July 2010 Archives

My earliest and most sustained ambition was to be a dancer — specifically a ballerina. After five years of childhood dance lessons, I realized I was no good at learning steps. Many years later, I identified my disability as a very poor capacity for kinesthetic learning; my brain simply could not observe a teacher doing dance steps and translate the same movements to my own body.

ndd.png My inability to learn dance steps has always seemed like a cruel joke of nature, and there’s still a tiny part of me that feels as though I was meant to be a dancer, but my body and brain won’t cooperate. I probably could have confronted my disability; after all, I’ve seen auditions and performances of dancers who are deaf, who are amputees, who have scoliosis. But I didn’t, so it seems unlikely at my advancing age that I will ever be a dancer.

But I love dance and gravitate toward watching dance as entertainment. I’ve written before about my love of the reality dance competition “So You Think You Can Dance” (in fact, now that I look back, I see I also wrote about my dance ambitions and kinesthetic learning deficiencies). This show has a level of heart and authenticity that separates it from many other reality competition shows.

One indicator of how special this show is: Its personnel have initiated today’s National Dance Day, a day to get people moving and appreciating dance. Popular show choreographers Tabitha and Napoleon (a.k.a., NappyTabs) even designed a dance number that the masses could learn and perform for today’s celebration.

So what does all this have to do with story? Most of the dance numbers choreographers give contestants to perform on the show have a story behind them, and the judges to a large extent evaluate the numbers based on how successfully the contestants communicate the story. When the numbers have no story behind them, they are, in my opinion, less successful and memorable. Last night, show judge Adam Shankman, a director and choreographer, told one contestant to let the story drive the dance — that keeping the story in mind as he danced would inform and enhance his dancing.

The stories behind the contestants — and how much the audience knows about those stories — often play a strong role in how successful they are in the competition. This year’s most popular dancer, for example, is Kent, a hayseed from a tiny Ohio farming town — who dances like a god. Two winners in recent years have been street dancers with little formal training. A contestant who is a favorite with the judges and a wonderful dancer is less popular with viewers because we learned very little about his backstory during the audition phase of the competition.

Today I celebrate National Dance Day and the show that inspired it, as well as the dancer deep within me — and all the stories that propel dance into the dazzling art form it is.



Entry by Kathy Hansen. Learn more.

 

NPR and Flickr have added more scanned pages from girls’ diaries, as part of the project I reported on here. I also belatedly realized that this diary project is connected with the Hidden Life of Girls project I wrote about here. I wish the connection were more clear on these sites.



Entry by Kathy Hansen. Learn more.

 

Michael Margolis’s newsletter made me aware of this worthy project, “Be a Biographer” from The Blind Project:

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“Be a Biographer” invites designers, artists and creative-minded people to help tell the stories of victims and survivors of the commercial sex trade through their designs. “We want to connect your talents with her needs. For freedom, love, hope, dignity and protection. Our role is simple. To tell her story. To be her biographer,” said Anthony Dodero, co‐founder of The Blind Project.
Right now millions of women and children are being enslaved and exploited in the multibillion dollar commercial sex trade. “In a system that treats human lives like meaningless commodities, the greater mission of Biographe is to restore and reveal the true value of those victimized. Because when every life has equal value, all stories, all hopes and all dreams are worthy,” said Jessica Sturman, The Blind Project’s lead fashion designer.
Biographe is unique in its method of connecting survivors and consumers together to bring attention to, and provide solutions for, sexual slavery. Fashion products are inspired by survivor stories, designed with the public at large through our crowdsourcing design process, and then made by women who have been rescued from the commercial sex trade. Proceeds from sales are then reinvested back into the women’s lives creating a virtuous sustainable cycle.
Participants have until September 15th to submit a design on www.beabiographer.com. Then from September 16th to October 7th, public voting begins to determine the 15 semi‐finalists (5 for each of the 3 stories) based on the highest number of votes. On October 21st three Grand Finalists will be selected by our panel of notable judges. The winning designs will be incorporated into fashion items, printed for gallery exhibitions and shown in advertising campaigns.

You can also read survivor stories on the site.



Entry by Kathy Hansen. Learn more.

 

David Boje is one of the leading scholars of organizational storytelling. I encountered large bodies of his work while in my PhD program, and I must admit it takes me an enormous amount of effort and brain power to wrap my head around his research and concepts. But he has a prodigious Web presence, so there’s no lack of material to try and understand.

StoryOrgs.png One of the newest — or at least one that I have most recently come across — is StoryOrgs, described as a “Knowledge Sharing site where we explore the mysteries of organizational storytelling and linguistic sensemaking together.” The site is a place where folks can pose questions about Boje’s concepts. A few samples:

  • Does restory unearth submerged narrative/antenarrative patterns?
  • Derrida and deconstruction vs storytelling and antenarrative?
  • What academic pursuits have been facilitated by antenarrative based story analysis?
  • How do we explain zen koans in linguistic or antenarrative terms?
  • End and means, is an END an ANTEnarrative or not?
  • The limits of language and sensemaking?
  • What is NOT an antenarrative ?!?
  • Experimental methods for antenarrative research?
  • What is the difference between story and narrative?

The concept of “antenarrative” is one of Boje’s most significant contributions to organizational storytelling research. StoryOrgs clearly needs users to understand antenarrative and links to this explanation in its FAQs:

Antenarrative is defined as a ‘bet’ on shaping the future, and a ‘before’ a full blown stable narrative has been constructed.
For first use of term ‘antenarrative’ see: Boje, D. M. 2001. Narrative Methods for Organizational and Communication Research. London: Sage.
Antenarrative is defined as “non-linear, incoherent, collective, unplotted, and pre-narrative speculation, a bet, a proper retrospective narrative with Beginning, Middle, and End (BME) can be constituted” (Boje, 2001: 1). Antenarratives are “in the middle” and “in-between” (Boje, 2001: 293) refusing to attach linear BME coherence. Whereas, most BME narratives and narrative fragments are retrospective (backward-looking) antenarratives are more often prospective (forward-looking). BME Narratives must achieve coherence, developmental plots required by narrative theorists (Gabriel, 2000:20, 22; Czarniawska, 1997: 79, 98; 1998: vii, 2).
Routledge is releasing a book: Storytelling and the Future of Organizations: An Antenarrative Handbook, David M. Boje, Ph.D., Editor

StoryOrgs is characterized as being different from discussion boards and the like because:

  • It has a simple question-and-answer (Q&A) approach
  • Knowledge is naturally organized by a flexible, faceted tag-based topic system (folksonomy)
  • The system automatically protects the community from irresponsible online behaviors
  • It offers many social media features such as newsfeeds, alerts, profiles,


Entry by Kathy Hansen. Learn more.

 

Robin Souers (who happens to be my sister) is writing an article or perhaps a series of articles on pet loss and grief.

pet-002b_250dpi.jpg She’s seeking stories that are more than just facts. “I’m especially interested in the thoughts and feelings people experience when they lose a pet and how they cope,” she says. The stories can concern any kind of pet, and any kind of loss.

Incentives/rewards may be available for stories she uses in the article.

Robin asks that folks email submissions to her.



Entry by Kathy Hansen. Learn more.

 

A week or so ago, a friend asked me to help her come up with a seven-minute story to read for a Toastmaster’s assignment.

I was flummoxed and disappointed with myself. Here I am exposed to stories all the time, but I lacked any type of mental or virtual database from which I could easily draw a story that would meet my friend’s needs.

anecdote_psw_logo.gif But that same day, I got a newsletter from Anecdote, the Australian consulting firm, that announced its Story Finder. There it was — a database with a slew of topics, arrange alphabetically, each topic with at least one story just a click away.

What a fabulous resource!

