You Don’t Have to Be Hardcore Into Digital Storytelling to Use These Tools

Ozge Karaoglu’s Blog recently presented 100 Digital Storytelling Tools for Your Digital Selves + Natives (Part 1), 100 Digital Storytelling Tools for Your Digital Selves + Natives (Part 1), 100 Digital Storytelling Tools for Your Digital Selves + Natives (Part 3), and 100 Digital Storytelling Tools for Your Digital Selves + Natives (Part 4).

While these tools are fantastic if you’re into Digital Storytelling (upper-case D and S), they also expand the storytelling universe for those who enjoy trying new tools for telling stories.

DocLab 2009 with Live Stories Theme Is Under Way

Who knew there was an emerging web documentary genre? A small part of IDFA, the 22nd International Documentary Film Festival Amsterdam, is dedicated to this genre.

Doc Lab, Amsterdam’s “hotbed of experiment, is the special area of the festival exploring the relationship between ‘new media’ and documentary filmmaking. The program is open to all media that can be used to tell a documentary story. During the festival, Doc Lab presents films, web documentaries, and installations that innovate the documentary genre. Projects are showcased in the Doc Lab Media Lounge and in Amsterdam cinemas during a number of special Live Screenings and events. The theme this year is Live Stories, and the principal guest is Ira Glass.”

Doc Lab programmer Caspar Sonnen says DocLab is focused on “finding ways to reach an audience bigger than just new-media experts… the point is that there are great stories emerging online and we have to show them!”

You can get a good sense of these great stories here.

Our Stories Are Among the Few Things We Can Control

Recently saw an interesting premise on the blog (called Naming and Treating) of K and J Investigations and Case Management. In a post titled Diagnostic Voices of Community: “control over our stories”, the blogger(s) — Kathy and/or Jeff Gaddess — start by citing the words of New York Times columnist David Brooks:

… unlike the other animals, people … have a drive to seek coherence and meaning. We have a need to tell ourselves stories that explain it all. We use these stories to supply the metaphysics, without which life seems pointless and empty. … Among all the things we don’t control, we do have some control over our stories. We do have a conscious say in selecting the narrative we will use to make sense of the world. … The stories we select help us, in turn, to interpret the world.

The bloggers(s) agree:

… we do have some control in the ways in which we interpret and then project who we are, what we think and feel, and what we have been through. Our stories become us. If we perceive ourselves as victims then this is who and what we will struggle with and be. If we consider ourselves heroic, mostly winning and dominant over adversity, then this sense of self will be the story we tell even if how we see ourselves in this way is not entirely correct.

Inherent in this notion of having control over our stories is the idea that we can change our lives by changing our stories.

I have most certainly known people — some I know quite well in fact — who have wrapped their lives around the story of their victimology and cannot seem to move forward and craft a new story.

I’m at least a bit guilty of clinging to a story that doesn’t serve me well — the one in which I’ve concluded that my contributions will always be undervalued, and I’ll never achieve a certain kind of success.

The other piece of Brooks’s premise — the sensemaking piece — also intrigues me: “We do have a conscious say in selecting the narrative we will use to make sense of the world.” I’m troubled, though, about the large and dangerous faction in the US that presents a false narrative in the guise of “news,” and plays on the population’s vulnerabilities, gullibilities, and especially, fears.

What do you think? Do we have more control over our stories than we do over other aspects of our lives? Do you hold onto a story that’s not serving you? What do you look for in selecting “the narrative [you] will use to make sense of the world”?

Are You New to Organizational Storytelling?

If you’re a newbie in the world of organizational or applied storytelling, you will likely appreciate Robert Star’s slideshow, Release the Stories in Your Organization. The concepts and arguments in favor of storytelling in organizations will be familiar to veterans of organizational storytelling, but they are nicely organized and presented. Of course, my usual critique of presentations about storytelling applies — like most, this one seems to have no stories. Here’s how he responds to that critique:

The only criticism is about the lack of stories – something done deliberately to give a freedom to improvise when I present it orally. The slides are the foundation from which I improvise for a specific audience, time and place.

For me, there’s a big difference between the digital / visual and the verbal storytelling. Here it was important to try to involve the reader, bring the problem solver to life and convey a message through emotional images. If, on the other hand, I want to present it orally, it’s more important who I am, what stories are relevant for that situation – although the message about storytelling would be the same.

