Improving Your Storied Brand in Social Media, Part 3

Came across a couple of additional postings that relate to the upcoming Social Story: How To Tell Your Story Through Social Media Conference (Aug. 24 in Denver).

Anthony Townsend is annoyed that “There aren’t any stories” on venues like Twitter and Facebook. “Some conversations become really good stories,” he writes, “but unless you follow them in real-time you’re S.O.L. They dissipate and hang there in the cloud like a cool blue mist of vaporized bank notes.” Further:

… since there’s no way to link updates or layer metadata to create a narrative structure, you have to manually sort through timelines and excavate that structure like a cyberspatial Sherlock Holmes.

I know many who would disagree that no stories exist on social-media venues, but most would probably agree that social-media stories are fragmented and, as Townsend points out, useless unless followed in real time. Folks would also probably agree that the perfect social-media venue for supporting storytelling has yet to emerge.

When it does, Townsend suggests, it will become the Next Big Thing:

My forecast is — social networks and the real-time web are either a) going to morph into storytelling media that provide tools to construct narrative on top of the update stream, or b) are going to stop growing as people seek out a different set of tools that are better for communication and storytelling than social networks, which do a mediocre job at both.

(Part 2 of Townsend’s post discusses some venues that are moving in predicted directions — gaming and location-based apps.)

While we’re waiting for the perfect social-media storytelling mashup, Ian McGonnigal has offered a list of tips to apply to social-media storytelling He wrote a few months ago about “how critical storytelling is to successful brand engagement on the social web as well as at face-to-face events.” You can read more details of each tip in his posting:

  1. Have a purpose.
  2. Clearly articulate the theme.
  3. Keep it simple.
  4. Ensure your story has a structure and a well-defined plot.
  5. Use the right tools to tell your story.
  6. Engage your audience.
  7. Choose the right protagonist.
  8. Defeat the antagonist.
  9. Communicate like a human being.
  10. Be Authentic.

Have You Been Following TED’s Playlists?

Not all TEDTalks contain storytelling, but terrific stories are at the heart of most of these superb presentations. In fact, TED generally frames the presentations as stories.

For the uninitiated, TED is a small nonprofit devoted to Ideas Worth Spreading. It started out (in 1984) as a conference bringing together people from three worlds: Technology, Entertainment, Design. Since then its scope has become ever broader, as you can see here. Check out this article Fast Company has just published about TED

TED is doing a cool thing during its annual two-week vacation — posting playlists from the TEDTalks archive. Each playlist has a theme; yesterday’s, for example, was fan favorites. Others have included unconventional art, living online, risk and reward, playthings, body art, childish thinking, living breathing architecture, and life stories.

You can see all the playlists here.

Another cool TED goodie: You can download a spreadsheet of 700+ TEDTalks. The spreadsheet gives the URL for each talk, its title, name of presenter, a summary of the content, length of presentation (most are 18-20 minutes), and date it was published on TED.

And one more collection of TED Talks: The blog AmazingWomenRock shared a list of 7 Inspirational Storytellers [all women] Who Have Captivated Audiences Worldwide.

Improving Your Storied Brand in Social Media, Part 2: Storytelling about Your Brand Book Is Here

I’ve written more than once about Bernadette Martin’s book, Storytelling about
Your Brand Online & Offline: A Compelling Guide to Discovering Your Story
. The book was “forthcoming” in those posts (and also had a slightly different title), but now it’s here, published in both hard-copy and ebook formats, and I’m mentioning it in conjunction with the Social Story Conference coming up later this month.

Much has been written about personal branding in recent years, but Bernadette’s book adds some nuances I haven’t seen before. For one, it’s the first branding book I know of to overtly connect personal branding with storytelling. (Well, my own book, Tell Me About Yourself, does that, but just in one chapter whereas the theme is pervasive in Bernadette’s book). The book is also the first I know of to explicitly break down offline and online personal-brand storytelling. Product brand storytelling; corporate, NGO, and non-profit storytelling; and corporate leadership storytelling also get a meaty mention along with personal brand storytelling.