Anecdote also unveiled its new Web site, the firm having previously told its story in a blog format.



Entry by Kathy Hansen. Learn more.

 

Michael Margolis has proclaimed a 12-week story blogging challenge for himself and has invited others to join him. He’s challenged himself in conjunction with his Social Media Jedi Program, which launched last week. The challenge is to blog at least weekly.

In the comments to his entry announcing the challenge, I said:

Great idea, Michael. How do you define “story blogging” and how does it align with “personal musing[s], stream of consciousness idea[s]?” (He had used the terms “personal musing, stream of consciousness idea” to describe what he would be doing during the challenge.)

Michael used my comments as the jumping-off point for a subsequent blog entry elaborating on what he meant by “story blogging.” Here are some excerpts:

For me story is more than just performance/telling/anecdotes. Story is about relationship; who am I; where do I belong; what is mine to do?

Story blogging is about bringing people into one’s world through conversation and dialogue. It begins by seeking to map, explore, and understand convergence and context. I stand at the unique intersection of many worlds. I’ll be sharing many of these musings and reflections in real time.

Story blogging. There’s a quick recipe I’m playing with:

  1. Passion – this is the fuel and motivation that lights the fire. If it doesn’t excite me and give me energy, how I can possibly expect to do the same for you?
  2. Perspective – point of view is what gives it all distinctive flavor. The same reason why FOX NEWS and MSNBC are succeeding, and CNN is flailing.
  3. Relevance – discussing issues, questions, and challenges that others can relate to – that’s what makes the whole meal easy to digest, puts a smile on people’s faces, and encourages people to come back.
  4. Nourishment – is what I’m trying to create through my story blogging. Provide meaningful, playful, and generative contribution into readers’ lives.

Michael also says he’ll clarify some of the principles of story blogging during the 12-week challenge.

Since my personal mandate is to blog daily, blogging weekly isn’t much of a challenge for me. But I could challenge myself during this time to “story blog.”

How about you? Will you take the challenge?



Entry by Kathy Hansen. Learn more.

 

My blog feed runs on Facebook, where occasionally, my entries generate more comments than they do here on the actual blog.

Such was the case with my followup blog entry about Facebook marking its 500 millionth user by launching Facebook Stories. The entry generated a lively discussion on Facebook among me, Terrence Gargiulo, and Sean Buvala.

FacebookTiles.jpg Terrence first wanted to know: “Do these read as stories? How would you characterize the range of ‘story responses?’”

My response:

Well, I think they present the same problem as the 6-word stories. These Facebook Stories are limited to 420 characters. So, my answer to your first question is “Some of them, yes.” The important thing though, I think, is that Facebook chooses to mark its 500 millionth user with some form of stories.

To which, Terrence said:

I agree. I think its wonderful that Facebook is inviting stories. Perfect … and there are endless trails of interesting events, occurrences, connections, relationship healing, etc… What got me excited is this is a huge amount of story data collected quickly from a large and diverse population with a clear, powerful trigger, that is resulting in a horde of stories. As aficionados and armchair anthropologists and social scientists, we have one of the best collections. We can see and understand what others think of as story … how they frame them … what they feel comfortable sharing when it’s a wider audience, etc… I’m interested in the richness of the story forms. Categorizing them as stories or not is probably not as useful for generating insights and understanding of how people interact with their innate story capacities and needs.

As you can see by my emphasis, I found Terrence’s point about this rich story-data collection very important. After all, outside of perhaps, Google, on what other site could we encounter so many users and their stories?

At this point Sean had chimed in. He hadn’t yet looked at any of the Facebook Stories, but as a story purist to whom a strict definition of story is important, he speculated, “I bet we will see metaphors, anecdotes and gossip, but not many actual stories.” Later, though, Sean came back and said, “Having looked at few, there are some real story gems in there.” He also agreed with Terrence that Facebook Stories “is indeed a lab. … there are windows of understanding present in all forms of narrative.”

In his initial comment, Terrence had also asked: “Are you aware of which stories pique more interest and why?” I wasn’t sure what he was getting at, so I asked him to elaborate. Here’s what he said:

I’m curious to observe in myself and hear from others how certain stories co-mingle with our own experiences of Facebook. What stories am I attracted to? Why am I attracted? What’s the relationship between the strength of my experience and the experience of someone else … how often or does it trump even well-told (more formed) narratives even with the constraints of 420 characters? That’s what was on my mind. Any examples come to mind for yourself?

I took some time to explore Facebook Stories in greater detail. Stories are organized by these themes: causes, celebrities, college, communities, crime fighting, education, family, friendship, government, grief, health, lost and found, love, military, movements, music, natural disasters, parenting, peace, pets, politics, religion, rescues, reunions, small business, sports, support groups, travel, and other. I’m interested in whether the categories were established first, and users submitted stories around the categories — or if the opposite is true — users submitted stories, which naturally fell into these categories. I suspect the latter, which makes Facebook Stories all that much more interesting as social science.

It’s fairly clear which categories are likely to make for the most dramatic, story-like stories — natural disasters, grief, lost and found, rescues. The most heartwarming — family, friendship, love, pets, reunions. To answer Terrence’s question, those are probably the types of stories I’m most attracted to — because I always seek peak emotional experiences. The most humorous categories are — perhaps college and sports? It also strikes me that a fair number of stories on the site are not in English, and you can find a lot of repetition and a lot of non-stories. In most cases, I do not think these stories trump Terrence’s “well-told (more formed) narratives,” although I’m surprised at the emotional power some of these 420-character pieces offer.

Here’s a nice example — definitely a story — that appears in both the Natural-Disaster and Rescue categories:

When the earthquake destroyed Haiti, our girls were saved and taken to safety by a complete stranger that I found on Facebook. These girls were missing for over a month. I had no contact in Haiti and went to work making connections on Facebook with people around the world who were working there. I sent photos via Facebook, and I got a call saying the girls were found. They were sick, alone, hungry but ALIVE!

And a nice one from the Reunions section:

Through Facebook, I reconnected with a brother I hadn’t seen in 28 years and a sister I’d never met. My dad, who had 3 kids from a previous marriage, died in 1979, and I lost touch with my siblings who lived with their mom. I’d been trying to find my brother for years and was considering hiring a private detective. It was wonderful to see him again. He looks like my dad and me. Today we were all reunited.

Terrence had asked about “the relationship between the strength of my experience and the experience of someone else.” I found several stories in which the the strength of my experience matched the experience of others. Indeed, I was tempted to submit one or more Facebook stories but felt far too constrained by the 420-character limit (however, perhaps that limit means Facebook can collect more stories). I could have written about how (rather pathetically), Facebook probably comprises about 95 percent of my social life. I care deeply about Facebook friends I’ve never met. I wept when my husband told me last year that we had far exceeded our Internet data plan, and I would have to curtail Facebook use for a few weeks. I might have written something along the lines of this Facebook note in which I talked about how much my Facebook friendships mean to me (if you’re not on Facebook, you’ll probably have to join to read the note). Or about reconnecting on Facebook with my childhood best friend after 45 years and later having a face-to-face reunion with her. Or about how friends came together to share their grief and celebrate the life of a dear friend who died suddenly and very unexpectedly in May. Or about having been an early adopter (2005) of Facebook so I could use it to connect with my current and former students.



Entry by Kathy Hansen. Learn more.

 

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



Q&A with Eric James Wolf, Question 5:

Q: You seem to have lots of storytelling projects going on and more planned for the future. Which projects are you most excited about now?

A: Depends on which day you ask me. Right now I am pretty excited about these projects:


Entry by Kathy Hansen. Learn more.

 

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



Q&A with Eric James Wolf, Question 4:

Q: You are to receive the Oracle Award in recognition of your work as producer and host of the Art of Storytelling with Brother Wolf Show during the last evening of the National Storytelling Conference this month [July 2010]. What does this award mean to you?