There’s also a transcript of the presentation. Enjoy his fine work:

Is the Internet Killing — or Nourishing — Storytelling?

Ben Macintyre’s Times of London article from two weeks ago, The internet is killing storytelling continues to generate huge buzz on Twitter, and I expected to vehemently disagree with it. But I surprised myself by acknowledging that Macintyre has a few good points.

First, I like the staccato spew of his opening salvo:

Click, tweet, e-mail, twitter, skim, browse, scan, blog, text: the jargon of the digital age describes how we now read, reflecting the way that the very act of reading, and the nature of literacy itself, is changing.


I also admit that the Internet has diminished my attention span. I find it harder and harder to summon the patience to read longer newspaper and magazine stories these days — like Nicholas Carr’s experience that Macintryre describes:

[Atlantic Monthly essayist Nicholas Carr] admitted that he can no longer immerse himself in substantial books and longer articles in the way he once did. “What the net seems to be doing is chipping away at my capacity for concentration and contemplation,” he wrote. “My mind now expects to take in information the way the net distributes it: in a swift-moving stream of particles.”

Thus, I can’t completely disagree with Macintyre’s claim: “If the culprit is obvious, so is the primary victim of this radically reduced attention span: the narrative, the long-form story, the tale. … Very few stories of more than 1,000 words achieve viral status on the internet.”
This last statement is probably true, though Macintyre offers no evidence. (Stephanie West Allen cited this blog entry in which David DiSalvo points out the lack of any citations that support Macintyre’s assertions.)

But here’s where we start to part ways. Macintryre writes: “The blog is a soap box, not a story. Facebook is a place for tell-tales perhaps, but not for telling tales.” Sure, that’s true of some blogs — but many others are wonderful venues for storytelling, providing a storied outlet for both writers and readers that didn’t exist 15 years ago. And while storytelling on Facebook may be flawed, millions more people are telling and reading stories than did before the age of social media.

I disagree with Macintyre’s assertion that Internet storytelling is not nourishing us. The vast variety of ways the Internet has opened up for people to tell stories has led not to an anorexic culture but one confronting a Thanksgiving feast of story possibilities:

The internet is there for snacking, grazing and tasting, not for the full, six-course feast that is nourishing narrative. The consequence is an anorexic form of culture.

I certainly agree with these assertions by Macintyre — except for the “paradoxically” part. Since we do hunger in unprecedented ways for stories, it is not at all paradoxical that the Internet has provided vast, unprecedented, and varied tools and venues for storytelling:

Paradoxically, there has never been a greater hunger for narrative, for stories that give shape and meaning to experience. .. Our fascination with other people’s stories is as great, if not greater, than any time in history.

In a blog entry, Dan Conover, Joel Achenbach and Deborah Potter on storytelling,
responding to a different piece written before Macintyre’s piece ever appeared, Deborah Potter wrote:

… is Twitter a threat to storytelling? Of course not. And not just for the obvious reason that Twitter is an entirely different medium from long-form narrative. It’s never going to replace good writing. Checking a Twitter stream is an entirely different experience from curling up with a good book, and most serious readers — even those who are also avid tweeters — wouldn’t trade one for the other. But here the real reason Twitter isn’t a threat to storytelling: Twitter can make writing better.

So, two more points to counter Macintyre’s argument: There’s still plenty of room for long-form narrative in people’s lives, and sometimes less is more. Where is it written that stories must be long to be good?

Jean Marie Tenlen responded to Macintyre’s essay with a blog entry carrying examples “to illuminate the multiple layers of narrative that the Internet enables.”

Macintyre’s piece also sparked discussion on Golden Fleece’s Working Stories discussion list. A few excerpts:

I don’t agree. That’s like saying sex is killing love.

— Seth Kahan, president, Performance Development Group, Inc.

A similar perspective as this article was posited by a well known neuroscientist (who I remember had a grand title but I don’t remember her name) from the UK who said that gaming was killing social capabilities. It was a TV report and I laughed to myself when they cut to four young guys in an in-depth conversation about how to best make progress in one of the latest video games. Seemed like there was plenty of socialising happen and the game was the trigger.