I have mixed feelings about Bernadette’s use of Reach Personal Brand Process. Founded by William Arruda, who wrote the forward to this book, the Reach process was one of the first to guide folks in discovering their personal brand. Well-respected and widely used, the process is even attached to a certification that enables practitioners to become Reach Personal Brand Strategists. Given that many professionals have advanced their own ideas for processes to develop one’s personal brand, Bernadette was wise, I think, not to reinvent the wheel; however, the Reach process doesn’t work well for me personally.

I’m always on the lookout for story prompts, especially those that help an individual get at his or her personal story, so I love Bernadette’s 35 Storytelling Inspiring Questions and wish there were even more. Emotional intelligence (EQ) stories, personal social responsibility (PSR) stories, and story-building around assessment results are novel and fascinating inclusions.

Bernadette offers a highly useful VISIBILITY BRANDING STORYTELLING TOOL (VBST) that helps users select 5-7 key stories, develop these in more detail and structure them, choosing the ones that will resonate most with the user’s target (often an employer). She recommends the well-known Situation–>Action–>Result (SAR), Problem–>Action–>Result (PAR), Challenge–>Action–>Result (CAR) formulas — but adds Key Attributes and Testimonials to them.

The book’s online chapter offers elements I haven’t seen in personal-banding or storytelling works: Storytelling on Google, Video Storytelling, and Storytelling in 3D Virtual Worlds and provides samples of storied online portfolios.

The offline chapter echoes the job-interview and networking themes of Tell Me About Yourself, while adding a helpful section on icebreaker stories. That chapter also introduced me to a new term, “verbal graffiti,” “the term used for fillers, non-words, modifiers, condescenders, verbal tics … basically anything that can dilute the
message of your storytelling” — and Bernadette tells readers how to eliminate them. (She recommends Toastmasters, an organization I plan to get involved in soon.)

The book’s chapter on branded bios is important because it provides the foundation for effective online profiles. Lots of meaty info in this chapter, which may just be the most powerful one in the book.

The book is also nicely peppered with interviews with experts.

Here’s the book’s table of contents:

Part I The Power of Storytelling
Introduction
Mind Map
Neuro Research and Storytelling
Storytelling about the “Brand Called You”
Product Brand Storytelling
Corporate, NGO and Non-Profit Storytelling
Corporate Leadership Storytelling
Personal Brand Storytelling
The Reach Personal Brand Process
A Personal Story

Part II The “Art” of Storytelling and Extracting the Stories
The “Art” of Storytelling
Storytelling Inspiring Questions
Emotional Intelligence (EQ) Stories
Leadership Storytelling
Personal Social Responsibility (PSR) Stories
Story Building around Assessment Results
The 360°Reach Assessment
References
The Visibility Branding Storytelling Tool (VBST)

Part III 2.0 Storytelling — Communicating Your Story Online
Storytelling 2.0 or Digital Storytelling
Storytelling on Google
Video Storytelling
Storytelling in 3D Virtual Worlds
Case Stories: Online Portfolio Examples

A Plethora of Tips for Better Storytelling

Back in the spring, M. Amedeo Tumolillo, a.k.a., Flying Flashlight, published lists of storytelling tips by three well-known storytellers, the late novelist Kurt Vonnegut, playwright David Mamet, and screenwriter/screenwriting teacher Robert McKee.

While the authors of these tips work(ed) primarily in the fiction realm, these tips work equally well for nonfiction story applications.

Add to those this juicy nugget from Jenny Munn (which reminds me a lot of Annette’s Simmons’s advice for sensory details in storytelling):

The secret is specificity. Give out a few meaty, juicy, specific details and people will remember what you have to say. Here’s an example I got from watching Oprah the other day:

Oprah’s show was on the documentary Food, Inc. and Oprah was spreading the message of knowing where your food comes from. She also interviewed Alicia Silverstone (the Clueless star) who is an outspoken vegan. Alicia was telling the audience what happened to her when she started her vegan lifestyle. She didn’t just say, “I felt better” or “my appearance improved.” Alicia talked about how her brittle nails got stronger and the white marks on them disappeared; how her eyes got brighter and the white parts whiter; how her skin got firmer and her complexion drastically cleared up; how easily she um, had bowel movements. These details gave her credibility and helped the audience engage and understand.