NSNLOGO.jpg A: The National Storytelling Network is made up of some of the most committed people, and I am very flattered to be respected and held up by such a fine group. This award means the world to me — I have honestly never received an award for my work with storytelling — mostly because most award applications require things like a written application. I stopped doing that stuff years ago… after I didn’t get the 20th grant [I submitted a] proposal [for].



Entry by Kathy Hansen. Learn more.

 

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



Q&A with Eric James Wolf, Question 3:

Q: In your list of questions for me*, you asked what characteristics attract me to the story practitioners I interview in my Q&As. Let me turn that question around and ask the same of you: What do you look for in the storytellers you interview in your podcasts?

[*Eric interviewed me here.]

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A: Passion and expertise is key. I am continually surprised by America’s willingness to listen to people who are not experts in their field. I think we are continually in love with that idea of western — that somehow that myth has affected or shut off that part of our brain that goes — “How long have you been doing this?”
I mean, I have guests who have been telling stories for 50 years — 50 years! — and then I have people who come up to me and say - I should be on your show! I am doing this cool thing. So I say; “How long have you been doing this cool thing — whatever?” — They say; “A year.” A year! Like that’s a long time. Again I think it’s the myth of the frontier. But the thing about the western motif is it writes out a whole group of people who were there first — in fact who spent 6,000 years there first. Those are the people I really what to have on my show. You know the natives….


Entry by Kathy Hansen. Learn more.

 

FacebookStories.jpg Updating my entry from Sunday that included a mention of Facebook stories: Facebook acquired its 500 millionth user today and decided to ficus not on those staggering numbers but on the stories behind them.

Hence, the social-media venue is launching Facebook Stories today.

Pretty significant when the biggest site on the Internet focuses on stories.



Entry by Kathy Hansen. Learn more.

 

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



Q&A with Eric, Question 2:

Q: What inspired you to “cross over” and explore the applied side of storytelling, e.g., your interview with Steve Denning (pictured)?

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A: I have always been an applied storyteller so I do not view what Steven has done and what I do as any different in terms of application. What changed for me was my willingness to admit that I had anything to learn from someone who had once worked for the World Bank, in my experience, a place that has caused a great deal of human suffering in the world through its support of dictatorships and large economic projects, support that undermined small communities and storytellers like me all over the third world.
I see storytelling as the greatest tool we have in our toolbox to teach people right livelihood. The most important lesson that I learned from Steven was that he believes that too — just not in those words. He might say that stories allow us to examine more efficient way of conducting business to the benefit of all. Of course I don’t wan to put words in his mouth. I just say: Right livelihood is requirement of existing in an unjust world. Storytelling is the best way to have a conversation about how things are going in the world with the widest possible audience.


Entry by Kathy Hansen. Learn more.

 

I know Alan Grayson from near my former congressional district in Central Florida is a pariah to many, but I am citing this powerful, very short speech because it starts with a story — about his grandfather searching for stuff in the dump that he could sell to support his family of seven children during the Great Depression.

He uses his story to make a point about what’s happening today. I think it’s effective. What do you think?



Entry by Kathy Hansen. Learn more.

 

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Eric James Wolf of The Art of Storytelling Show has been on my radar for a long time and was one of the first people I invited to participate in a Q&A. Because he has dyslexia (see his comments about dyslexia below), writing isn’t easy for Eric, and he initially abandoned his attempt to respond to my questions. But recently, he revived and refreshed his responses. I’m honored to present this Q&A with Eric over the next several days. This Q&A will also be unique in that Eric has suggested he will respond to additional questions, so further parts of this Q&A may pop up in the future.

eric5.jpg Bio: [From his Web site] Eric Wolf was awarded an Oracle Award for Distinguished Service to the National Storytelling Community in 2010 for his work on the podcast. This Oracle award is the highest award given by the storytelling community to those who have worked to support the art of storytelling nation wide.

Eric James Wolf was born three minutes after the taxi arrived at a New York City hospital on January 20th, 1970. He has attended numerous educational institutions, both public and private, graduating with a BA in Human Ecology from College of the Atlantic for which his senior project was storytelling. His experience has included an apprenticeship with a professional storyteller. He completed an M.S. in Environmental Education from Lesley University - sister school to Harvard.

He has been telling stories since 1993 for compensation — but his first public performance was at the age of 8 when his sister told her teacher that he was a good storyteller. The kindergarten teacher proceeded to nod knowingly and invited him to tell a story to her class. Little did she know — 20 minutes later, with the lights turned low, Eric finished telling, “The Old Man in the Shack.” Then the fifteen parents lined up out side were finally able to pick up their children.



Q&A with Eric James Wolf, Question 1:

Q: You blog about your struggle with dyslexia. Briefly, how has this struggle affected your development as a storyteller?

A: First it made me reliant on my voice — because I could not use the pen as a means of expression. Secondly it made me permanently side with the underdog — because I was the brightest dumb kid you ever met; because of this I learned firsthand — how screwed up institutions can play with your mind. Most importantly, dyslexia made me kind and humble very early in life, and I hope I never forget those lessons.
I wrote a great series of posts called Seven Principles every Parent should know about Dyslexia. I have been told by a lot of parents of dyslexics and dyslexics that it was very useful.


Entry by Kathy Hansen. Learn more.

 

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I’ve been fascinated with Scott Schwertly’s company, Ethos3 Communications, for quite some time, having first blogged about the firm two years ago. It’s one of a small handful of companies that create dazzling presentation designs emphasizing storytelling. Ethos3’s slideshow “Storytelling 101” has enjoyed tremendous buzz (I mentioned it here). It’s a great privilege to present this Q&A with Scott.

ScottSchwertly.jpg Bio: Scott Schwertly is an epic storyteller. Today, he owns and operates Ethos3 Communications, a Nashville, TN-based presentation boutique providing professional presentation design and training for national and international clients ranging from Fortune 100 companies to branded individuals like Guy Kawasaki.

He may live in Nashville, TN, with his wife and three dogs, but he calls San Diego home — the place of his beloved San Diego Chargers. Scott has a B.A. and M.B.A. from Harding University.



Q&A with Scott Schwertly:

Q: A story practitioner colleague follows this formula for presentations: “3 stories, 3 points, sit down.” To what extent do you feel formulas like that are useful for presentations?

A: I am actually a big believer in formulas. For instance, I love the rule of 3’s. Think about it: Most presentations are done in 3’s. For instance, you should always have a beginning, middle, and end. Here’s another example: Aristotle talked about the importance of 3 things: pathos, logos, and ethos. And, you should have only 3 points in a presentation. After all, the human works like this: “1, 2, 3, I forget.” With that said, I think formulas like the above can go a long way.

Q: In your often-cited slideshow, “Storytelling 101”, you talk about 3 kinds of stories: the Rockstar, the Maverick, and the Sherlock. How did you go about identifying these 3 types of stories? Given that the presentation is 2 years old, have your views about the types of stories that exist evolved?

A: Famous screenwriter Robert McKee talks about how there are more than 20 different storytelling styles to choose from. The unfortunate reality is that this diversity can overwhelm any person who is new to storytelling. Thus, these approaches were my way of creating three simple storytelling techniques that would be easy to learn and could work well in any presentation environment. As of today, they are still getting received very well, and we use them on an everyday basis here at Ethos3 when building presentations for our clients.  

Q: Can you talk about the storytelling approach/philosophy in your “The Box” story?

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A: “The Box” presentation captures the delicate balance of tension and discovery. It surprises you at the end with a great “a-ha” moment. That’s what I love about it.

