even delight other people.
  4. The work should be conducted in self-organizing teams.
  5. The work should be done in relatively short cycles,
  6. Communications should be more open than in a command-and-control bureaucracy.

[Photo: Story circle at McKenna Museum of African American Art discussing juvenile detention reform in New Orleans in 2008.]



Entry by Kathy Hansen. Learn more.

 

The Society for New Communications Research, which I mentioned way back in the second year of this blog, is conducting research on how organizations use video storytelling.

sncrlogo.gif Here’s what the organization is looking for:


Every organization has stories designed to communicate who they are to both external and internal audiences. Stories are a powerful force for internal innovation and external customer connection. The results of this study will yield insight into best practices for organizations wanting to leverage video to reach audiences and tell their stories in new ways.
 

Here are the specific research questions the study, The Organizational Use of Video Storytelling, is exploring:

  • How are organizations using and disseminating video today?
  • Who are the primary audiences for organizational storytelling using video?
  • What are primary reasons driving organizations’ video strategies, and how big a priority is it?
  • How has online video changed the ways organizations create and disseminate their stories?
  • What are the best practices in leveraging video to reach audiences in new ways, and what organizations are doing it well?
  • How are organizations using video podcasts, YouTube, and other online video platforms, and measuring the success of their video efforts?
  • What are the trends for online video as storytelling for the next 3-5 years?
  • How has this "video storytelling" changed the structure, content, and delivery of the “defining” organizational story?
  • Is the use of video changing the quality and transparency of organizations' stories?
  • What are the new rules for storytelling success when using online video?

And, here’s the link to the survey.



Entry by Kathy Hansen. Learn more.

 

One of the recent podcast interviews in Michael Margolis’s The New Storytellers series featured the wonderful Christina Baldwin, author of one of the seminal books in the current storytelling movement, Storycatcher.

BaldwinMontage.jpg I was particularly fascinated by the part of the conversation about introverted vs. extroverted storytelling. Storytelling on social-media venues like Facebook is an example of extroverted storytelling, Baldwin says, and it’s often incomplete and unsatisfying storytelling. Baldwin uses a status-update example, “Just ate a hamburger,” that leaves the audience hungering (my pun intended) for more, or leaves them asking, “So?” and “What happened next?”

Baldwin says that if people aren’t attached to their interior stories, they get addicted to feedback. Although I would have considered myself attached to my interior story, I also recognize a social-media feedback addiction in myself. I’m always curious about what kinds of comments that my, for example, Facebook status updates, have generated.

People are longing for a deeper conversation, Baldwin says. We need to push technology aside and just talk slowly face-to-face in a social space that creates connection. Her prescription for such a space is the circle conversation, the subject of her newest book, The Circle Way.

It’s a very worthwhile and thought-provoking conversation. Give it a listen.



Entry by Kathy Hansen. Learn more.

 

Reaching a zenith in 2008 and 2009, a steady stream of new Web sites to facilitate online storytelling seemed to pop up regularly. I list many of these sites here and here.

Not only am I seeing a dramatic drop in announcements of new online storytelling venues, but I recently received notice of the impending closure (on June 30) of one such site, Tokoni, the interface of which is shown below.

tokoni.gif Perhaps there’s nothing to read into the demise of this site. Perhaps storytelling sites have reached enough of a critical mass that the audience can no longer support the glut of sites. Maybe Tokoni had a weak business model.

An ongoing theme here at A Storied Career has been the current “explosion” of storytelling. With Tokoni’s closure, I can’t help wondering if the explosion has reached its peak, and we are seeing an inevitable decline in storytelling fervor. What do you think?

By the way, Tokoni helpfully provides instructions for those who want to save the stories they’ve posted on the site.



Entry by Kathy Hansen. Learn more.

 

The Social Security Stories Project is a newly launched effort to gather stories about the importance of Social Security in our society, says a press release. The Social Security Stories Project is seeking story submissions from the public, with a goal of receiving 1,000 stories by the end of July. The stories will then be reviewed for possible inclusion in a new book to be published in honor of the 75th anniversary of Social Security on Aug. 14, 2010.

News Image

We’re inviting people across America to share examples of how Social Security made a meaningful difference in their life or the life of someone they know — as it currently does for one in six Americans.
Those who have received Social Security as well as those who know of a friend or family member whose life was impacted are encouraged to submit their stories. Online submission is easy and requires less than 400 words or a short video. Full details and a submission form are available at www.SocialSecurityStories.org.