The Story Guru Q&A Process

Recently, storyteller Eric James Wolf turned the tables on me. I’ve conducted more than 57 Q&As with story practitioners — and now Eric has done a Q&A with me. I thought it would be worthwhile to excerpt some of it here because it explains some of my philosophies and approaches with this blog.

In this entry, Eric asked me about the characteristics I look for in a Q&A interviewee:

When I first began sending out invitations for the Q&A series in the summer of 2008, I focused on applied-storytelling practitioners that I knew, or knew of, and admired. I was familiar with them through their books (for example, those of Terrence Gargiuolo and Annette Simmons), through their presentations at conferences (for example, Madelyn Blair, Michael Margolis, and Svend-Erik Engh), and through encountering them on the Web (for example, Shawn Callahan and Stephanie West Allen). Once I had invited all the best-known story luminaries — and most of them accepted the invitation and participated — I didn’t really have to search hard for new interviewees. I encountered them through my ongoing research for blog material. I’m excited that for the most recent series of Q&As, I’ve received nominations and self-nominations of people who want to participate or want to recommend a participant. I had always hoped that would happen, and I’m thrilled that is has.

In the interview series, I have tended not to focus on oral-performance storytellers, people involved in transmedia storytelling, storytellers in film and TV (such as screenwriters and people who teach screenwriting), people in comic-book storytelling, and folks into the storytelling of gaming. It’s not that I’m not interested in these areas. I just feel that other bloggers and writers — like Eric James Wolf — do a good job of covering those fields and their practitioners, so it’s better for me to have a narrower focus. So many forms and uses for storytelling exist, and I can do a better job if I don’t try to cover all of them.

Deploying Stories to Instill Company Values

I always especially appreciate content about storytelling related to employment. While my personal crusade is about storytelling in the job search, I’m also interested in the flip side — how employers use stories to entice, retain, and engage employees. Employee engagement is a major hot-button topic in HR, and some companies are using stories to excellent effect in this quest. One of them is Juniper Networks, reports Martha Finney, who interviewed Juniper’s Stacey Clark Ohara about the organization’s use of storytelling to transmit values. Noting that top-down values programs for employee engagement don’t work, Finney paraphrases Ohara: “It’s the experience of the employees, and the stories they tell about their experiences, that really keep the culture on track, she notes. … ‘we chose storytelling as the best way to inspire, inform and align the organization.’”

For executive stories in particular, Juniper chose video as the storytelling medium. Through Finney, Ohara offered tips to other companies that seek to instill values and engage employees through storytelling:

  • Get executives on board. When they are willing to share their experiences through storytelling, others will be more likely to take the risk as well.
  • Find the natural storytellers among your employees and recruit them first.
  • Give your people time to prepare and rehearse their stories — but not so much that over-rehearsal causes the stories to sound wooden and inauthentic.
  • Keep the stories short. [No indication here how short Ohara means, although the next bullet provides a clue.
  • Keep the videos shorter. Just a few minutes is all that’s needed to get the main message across.
  • Be clear about your purpose. Naturally, you won’t know if you’re successful unless you know what results you’re after. When you’re asking employees to open up and speak from their hearts, they’ll also want to know what the hoped-for outcome will be.
  • Start small and build from there. If you’re just initiating this venture in a culture where stories haven’t been typically told, make the initial scope and objectives set as modest as you can. This will keep the process from becoming overwhelmed by overblown expectations.

Qualcomm provides its own spin on “communicate and reinforce the company’s culture and values, disseminate information, identify trends, share attitudes and behaviors, and on-board new employees,” as Tamar Elkeles reports.

Qualcomm’s program, begun five years ago, is called 52 Weeks. Elkeles describes the program:
T

old from the employee perspective, stories provided insights about the company, business decisions, technology milestones, leaders, work teams, employees and products. To make them more personal, stories typically included pictures of the person the story is about or of teams and products referenced.