Q: Your slideshows Meet Henry and “Storytelling 101” have won awards in SlideShare’s contests. Meet Henry tells a story, while “Storytelling 101” is about stories. What made these presentations so good and award-worthy?

A: What I like about these presentations is that they can stand alone. They not only work well online but also in a traditional presentation setting as well. They kill two birds with one stone.

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: I love social media. Interesting fact: I haven’t spent a dime on traditional marketing with Ethos3. Everything we have done has been through Facebook, Twitter, LinkedIn, SlideShare, etc. Social media is definitely the way to tell and share your story these days.


Entry by Kathy Hansen. Learn more.

 

I exult in uncovering and reporting on online venues that are repositories of stories. Here are three I just learned of:

  • Facebook expects to add its 500 millionth user this week and intends to mark the occasion by focusing on user stories rather than numbers, reports Mashable. The social-media behemoth will celebrate by unveiling a Facebook Stories section of the site. Facebook will “sort actual, submitted user stories by location and theme. Theme examples given included ‘finding love’ and ‘natural disasters,’” Mashable reports. Facebook is collecting stories here, and — arrrgghhh! — they are limited to 420 characters each. I could certainly tell a story or two — such as my story of finding my childhood best friend through Facebook, but in 420 characters …?
  • w2w_logo_med.jpg
  • The Wing to Wing Women’s Mentoring Project™ is a global volunteer movement that aims to inspire women to reach out to other women and, through the simple act of offering guidance and insight, help them achieve their personal and professional aspirations. The program’s goal is to eliminate negative competitiveness and encourage positive assistance, woman to woman, one woman at a time. One way the project is advancing its goals is by sharing stories by both mentors and the women they mentor. The site collects stories here and shares them here.
  • The Hidden World of Girls is a new NPR multimedia series by THE KITCHEN SISTERS exploring the hidden world of girls. Stories of coming of age, rituals and rites of passage, secret identities — of women who crossed a line, blazed a trail, changed the tide. The inspiration behind the series:
    The idea for this series was inspired by reading the obituary of Lula Mae Hardaway, Stevie Wonder’s Mother, a sharecropper’s daughter, a girl forced into prostitution, a teenage single mother whose young blind boy was discovered singing on a street corner in Detroit by Berry Gordy Jr., a determined woman who along with her son, received the Grammy for writing Signed, Sealed Delivered. Hers was a story we knew we wanted to tell. The series was inspired again when we watched a young 16 year old charanga player in an all-girl high school mariachi band competition in San Antonio, playing for the love of tradition, for a sense of belonging and for a scholarship, the first girl in her family to play an instrument, the first to dream of going to college. We knew this was a story we had to chronicle. And when they opened a new beauty school in Kabul, we looked at each other and thought again about “The Hidden World of Girls.” Over the last few years we’ve been collecting small stories, shards of sound, and images that have helped us imagine this series.
    HGW-logo-hairlineBLUE4.jpg Instructions for submitting stories are here; radio stories can be heard here; and stories can be read here. There’s also a Facebook page for the project.


Entry by Kathy Hansen. Learn more.

 

Several groups related to corporate/organizational storytelling have sprung up on LinkedIn recently (or at least have recently come to my attention). A lot of overlapping content seems to populate these groups, which confuses me a bit.

linkedin-logo.jpg The group Corporate Storytelling has been discussing The Real Reason Stories Are Important, among other topics. (You may need to join the group to see its content and discussions). On Organizational Storytelling, members are recommending readings. Storytelling Organizations is based on the approaches of narrative scholar David Boje.

And on Stories for Business, Rachel Parkin challenged members to tell 6-word stories about themselves in the manner of the 6-word memoirs at SMITH Magazine. Some storytelling purists find the 6-word format gimmicky and antithetical to actual stories. But I find it fascinating to see the kinds of 6-word stories that story practitioners tell about themselves. Several dozen members of this group posted their 6-word bios.

Here are profiles for each of these groups:

  • Great leaders inspire their people through both actions and words. Their ability to engage, motivate and inspire through the spoken word is an essential characteristic of their leadership and forms part of their personal and organisational brand. Corporate Storytellers [sic] is for leaders in the corporate world who strongly desire to engage their people by sharing a common purpose and belief through the power of storytelling. Our greatest leaders have employed the power of the spoken word to change the course of history. Barack Obama won the American people with his inspired oratory skills and his ability to engage people through powerful stories. Leaders and managers in the corporate world can also use the power of storytelling to engage their people and drive personal and organisational performance.
  • Do you love storytelling - telling them, listening to them or reading them? Do you know a great story? Have you written a great story? Someone shared a story in [Linkedin] Questions & Answers about the recession in business, and they got 74 replies. I wondered how many more great stories (real or allegorical) there are that have the potential to inspire us all and get others on business thinking differently. So I [Alison Smith] decided to set up [Stories for Business] to see.
  • Organizational Storytelling [is] an informal group of academics and practitioners who share an interest in organizational storytelling.
  • Storytelling Organizations provides workshops, seminars, and consulting to balance narrative-past, living story emergence, and antenarrative future. Antenarrative is a bet on the future, the moves away from stuckness in past narratives, and capitalizes on living story webs of relationships. This group is open to anyone with an interest in storytelling organizations. See David Boje’s book: Storytelling Organizations (London: Sage).

Know of any other LinkedIn groups related to applied storytelling?



Entry by Kathy Hansen. Learn more.

 

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



Q&A with Barry Poltermann, Questions 9, 10, 11, and 12:

Q: What’s your favorite story about a transformation that came about through a story or storytelling act?

lifeofreilly.jpg A: We made a film called “Life of Reilly”, about

Charles Nelson Reilly. The film got limited release, but I keep getting emails from people who are inspired by it. Unexpectedly. Literally “it changed my life” kinds of emails. “I quit my job and became a teacher”, and “I came out of the closet to my parents” type of emails. To be involved in a film that changed peoples lives … kind of cool.

Q: What future trends or directions to do foresee for story/storytelling/narrative? What’s next for the discipline?

A: Is it too flowery to say that stories are the essence of what binds us as human beings? It’s true, so what the hell. From the earliest oral tradition of storytelling and the stories that were crudely painted on the inside of cave walls to the newest 3D Hollywood spectacular and everything in between — stories are at the core of what we are as people. I think we’ll see bigger stories and smaller stories and less in the middle. Meaning, I think we’ll see more Avatar in 3D and more AboutFace-Media-style short videos and stories told through social experiences online; but I think we’ll also see less in the middle. Fewer scripted television shows, fewer mid-budget feature films, fewer television commercials. Bigger and smaller — but it’s just the economics of exploiting story. Great stories will always be told. We have no choice. It’s in our nature.

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

A: If you’re interested in telling stories and getting good at it, do it all the time. Study great stories. Study the formulas. Study the masters. And tell your stories. All the time. Then, if you’re good at it, hopefully you’ll be able to do it successfully in your career. We at AboutFace are always looking for great storytellers, and I know a whole lot of other companies are, or will be soon, too.

Q: You say on the video clip on your site that your company chose to focus on video because it’s the fastest-growing segment of Web 2.0. In what ways does video lend itself to the kinds of stories you want to tell for your clients?