“We are hoping the younger generations will interview their parents and grandparents on the subject which is why our website offers interview questions,” says Barbara Burt, executive director for the Frances Perkins Center, a nonprofit organization leading the project as part of its mission to honor and learn from Frances Perkins (the first woman to serve in a presidential cabinet). A pioneering woman in and ahead of her time, Perkins was U.S. secretary of labor for Franklin Delano Roosevelt. She was champion of the New Deal, close friend and advisor to FDR.

The Social Security Stories Project seeks to create a full picture of the importance of Social Security to celebrate and share with all U.S. citizens, and the world.

Stories may be about how:

 
  • Social Security helped a family after a tragedy.
  • Social Security is helping with retirement even in these tough financial times.
  • Children were left without a working parent or were orphaned, but Social Security provided economic security.
  • Social Security helped ensure someone received an education.
  • A veteran was able to live in dignity.
“We're inviting people across America to share examples of how Social Security made a meaningful difference in their life or the life of someone they know — as it currently does for one in six Americans,” says Burt.

There are three ways to submit a story:

1. Upload a video on YouTube (less than 3 minutes in length) and include a link to the video with the submission form available at www.SocialSecurityStories.org.
2. Fill out the simple form on the website (400 words or less).
3. Send a hard copy of your story in regular mail to: Social Security Stories Project, Frances Perkins Center, PO Box 281, Newcastle, ME 04553

Go to SocialSecurityStories.org for more information.

The project is also utilizing social media sites like Twitter and Facebook to get out the word in a grassroots effort to share and celebrate stories about Social Security and educate the public.



Entry by Kathy Hansen. Learn more.

 

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See a photo of Gregg, his bio, Part 1 of this Q&A, Part 2, Part 3, and Part 3, Part 4, Part 5, and Part 6



Q&A with Gregg Morris, Question 7:

Q: You write that your site, What’s Your Story?, is “about stories and storytelling and how to use and tell those as you go about reinventing yourself and your business in light of the revolutionary changes going on in our society.” Without revealing all your trade secrets, can you talk a bit about how people can use storytelling to reinvent themselves?

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A: No trade secrets here. We reinvent ourselves, our businesses or our organizations, because the stories we have been living and telling are no longer viable or working. It could be that we force ourselves into that reinvention. It could be that it’s forced upon us. As individuals, we might be unhappy with our marriage, our jobs, our spiritual life, any number of things, and decide to do something to fix that. As businesses or organizations, we could be unhappy with sales, product performance, employee performance, donor performance, again, any number of things that we decide to do something about. When looked at through the lens of story and storytelling, these situations provide us with the opportunity to overcome obstacles and tell a story about how we did that and the “new” or “different” us that emerges. Since I come at storytelling from both a literature and business background, I tend to see these as inciting incidents. And, inciting incidents always drive the best stories.
The sea change that has been going on for quite a few years now has forced a number of people to either reinvent themselves by telling and living a new and different story or to languish as the one they were living withers. Stories seem to flourish when infused with energy and die when deprived of it. Embracing the reinvention and renewal process with a new story taps into that energy.
I think that the difference between those who manage the reinvention and those who wither is directly related to storytelling. If we can see and follow the threads of narrative and story woven through our lives when we are faced with a life-altering event, then we can use storytelling to help us make sense of what’s happened and to get us through that. The more significant the event or conflicted situation we experience, the greater the opportunity to tap into and then tell a “hero” story. And hero stories seem to resonate with all of us.


Entry by Kathy Hansen. Learn more.

 

About
A Storied Career

A Storied Career explores intersections/synthesis among various forms of
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Dr. Kathy Hansen

Kathy Hansen, PhD, is a leading proponent of deploying storytelling for career advancement. She is an author and instructor, in addition to being a career guru. More...

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The following are sections of A Storied Career where I maintain regularly updated running lists of various items of interest to followers of storytelling:

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Links below are to Q&A interviews with story practitioners.


The pages below relate to learning from my PhD program focusing on a specific storytelling seminar in 2005. These are not updated but still may be of interest:

May 2012

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Shameless Plugs and Self-Promotion

Katharine Hansen
My Teaching Portfolio

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My PhD Page

 

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Personal Twitter Account My personal Twitter account: @kat_hansen
Tweets below are from my personal account.
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AStoriedCareer Twitter account My storytelling Twitter account: @AStoriedCareer

KatCareerGal Twitter account My careers Twitter account: @KatCareerGal

 

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Storytelling Books