The 52 Weeks program initially started as a way to communicate company culture and values to new employees. All new hires at Qualcomm were automatically registered on their first day and, for the next year, received a weekly e-mail with a new story submitted by employees or initiated by the employee communications team, which reports to the Qualcomm Learning Center. Since its inception, the 52 Weeks program has expanded and evolved. What began with just an e-mail grew into a 52 Weeks Web site. In addition to new hires, thousands of Qualcomm employees have registered to receive the weekly e-mails and links to the site.

Each story is reviewed before posting by the employee communications editorial committee, which decides if it meets the following criteria:

  • Does the story fit into one of the company’s values, such as execution or innovation?
  • Does it meet some other organizational goal?
  • Is it memorable?

If the 52 Weeks Web site still exists, I can’t find it (perhaps it’s on a company intranet). but you can see a number of the stories from the program in this PDF of a presentation by Elkeles.

Four Perspectives on Story in Healthcare

I’ve come across (somewhat) recently four ways storytelling is being used in healthcare. Here are some perspectives on those approaches:

    • Patient stories are widely available on the Internet but are not always trustworthy: In a guest post on e-patients.net, Lisa Gualtieri, PhD, notes three kinds of patient stories that can be found on the Internet:
      • unedited user-generated stories in online health communities and patient blogs;
      • professionally edited or “as told to” support stories;
      • and promotional stories.

But, Gualtieri cautions, “Unless you know the author of a story, you never know for sure if it is true. … patients want to believe stories because they are desperate for information. Ultimately, most stories are from real people sharing authentic experiences, and the best way to weed out the others is to use common sense, be skeptical, check with a trusted medical professional …”

    • Storytelling can promote health literacy:

In The Online Journal of Issues in Nursing, Vivian Day discusses “the use of storytelling to present healthcare information in an easily understandable and captivating manner.” Citing the US Department of Health and Human Services’s definition of health literacy — “the degree to which individuals have the capacity to obtain, process, and understand basic health information and services needed to make appropriate health decisions” — Day notes that more and more health information is out there, but it’s not always easy for the average person to interpret it. Storytelling provides an avenue through which an individual can “takes a new event, applies its meaning to past experiences, and visualizes future possibilities.” It “allows hearers to reflect on the story told and actively apply it to their life situation,” Day writes. The author lists several ways of using storytelling toward health literacy, such as having patients create books about their specific health problem, encouraging patients to tell stories in support groups, and sharing stories about loved ones who’ve learned that someone they care about is terminally ill. Day writes:

Hearing the stories of others, reflecting on these stories, and determining how these stories can be applicable to one’s life may be more beneficial than simply reading written information or watching an educational video.

  • Narratives from physicians’ clinical experience transmit socially embedded knowledge, and webinars are an effective venue for those narratives: Katherine D. Ellington created American Medical Student Association (AMSA) National Book Discussion Webinars. A diverse group of physicians have discussed their books, writing pursuits, work experiences, and lives. The AMSA National Book Discussion Webinars offer a unique online experience between physician-authors and medical students to encourage reading beyond the medical school curriculum, both for professional development and for personal enrichment.” A significant part of the content conveyed in these webinars can be characterized using the words of one of the commenters to Ellington’s blog entry, citing a book called Expertise in Nursing Practice: “[N]arratives from clinical experience transmit socially embedded knowledge,” to which Ellington responded by also quoting the cited chapter: “[T]he function of narrative in a practice in revealing and creating social memory, skilled ethical comportment and the role of first-person narrative in community and culture building.”
  • Patient records are more than just that; they are the patient’s story.
    Regina Holliday, a DC-based patient-rights arts advocate, writes, speaks, and creates art depicting her family’s nightmare journey through the medical system during her late husband’s cancer care. Her large mural titled “73 cents” became part of the national healthcare debate and was covered by the media. Holliday consistently uses story to illustrate the need for clarity and transparency in medical records. She writes poignantly about story here An excerpt, in which she likens a patient’s medical record to his or her story (emphasis added):

    I now sit in meetings for hours and watch power point lectures about electronic medical records. I listen to people dissect HIPPA regulations and incentive time tables. I hear arguments comparing ICD-9 code to ICD-10. And sadly, I hear many people tell me that patients should never see the entire medical record. … For too long the medical record has been considered a billing document or a legal document: property of the physician or institution, instead of what it is, the story of the patient.