A: Video is an amazing medium for storytelling. It is lean, it is mean, it is efficient as all get out. Our clients need their story to be told in an authentic way. The web and its denizens are very adept at smelling out an ad. Anything that feels like hard-selling is going to be clicked off very quickly. These are people who are online. They have all the power. It’s not like the old days of TV where the audience had to sit and watch the commercials and wait until their show was back on. Web users know they don’t need you, and they watch you literally leaning forward with their hands on the keyboard, ready to chop off your head if they are not amused. So, rather than try to shove a message down their throats to no avail, we use documentary videos to tell them a story. It’s a different story from client to client, but the point is that we’re communicating each client’s message while offering the savvy web user something of value — a compelling story of interest to them. It’s not a hard-sell Super Bowl ad. It’s a story that puts a human face on the client and delivers the message in a framework that won’t get users clicking off because they smell a hard-sell ad. Why video? Video is imperative to our storytelling. It gives you the freedom and cost-effective ability to shoot, edit, and polish a lot of high-quality stories for a tiny fraction of what that would have cost only 10 years ago if you had to do it on film. And that doesn’t even get into the distribution side of video — being able to upload your video to all of the big sharing sites, your own site, the social-media communities at no extra cost would have been unthinkable even a decade ago. Video also is hugely advantageous for our stories and our clients because it is growing online so rapidly. Look, we all know that the point of making these videos for our clients is to get them seen by the target audience. With that target audience growing online, and watching more and more videos online, it just makes the whole process and end result that much more of a no-brainer. And, again, it costs just as much to put the video on 10 video-sharing sites as it does on one. The growth of video consumption is a key to why we’ve been able to not only get work but flourish.


Entry by Kathy Hansen. Learn more.

 

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



Q&A with Barry Poltermann, Questions 7 and 8:

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

usb-retro-vacuum-cleaner-2_2538_st.jpg A: Those emails from Nigerian princes that tell you to send them your bank account info so you can make a million bucks repel me. Seriously, the only thing that repels me is the way that the term “story” is abused. So many times a marketer says “tell our story” and they really mean “relay our message”. Nobody gives a crap about your message. Tell people a story. If you believe that your story is all about the product (which we hear over and over), then the product better have a personality, a problem to solve, and adventure to go on. A story is not “we have the best vacuum cleaners of any brand”. A story is “I worked for years to invent the perfect vacuum cleaner and struggled to get it out there… thank god Brand X saw my vision and supported it. It turned out well in the end.”

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

A: Do people ever answer this question? Name names? [See editor’s note below.] Ha, well, I could identify plenty of people and companies and organizations who do a sub-par job of getting their story told. I think celebrities can call their publicists, but the latter two need to stop hiding and reacting and get out there and be active, be proactive, and tell the story they want heard. That’s what we do at AboutFace, actually. We help clients tell their stories. I can’t name names on who should call us to talk about telling their stories, but they know who they are. Or at least they should. Brand image problem, transitional phase, all the usual issues abound. We’ll probably be pitching them on a series of videos shortly if we haven’t already!

[Editor’s note: Barry, your instincts are correct because this question has been the least answered in the two years I’ve been conducting these Q&As. But a few people have responded, most recently Gregg Morris, who said the Catholic Church needs a better story.]



Entry by Kathy Hansen. Learn more.

 

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



Q&A with Barry Poltermann, Questions 5 and 6:

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: At AboutFace, we very much function within the paradigm of a story with a hero, the hero’s goal, obstacles, and the hero’s journey to attain the goal. From around the world, early in storytelling, Odysseus to Gilgamesh, to the most recent Bourne movies or an episode of Top Chef, it’s about heroes, goals, and obstacles.

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: We are all over social media. All over it. First of all, these venues are incredible for storytelling in that they give you the power to distribute your story to potentially millions of people. And they have the major advantage of allowing you to not only tell your story but engage in a conversation with your audience about your story, their story, other stories, whatever. Whereas the paradigm used to be about mass communications going out one way to the intended audience, now you can micro-communicate and really, actually communicate with your audience — a two-way street — which engages your audience way more than if you’re just yelling down at them with your bullhorn from the rooftop. That two-way street of communication is beneficial to the storyteller and the audience. We love social media. We live in it. But aside from just using it to reach out to your audience, in many ways social media is HOW we tell our stories. I learned this when I worked in my last venture, under the guidance of the brilliant people at 42 Entertainment… People see the videos, but the story is also told in every tweet, in every post, in every interaction. Marshall McLuhan has never been more prescient… today, truly, the message is the medium.


Entry by Kathy Hansen. Learn more.

 

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



Q&A with Barry Poltermann, Questions 3 and 4:

Q: What people or entities have been most influential to you in your story work and why?

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A: My first love was movies. Growing up I watched anything and everything I could. Coppola, Scorsese… even John Waters. What’s interesting to me now is that we so many avenues for young people today to hear, watch, or read stories, whereas when I was a kid there weren’t many at all. Despite my voracious appetite for stories growing up, I wasn’t able to get as many movies or shows or books or magazines on one year as a kid today can get in one browser session. I think that as far as my work, my career in stories and storytelling, it was that generation of filmmaker that most influenced me, and still does today. But I’m a living, breathing, changing human being, so I’m certainly influenced by what I see on the Web, on my TiVo, and all the rest of it, too. The decision to start AboutFace was not only influenced by but predicated on the influence of the web, especially social media. You can’t put blinders on, you have to keep your eyes open and evolve with the times.

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: I’m not sure the storytelling movement has ever been bigger — or smaller. I think that now, with the technology to bring so much of the world together online, and with the relative low cost of things like video cameras and laptops where you can edit a video or start your own blog, there’s more opportunity for more people to tell more stories. It’s been a sort of leveling of the playing field, taking the monopolistic power of mass storytelling out of the hands of the few and putting it into the hands of the many. That said, there are certainly more stories available out there today, but you don’t necessarily see an exponential growth in the number of great, well-told stories. Like anything else, it’s a skill, it’s a craft, and if you study and practice and work at it, you’re bound to improve. If you think about Outliers, it’s those people who have logged their 10,000 hours who are most likely to master the art of the narrative, and as more people are able to have access to the tools, we’ll be lucky enough to see more stories and better stories.


Entry by Kathy Hansen. Learn more.

 

Few can deny that National Public Radio (NPR) excels in audio storytelling.

Now the organization is offering an Audio Storytelling Workshop on Aug. 4 in Culv er City, CA, and the deadline to apply is tomorrow. Details at this Facebook event page:

What makes a good audio story? Whether your goal is to do a full-blown radio story, use audio clips in your blog, accompany photos on the web, or create a podcast, this one-day overview workshop by NPR will show you how to understand audio's storytelling strengths, select the best audio, write for the ear, and write to sound. You'll also get an opportunity to use audio recording equipment and to do digital audio editing. DEADLINE TO APPLY: JULY 14. Download application.



Entry by Kathy Hansen. Learn more.

 

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I learned of Barry Poltermann when I came across his company, About Face Media, the tagline of which is “Let’s tell your stories.” I’m delighted that Barry responded to the maximum number of questions he possibly could have. I ask Q&A subjects to respond to five, but they are welcome to respond to more. Barry responded to all 12 submitted to him. I’m honored to present this Q&A with Barry over the next five days.

BarryPoltermann.jpg Bio: [From his company Web site] Barry Poltermann is the CEO of About Face Media, which he co-founded in 2007.

Before founding About Face, Barry was a founder of the digital production company L’Orange Studios, which produced new media marketing projects for clients such as Disney (Movies.com), Activision (the Gun videogame) and Microsoft (the X-Box 360 game console and MSN Search).

In 1999 Barry founded and was the CEO of the Internet-based film financing company Civilian Pictures (Los Angeles). Civilian Pictures financed such acclaimed independent documentaries as the Wu-Tang-Clan profile “Rock the Bells” (2006, Warner Brothers), “American Movie” (1999, Grand Jury Prize-Sundance Film Festival, Sony Pictures Classics) and “The Life of Reilly”, one of the most widely praised theatrical releases of 2007.

Barry also edited “American Movie”; directed and edited “The Life of Reilly”; and edited both “The Pool” (2007 Special Jury Prize-Sundance Film Festival) and “Collapse” (2009) for director Chris Smith.

Prior to working in independent film and new media, he founded and was president of Purple Onion Productions, a commercial film and video production company, and directed television commercials for Superior Street Productions (Chicago), and Neue Sentimental Films (Los Angeles). He has directed national campaigns for advertising agencies such as DDB Needham, Leo Burnett and JWT, and for brands such as Coca Cola, Ford Motors, All-State Insurance, McDonalds and AT&T.

As the CEO of Civilian Pictures his frequent media appearances included Fortune Magazine, Newsweek, Money Magazine, Barron’s, and NPR’s On the Media, The Motley Fool Radio Show and Marketplace. He has also been a guest on film financing panels at numerous film festivals, including Cannes and SXSW.



Q&A with Barry Poltermann, Questions 1 and 2:

Q: About Face Media “make[s] awesome, engaging little documentary videos for our clients, and then make it as easy as possible for your social media team to use web tools like Twitter, Facebook, blogs, and YouTube to get the videos seen by the widest possible audience.” What elements make a video story work well on social media and able to become viral?

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A: Notice how we didn’t say “viral!” in our description! Viral is a tricky word, and no one is seemingly able to define it. Does it mean 500 views or 500,000? That said, there are lots of things that make a video story work well on social media. For example, an incredible real event, a taught story, a big laugh? Godard said “all you need to make a film is a girl and a gun”. At the end of the day, though, what it comes down to is the video has to offer the audience something of value to them. We emphasize to our clients that point — offer something of value to your audience. What that valuable thing is, well, that’s up to you to decide, whether it’s a helpful how-to tip, a sneak peak “behind the scenes”, or, perhaps, a girl and/or a gun.

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

A: As a kid I grew up on a farm in Genoa City, WI. Movies, television, and books really caught my imagination. It’s almost a cliché, but I knew I had to be a storyteller of some sort — although I am not sure that I would have identified it as “story telling”. I just thought it was entertainment. It really wasn’t until I started editing documentaries that I really understood and sorted out “story”. While working on AMERICAN MOVIE in 1997 and ‘98 the film really didn’t work until we focused on story…. Hero’s, villains, conflict… all of the typical storytelling elements brought the film to life. And from that point on, I’ve been Mr. “story, story, story”… I think I drive my team freaking nuts with “story.”


Entry by Kathy Hansen. Learn more.

 

American journalist and academic James Borton wrote to me recently seeking assistance with his quest to expand he Center for Oral Narration at the University of South Carolina, Sumter.

Here’s what he asked me to post:

Academic seeks to review sample proposals for digital-storytelling projects, particularly community-based digital-story proposals that may have already been successfully funded. Looking for models that will help in crafting proposals as part of an expansion of the Center for Oral Narration.

Email him to respond.

AllHearMatters.jpg Borton also authors a narrative-oriented site, All Heart Matters, the mission of which “is to provide a forum for the more than one million heart patients who experience heart surgery annually. We all know that it is a profound experience and a life-altering event. After all, moral questions do ensue about how to live when mortality is no longer a distant cousin, but a real possibility in one’s life. People do need to tell stories to make sense of their lives and so it is through our narratives that we learn to better understand ourselves.”

Borton says: “I welcome your narratives about all matters of the heart.”



Entry by Kathy Hansen. Learn more.

 

After at least two recent vacuum-cleaner failures, we decided to get a Dyson machine. We were impressed with its features, innovative design, and advertising.

When the Dyson arrived, it immediately endeared itself to me by including the little booklet pictured here. I already knew a bit about Dyson’s story from its ads, but the story booklet reinforced and enhanced my knowledge.

StoryofDyson.jpg It also helped cement my new loyalty to this brand. Who wouldn’t love the story (which you can also read online) about a guy who comes up with a revolutionary new idea for vacuum-cleaner technology while at a sawmill? Or the underdog aspect of this same guy unsuccessfully trying to sell the idea to vacuum manufacturers who rebuffed Dyson’s bagless design because they made so much money from selling vacuum-cleaner bags? The Japanese loved the design, though, and the royalties from sales of the G-Force model sold there enabled James Dyson to manufacture a machine under his own name.

Another underdog triumph was Dyson’s insistence on a see-through collection bin for the dirt the machine sucked up. Everyone told him a clear bin was a bad idea, but Dyson persisted, and heck yeah, I find it enormously satisfying to see how much dirt this machine sucks up.

One aspect of the story that’s in the booklet but apparently not online is that Dyson in 1999 won — after a lengthy court battle — a patent infringement suit against Hoover Europe.

Finally, you gotta love the part of the story in which Dyson gives back through the James Dyson Foundation, which “runs workshops across the globe where young people solve engineering challenges in a practical, hands-on way.”

The Dyson machine’s excellent performance makes me loyal to this brand. But its story makes me fiercely loyal.



Entry by Kathy Hansen. Learn more.

 

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



Q&A with Kindra Hall, Question 8:

Q: You tweeted recently about having writer’s block. How do you deal with that and get ideas flowing again? Do you have goals for how often you will write and publish your stories, and if so, do you ever feel oppressed by those goals?

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A: Ug. Yes. I have my days. I do have goals focused on posts-per-week. I’ve upped it to twice in week, though I’d like it to be even more. The problem is, I’m not always “feeling it.” However, I believe that that is an artist’s cop-out. I heard an interview with multi-Grammy winner David Foster who attributes much of his success as a musical genius to the fact that he works on the days he “doesn’t feel like it.” Sure, he may not produce a Grammy winner on those days, but he’s improving his craft and honing his discipline. These are important characteristics for storytellers to have as well.
So on those days where a story isn’t coming easily, I know I still need to tell. I page through notebooks of old story scraps, I read through some of my other work, and I keep my mind open. Eventually, if I stay focused, a story comes to me. I don’t try to judge whether or not it will be a “Grammy-winner,” I just write. This mindset has helped me get through those frustrating days and has made me a better teller. I often find stories I wasn’t expecting.


Entry by Kathy Hansen. Learn more.

 

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



Q&A with Kindra Hall, Questions 6 and 7:

Q: I’m intrigued by your wedding-story work, and I also read and loved your own stories of your relationship with your relatively new husband. I’ve never seen/heard stories at a wedding. Did you originate the idea? How easy is it to sell couples on the idea? (I would imagine you get a lot of business through word-of-mouth — people seeing stories shared at weddings and wanting them at their own.)

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A: This was an original idea — an accidental idea if you will. It came about as Michael, my husband, and I were planning our wedding. With storyteller Donald Davis as our officiant, and with my background in story, we thought stories would be a much more effective way to communicate what was important to us as a couple going forward as husband and wife than a handful of verses. It was a very natural decision for us, and I certainly wasn’t intending it to become a business. It was actually my wedding photographer who suggested it. When she posted our photos online, she included our stories with rave reviews — and she recognized that there was a need in the market.
Currently, all of my clients have come through referrals. They have seen my blog or heard about me through some of my wedding industry friends or previous clients. With these clients, I don’t have to do much “selling,” as they have already seen the value. As this business grows, I’m sure I will face the challenges that come with offering a service not many people have considered. I plan to use the success stories of my other couples to illustrate the value of the product and service I offer.

Q: Since many of my readers are involved with organizational storytelling/business narrative, I wondered if you could talk a bit about what aspect of this topic you researched for your master’s thesis. To what extent do you have the opportunity to do work with storytelling in organizations currently?

A: My thesis was on the role of stories in organizations — particularly the role they play in the various phases of the socialization process. Basically, the findings revealed that stories never stop impacting members of the organization. Managers, CEOs, companies, as a whole need to be very aware of the stories being told by, about, and especially within the organization. There is no room for laziness here — laziness can get expensive.
I have worked with organizations in the past to teach the different ways stories can be used. Now, I am currently offering half and full day workshops centered around how individuals and companies as a whole can, not only use stories, but how they can find them, hone them, and tell them effectively.