Storytelling and Postmodernism

Recently, storyteller Eric James Wolf turned the tables on me. I’ve conducted more than 57 Q&As with story practitioners — and now Eric has done a Q&A with me. I thought it would be worthwhile to excerpt some of it here because it explains some of my philosophies and approaches with this blog.

In this entry, Eric had asked me about the relationship between storytelling and postmodernism.

I view the current storytelling movement as an outgrowth of postmodernism. Postmodernism is characterized by critique, irony/ionic humor, mockery, parody, playfulness, disorientation, things that are symbolically rich and meaningful, multiple perspectives, conflict, the discontinuity of traditions, contradiction, ambiguity, paradox, metaphors, a strong aesthetic dimension, diversity and multiplicity, fragmentation, as well as questioning pre-established rules, values, expectations, right vs. wrong, good vs. bad, and underlying faith in reason and science.

In part, story becomes a way to make sense out of and find meaning in fragmented postmodern life.

Postmodernism means seeing organizations as texts, narratives, discourse, stories. David Boje, arguably the scholar who has most significantly connected storytelling with postmodernism, writes that “Stories are not indicators [of an organization], they ARE the organization.”

Boje writes:

The postmodern turn has several key method assumptions. First, humans as storytelling animals act toward their organization and environments based upon their storied interpretations of self, other, organization, and environment. Second, story making is a collective process of social interaction in which story meanings change over time. Third, story meaning changes with the context of the telling as storytellers select, transform, and reform the meanings of stories in light of the context of the telling. Fourth, in [storytelling organization] theory the individual is part of the collective enterprise of constructing and transforming stories told to the world and stories of the environment being constructed. This is different from a structural-functionalist model of organizations in which story functions as measures of variables of an abstract structure. Fifth, the inquirer is a story-reader who upon entering the story-making world changes the story-making processes by being there at all.

Postmodernism also means fusing modern techniques with traditional concerns. We can never get away from traditional oral narrative culture because we think in story; that’s how our brains are wired. But a postmodern view says that story does not come from an authority on high but belongs to everyone. It’s collective and distributed, and many people and perspectives participate in constructing stories (think about social media and blogs). Postmodernism also means rejecting the idea of an objective “reality;” there is only the reality we construct with others through discourse — by telling our stories.

Probably my best attempt at connecting postmodern storytelling with traditional oral narrative culture is in an essay I wrote as part of my PhD program.

Having said all that, I am less interested in postmodernism than I used to be. Postmodern theory provided my entry point into storytelling, and [this] blog still carries the tagline “Kathy Hansen’s Blog to explore traditional and postmodern forms/uses of storytelling,” but it’s not a big part of my current thinking.

Do We Tell Our Stories Differently Online Than Offline?

I’ve been fascinated for awhile about whether we construct our stories (identities, personas) differently online than we do offline.

Back in the spring at the conference Digital Storytelling ’10, Molly Flatt of the agency 1000Heads looked at “look at how — and if — social media is changing the way we tell our own stories, brands tell their stories, and how the two collide.”

Here are some highlights of her exploration:

I think social media encourages a architectural, multi-media way of storytelling similar to graphic novelists. I find this most powerful when fewer words are used (we’re all fighting for space and attention in the online world, after all), but they are deepened and complexified by their link-rich context.

I’m not a comics geek as Flatt says she is, so I’m not sure I agree with the graphic-novel analogy. I resist the “fewer words” prescription simply because I tend to be verbose, but I agree that in the online world, the fewer words we use, the more likely we will be to get read. I find it really fun to figure out how to edit down to a certain word limit — a 100-word bio, for example, such as the one I have here. Twitter provides the ultimate 140-character discipline. (Here, Flatt went on to talk about augmented reality, but I won’t get into that because I have not educated myself about augmented reality.)

In social media, we’re all the heroes of our own stories, and we’re uploading fragments of our stories all the time.