Entry by Kathy Hansen. Learn more.

 

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



Q&A with Kindra Hall, Questions 4 and 5:

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

A: There are a few things to this. First, I need to be clear: whenever a story is told that is based on lies — I have a problem with that. Because we are so susceptible to the stories we are told, telling false stories with the intent to pass them off as true is entirely inappropriate. It is disgusting. However, I do not have a problem with people using story to persuade others. If you want to persuade, whether in sales, politics, or discouraging texting while driving, story is the way to do it.
I remember watching the news after Bush won the election over Kerry. A woman representative from each camp was on the split screen and I heard the Kerry rep say, “Well, the Bush people just told a better narrative” — as if that was a crime — as if telling a better story was a cheap trick. I remember saying out loud, “Yeah, they did. Good for them. Now learn from it.” Four years later, separate from political party preference, I believe they had learned their lesson.
As an advocate for the power of story, even if “my team” loses — I have to appreciate a well-told narrative, as long as it’s based in fact.

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

A: See the stories that are happening around you and tell them. Anytime you feel a surge of emotion — there is a story there. Anytime you feel yourself saying, “Huh. That’s unexpected” — there is a story there. Sometimes the smallest stories mean the most because our lives happen in a collection of small moments.


Entry by Kathy Hansen. Learn more.

 

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



Q&A with Kindra Hall, Questions 2 and 3:

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

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A: My storytelling career began with performance. I started telling stories in elementary school in my English class. I then competed on the high-school speech team telling stories, and eventually found my way to the National Storytelling Conference in 2000 at age 18. However, I when I first realized that story could be more than performance was in my high-school physics class where I had to write a paper about gravity. After all my research was completed, I was still one page short of the requirement. I took a risk and included a story about riding roller coasters as the introduction for about three-quarters of a page, and used a shorter version of the same story as the conclusion. I was nervous my instructor would reprimand me but instead I got an “A” with the comment: “Excellent use of theory applied to real-life situations.” I was shocked — I thought it was cheating. However, I continued using that strategy all through college, and every time I received the same comments. I soon realized that using story wasn’t cheating — it was brilliant. Story is how we learn, how we make sense of things. While facts have their place, a story to illustrate the facts is what make the information memorable. This is true outside the classroom as well — in business, in family, in media. Once I figured that out, I was hooked.

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: The effect social media has had on our lives is profound and directly impacts this second (third, or fourth) surge in storytelling awareness. Society is not only demanding, but fully expecting transparency — expecting it of companies, of our government, of all of the people who hold various positions of leadership. Fewer and fewer emperors are allowed to walk around naked. That being said, it is my firm belief, it always has been, that if you don’t tell your story first — someone will tell it FOR you using various means of social media and you may not like their version.
While there are certainly other reasons, these two: the need for transparency and the urgency of telling it first, have certainly helped in the explosive growth and buzz around storytelling.


Entry by Kathy Hansen. Learn more.

 

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I believe Kindra Hall sought me out on Twitter or Facebook (or both). As I learned more about her, I was utterly charmed by this lovely young woman and her entertaining newly designed site/blog Kindra Hall Tells All. I’m thrilled to present this Q&A with Kindra over the next five days.

KindraHall.jpg Bio: [In her own words from her site, Kindra Hall Tells All] I grew up in small-town Minnesota. I graduated high school in 1999, college in 2003, and finished graduate school (completing a thesis on the use of storytelling in organizations) in 2005. I now live in Phoenix after experiencing enough snow and below zero temps to last a lifetime.

When I was in fifth grade, my teacher Mrs. Sprain did a storytelling lesson in her reading class. This experience set the rest of my life in motion. Throughout high school I competed on the speech team as a top storyteller and went on to tell nationally at the National Storytelling Network annual conferences and at the National Storytelling Festival in Jonesborough, TN; in 1999 as a youth teller, and in 2008 at the Exchange Place. It was at these events and through these experiences that my natural passion for the art of a good story found some direction.

However, as much as I love telling for a live audience, I had more stories to tell than I had venues to tell them in. After moving to Phoenix (but before I had friends) I sat in my apartment and started posting stories online (on MySpace of all places) for others to read. I didn’t know I would love writing as much as I did, and I didn’t expect to love hearing people’s responses as much as I do. I now post these stories here — at least once a week. As this site has grown, I have had the honor of working with other people and their stories so that the world will know them better — just as you will know me more by reading the stories I have shared. Read more here



Q&A with Kindra Hall, Question 1:

Q: You are unusual in that you are both an oral-performance storyteller and a writer of stories. To what extent is there a difference in your approach to writing a story (writing for the eye) and preparing one for oral performance (writing for the ear)? I’ve had some discussion on my blog about the best way to deliver oral storytelling — especially in, say, a podcast, where you might be able to get away with reading the story instead of just telling it. Is it best to write nothing down and just deliver the oral story from memory, or should you use bare-bones notes, or what? Bottom line, what’s the relationship between the orally delivered story and the written one?

A: This is a conundrum I have only recently come to terms with.
I started writing my stories mainly because I had more stories to tell than I had places to tell them. I started seeing stories everywhere I went, recalling stories from years ago, and if I had waited until I was standing on a stage to share them, I fear I would have exploded. I know there is a lot more to say about whether a written story is considered “real storytelling,” but that conversation can happen another time.
Here is my perspective on the relationship between the orally delivered story and the written one. The No. 1 challenge for someone who is telling a story orally that they have already written: It is easy to become more focused on the WORDS — less focused on the STORY.
By nature, when you write a story, you spend a certain amount of time going back and getting the words just right. They need to flow, they need to express emotion, and the words carry the full weight of transferring the meaning of the story to the listener. You choose these words carefully. Fortunately, you have time to make these edits. You are in the comfort of your own home.
When a teller steps on stage, or even into a sound studio, the priorities change. Now it’s not the words that are responsible — it is YOU, the storyteller. You don’t have time to meticulously edit every word, nor should you be trying to recall them verbatim as these things disconnect you from your audience. The most powerful thing about oral storytelling is, when done right, the story is co-created with the audience. If you’re too busy trying to remember what you are “supposed” to say, the audience can’t participate and the story will fall flat.
I had to learn this the hard way. Trust me, it was painful.
My advice is this: When you wish to tell a story you have written, read over it again. Once, maybe twice. While you read, be aware of the timeline — what happens when, A, B, C, D, The End. Second, instead of focusing on specific phrases or wording, focus on the emotions they convey. Consider the emotional journey you want your audience to take, instead of what words you want them to hear. Finally, put the written copy away and don’t look at it again until it’s all over.
Here’s the thing. Sure, there may be times when the words you used on paper sounded better than the ones you told on stage. However, the interaction, the spontaneity, the co-creation that comes from saying the words that happen to come out, far outshines the alternative. Your audience will get more from the telling, and the story itself (if I may take a moment to personify it) will be happy to have been given life instead of just recited.
Even with Podcasts — I feel the audience knows when you’re not being real. Use this same strategy. Leave the notes at home. Remember the timeline and the emotional journey you want your audience to take.


Entry by Kathy Hansen. Learn more.

 

I’ve seen plenty of Web sites that offer story prompts. In fact, I keep intending to create a Story Prompts section on A Storied Career.

But Plinky is the first story-prompt site I’ve seen that combines story prompts with social media.

logo_Plinky.png In fact, Plinky doesn’t frame its prompts as prompts for stories or even writing — but rather for Web content. Plinky’s pitch:

Plinky makes it easy for you to create inspired content. Every day we provide a prompt (i.e., a question or challenge) and you answer. We make it simple to add rich media and share your answers on Facebook, Twitter, and blogs.

In addition to helping folks create content that they can share on the social Web, Plinky is a social site in itself on which users can follow each other.

I’m not sure how many of Plinky’s prompts really yield something worth sharing on social sites, but the concept is definitely interesting.



Entry by Kathy Hansen. Learn more.

 

Read a couple of articles recently that talk about elements that make stories work.

In Atticus Finch Would Not Approve: Why a Courtroom Full of Reptiles Is a Bad Idea, Stephanie West Allen, Jeffrey Schwartz, and Diane Wyzga offer Seven Tips For Creating the Motivating Story, in which they declare that: A story is always about a conflict. AND We expect a story to be about change.

jury2.jpg Meanwhile, in an interview of Ira Glass by “Wrongologist” Kathryn Schulz in her blog The Wrong Stuff on Slate.com, says that most of the stories on the radio show “This American Life,” are about “wrongness.” Schulz writes: ThisAmericanLife.jpg

Most people shun or ignore error; storytellers exploit it. They understand that virtually all good narratives contain some element of hoodwinking — that however much we might dislike being wrong in daily life, we relish red herrings and plot twists and surprise endings in our stories. Accordingly, in This American Life (as in life more generally), things seldom turn out the way you expect.

Then, Glass’s explanation:

I don’t go looking for stories with the idea of wrongness in my head… But the fact is, a lot of great stories hinge on people being wrong. In fact, we’ve talked as a staff about how the crypto-theme of every one of our shows is: “I thought it would work out this way, but then it worked out that way.” … [I]f the story works, you become the character, right? You agree with their early point of view, and then when it gets shattered, you are shattered with it. So in the storytelling, you want to manipulate the evidence and the feelings so that the audience is right there agreeing with the person who’s about to be proven wrong.

Interestingly, Glass denies that “that people automatically narrate their stories in a way that pivots around these moments of wrongness and surprise;” he interviews them and draws the stories out of them in a way that achieves the manipulation he cites.

So: Conflict. Change. Wrongness.

Going back to Aristotle’s concept of story structure, a story is about a change of fortune for the protagonist. Change: check. Wrongness: The change of fortune could result from wrongness. The protagonist may have thought things would work out one way, but they worked out another way. Conflict: The change could result from overcoming conflict.

I find it interesting that both Glass and the authors of the Atticus Finch article are talking about story elements that require some sort of manipulation. Glass, speaking on radio stories says: “In the storytelling, you want to manipulate the evidence and the feelings so that the audience is right there agreeing with the person who’s about to be proven wrong.”

The context of the Atticus Finch piece is a Web site about juries, and the piece is about using stories to communicate with jurors. Manipulation might be a bit too strong a word for what the authors describe here:

… [T]o meet the jurors’ expectation, the story must bring to life early on the change you want them to create. This requires you to set up a bridge from the evidence (content) to the context (what situations or circumstances allowed the event to happen) to the emotionally meaningful story your jurors are already carrying in their heads.

The point is that in some contexts, stories need to be manipulated to meet desired objectives. The ways people naturally tell stories probably wouldn’t work in these contexts.

Of course, the idea of manipulation puts some people off the whole concept of storytelling. In his Q&A on this blog, Stephane Dangel noted that storytelling is disdained in France as being manipulative:

There is only one and major book dedicated to storytelling in French, and it has been written by a man who hates storytelling (Christian Salmon: Storytelling)! His message is very raw: “storytelling = fiction = manipulation.”

What do you think? Is it OK to manipulate stories to include certain elements to achieve specific objectives?



Entry by Kathy Hansen. Learn more.

 

Here’s an awesome Americana-inspired opportunity to think about as we head into the 4th of July weekend …

In a project called Exploring My America, Sears Auto Center is sponsoring 21 road trips along nine of America’s iconic highways. Sears seeks “engaging, adventurous people to hit the road for a week and tell their story and the stories of the people they meet.”

pacificcoast.png Here are the nine routes:

  • Pacific Coast (pictured; this is the one I’d most like to do)
  • Route 66
  • Coast to Coast
  • Atlantic Coast
  • Road to Nowhere
  • Appalachian Trail
  • Loneliest Road
  • Great River Road
  • Dixie Overland Highway

And here are details. Deadline to enter is Aug. 8:

The program will run from July 11 through August 28, 2010. Over the course of the program, we’ll launch three road trip teams on different routes each week. Each team’s mission is to interact with people along their assigned route, capture interesting stories of unique personalities and places throughout their journey, and upload their stories to the program website.
As each team files content from the road (written stories, photos, videos, etc.), web visitors track their daily progress, comment and vote for their favorites. Each team competes against one another to create the most compelling stories and win cash prizes. The team with the highest number of votes for that week will be awarded the weekly prize of a $500 Amex Gift Card.
In addition, each week, the team with the most compelling overall content (as determined by judges) will receive a $200 Sears Auto Center Gift Card. Select teams may also participate in additional segments of the road trip beyond their designated segment for an opportunity to win more prizes. Web visitors will also have the chance to win daily for their participation.
Each team will receive:
  • $1,500 for travel expenses
  • 21-point inspection by the Sears Auto Centers Blue Crew
  • $500 Sears Auto Center store credit
  • 1 HD video camcorder (yours to keep)
  • 1 Wi-Fi card to upload content
  • Roadside assistance (if necessary)
  • Temporary Sears Auto Center car signage to be displayed during the road trip


Entry by Kathy Hansen. Learn more.

 

A slide presentation (embedded at the bottom of this entry) that Lou Hoffman of The Hoffman Agency created has been generated huge buzz for a couple of weeks now, so chances are you’ve seen it. It’s about the power of storytelling in business, and Hoffman says he prepared it “after evangelizing SlideShare as an ideal platform for storytelling.”

From both SlideShare, where Hoffman published the slide deck, and his blog Ishmael’s Corner, Hoffman’s description of the presentation:

As product news continues to be commoditized, it becomes increasingly important for communication professionals to build feature stories. This slide deck examines the type of content that makes for compelling storytelling. … Taking a mix of pop culture, levity, science, and our experiences nudging clients out of the corporate-speak box, we’ve created the following as a primer for storytelling in business.

Before creating the power-of-storytelling presentation, Hoffman crafted a slideshow to tell the story of his agency.

There is no question that both of these decks are superb. Still, I have yet to see a slideshow about storytelling that truly tells a story. Hoffman offers some hints of story in it but neither deck is really a story in itself (in my opinion).

I also love the comment from Karen Chace under Hoffman’s introduction of the power-of storytelling slideshow. Chace is a professional storyteller, who in her comment tells the story of being asked to tell a company’s story for its 75th anniversary. After describing her preparation and delivery of the story, Chace writes:

What happened that night was magic. The room fell silent, the guests leaned forward, listening…not because of my skills but because it was their story, both the good and the bad, the triumphs and the challenges.

On her own site Chace offers a PDF that further details the story of telling this anniversary business story.

I wonder if someone could develop a slide deck on the power of storytelling that incorporates a story like Chace’s. As powerful as Hoffman’s presentation is, I can’t help thinking it would hit home even more if it were more of a story.



Entry by Kathy Hansen. Learn more.

 

About
A Storied Career

A Storied Career explores intersections/synthesis among various forms of
Applied Storytelling:
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  • organizational storytelling
  • storytelling for identity construction
  • storytelling in social media
  • storytelling for job search and career advancement.
  • ... and more.
A Storied Career's scope is intended to appeal to folks fascinated by all sorts of traditional and postmodern uses of storytelling. Read more ...
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About
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 New About Me: The Ultimate Course on Reinventing Your Bio Into A Story: A program for people in the business of relationships, who need a better bio for today's hyper-connected world.



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Pages

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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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

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