This fragmentary quality challenges the sensibilities of storytelling purists. Because these fragments generally lack beginnings, middles, and ends, we do not often see them as stories. But taken in the aggregate, do they successfully tell our stories? They certainly become building blocks in constructing our identities.

We constantly and shamelessly use brands to express our identity online — the general has become the specific.

I hadn’t thought before about this aspect, but it’s certainly true in my case. My fierce allegiance to, for example, Apple products, is surely part of my story, and I’m certain I could come up with lots of other brands that I regularly integrate into my online story.

When we don’t have face-to-face instincts to rely on when building trust, only digital words and images, what do we rely on to capture our attention or empathy? Stories.

Stories build trust even when we are face to face, so their power when we aren’t is a given.

Flatt, who uses Isobella Jade as an example of an online storyteller/identity constructor who has integrated all the above themes into her online story, has nicely characterized some aspects of our online stories.

Meanwhile, I learned a new term — IRL (in real life) — in a post by Alexandra Samuel entitled 10 Reasons to Stop Apologizing for Your Online Life. Samuels essentially asserts there is no difference between our online and offline lives:

If we still refer to the offline world as “real life,” it’s only a sign of deep denial — or unwarranted shame — about what reality looks like in the 21st century. The Internet’s impact on our daily lives, experiences and relationships is real. Our world is deeply affected by networks. From the moment you wake up to news that was gathered online to the minute you fall asleep listening to a podcast, the Internet shapes how you experience the world around you.

In giving her 10 reasons to stop apologizing, Samuels hits on several that relate directly to our need to tell stories [my comments in brackets]:

It’s time to start living in 21st century reality: a reality that is both on- and offline.

Acknowledge online life as real, and the Internet’s transformative potential opens up.

When you commit to being your real self online, you discover parts of yourself you never dared to share offline. [Telling your story is one way to be your real self.]

When you take the idea of online presence literally, you can experience your online disembodiment as a journey into your mind rather than out of your body.[Online presence and online story = synonymous?]

When you focus on creating real meaning with your time online, your online footprint makes a deeper impression.[Stories are the best way to create meaning.]

When you spend your online time on what really matters to you, you experience your time online as an authentic reflection of your values. [Stories are an excellent medium for authentically reflecting values.]

I am interested in conducting research — yes, probably of the academic ilk — on more differences in the ways we use stories to construct our online identities versus our offline identities. I haven’t seen much, if any, scholarship on this topic. If you’re aware of research on this theme, I’d love to hear about it.

Job Posting Invites Candidates to Start Their Story with Organization

Gregg Morris yesterday turned me on to what he thinks might be the first job posting ever to use “story” in the way this posting does. It is certainly the first one I’ve seen that does so. The posting is for the position of Social Media Specialist.

Here are some snippets showing how Cancer Treatment Centers of America seeks someone who can tell its story, as well as someone to begin his or her story with the organization:

Stories of Life. Stories of Hope.

Imagine a place where your talent can make a meaningful difference in peoples’ lives. Where a sense of mission and a promise to patients marks a culture of people who look forward to the challenge of each day … where you can help create stories of life, stories of hope, and amazing stories of triumph — big and small — that unite everyone around a worthy goal. That place is real. It’s why we are here.

Cancer Treatment Centers of America® (CTCA) is one of the fastest-growing networks of cancer hospitals in the country. We offer the most sophisticated forms of oncology treatment, combined with complimentary therapies that support the entire person. It’s a place where your contributions can create new stories that embody our exceptional standard of care known as the Mother Standard® model of care — meaning that all staff provides the same level of care to each patient that we would want for our own loved ones. And for those of you who can see how rich and fulfilling this mission-driven, patient-centric, cutting-edge work experience can be, we hope your story starts here.

Start your story at our corporate offices in Schaumburg, IL as a: Social Media Specialist … If you’re interested in starting your own story with us see our website at http://www.cancercenter.jobs/ for a full job description and to apply.

The job posting is interesting for several reasons. It recognizes the growing recognition of the connection between social media and storytelling — that social media at its best is essentially a storytelling media. The employer clearly recognizes stories as the primary way to convey its message (of life and hope). And the employer envisions a career as a story, as I discussed here.