— Shawn Callahan, Anecdote

… my teenage kids are just as likely to read Harry Potter, Lord of the Rings, etc as they are to spend time on Facebook and IM’ing. In fact, they spend hours IM’ing, which seems to me to be the modern equivalent of hours on the phone. They spend just as much time gossiping (telling each other stories) as I did as a teenager. They watch movies, and as I said, they also read books. Long books with intricate plots that carry through the series. They don’t like reading most of the texts they are given to read for school. So what exactly is different? … WIth email, I write more than I did before email. I send friends interesting stuff about our travels, before it was what would fit on a postcard. So technology has helped me write more stories, well, personal stories. If we are talking about literature, well no, technology hasn’t added to me reading anymore than I did before the internet came along. But then it hasn’t reduced it either. I read when I am interested, I stop reading when I lose interest. I don’t think my level of interest, or attention span has changed as a result.

— Melanie White

What forms and venues for storytelling — as well as levels of storytelling participation — were unimaginable before the Internet?

Two More Voices Join the Storytelling-in-the-Job-Search Chorus

Roxanne Ravenel doesn’t really break any new ground in Building Career Success Stories: Why Storytelling is Essential to Finding Your Next Job, but she reinforces the importance of storytelling for responding to behavioral job-interview questions and provides an example of the class Challenge > Action > Results formula.

I’m delighted that Rusty Rueff, Glassdoor.com’s career and workplace expert, is talking about storytelling in the job search in his guest blog entry, How to Tell the ‘Story of You’ in A Job Interview: Part 1. But I’ve gotta quibble with this statement:

So, you have gotten the interview that you desired and you know that you are going to be asked once, twice, maybe five or six times, some question that is like, “so, tell me about you”. You then have five to seven minutes to tell your story.

As I wrote in the comments section of his blog entry: “Five to seven minutes to respond to the “tell me about yourself” question?!?! Oh my goodness, the interviewer will have nodded off long before you get to the end of even 5 minutes. Two minutes at the absolute most for your storied job-interview responses.”

But I love what Rueff says here:

Of the thousands of interviews I have conducted in my career, I can tell you that few of those stories stand out. And why don’t they? It’s because they are not told as stories. Instead, what I receive is a regurgitation of their resume and a data dump that lasts too long and is far from being interesting. As my mind wanders off to something else, I want so desperately to hear a story of intrigue.

I’m also looking forward to his next entry on the six plots that make up your personal career story.

Speaking of voices, I can’t bear to listen to my own and refuse to listen to my interviews and podcasts, but if you’d like to, here’s a link to a show I did in September with the aforementioned Roxanne Ravenel on her BlogTalkRadio show, The Savvy Jobseeker: Get Hired by Mastering the Fine Art of Storytelling

Healthcare Winning Video Is Somewhat Storied

When I give publicity to a contest in this space, I feel I should follow up and reveal the winner. A few weeks ago, I posted about the Obama administration’s healthcare video contest, noting that some entries among the top 20 finalists were more storied than others. On the continuum of storytelling –> not storytelling, I’d say the winner falls slightly closer to storytelling than not.

Please pardon the pitch for a donation at the end.

What’s Next for Believe Me Author?

Today, I conclude my series of three questions I asked of Michael Margolis, author of the new book, Believe Me: Why Your Vision, Brand, and Leadership Need a Bigger Story (see yesterday’s entry and Friday’s.)

Michael writes that the Believe Me manifesto is just the beginning. “Follow-up books will be more practical, with frameworks, case studies, and a how-to driven approach,” he writes toward the end of Believe Me. “I am eager to explore more deeply the topics of 1) brand storytelling, 2) social innovation stories, and 3) the stories every entrepreneur must tell.”

I asked him to elaborate on his planned books:

Here’s my confession, I’ve always clearly envisioned writing at least 7 or 10 books in my lifetime (humble ambitions, right?). Yet, every time I’d sit down to write a book, all 7 to 10 books would show up at once, like competing voices arguing in my head. So writing was a pretty frustrating experience — with plenty of false starts over the years. In the case of Believe Me, I wrote the book in just 90-days (!) from the first word on paper to the “publisher’s proof” in hand. Clearly, technology (and a little elbow grease) is a game-changer, profoundly changing how we produce and consume stories today. I skipped working on my tan this summer, and instead produced a book. Joking aside, I’m in the midst of developing the material for the next four books. I’ve launched a series of free/paid tele-classes, new workshop offerings, and putting the finishing touches on a 6-month executive-education program called High Stakes Storytelling. I share all of this, because these current activities will form the basis of my next books — and will take a more practical, hands-on approach — guiding readers through a variety of real-world scenarios and business applications. I haven’t yet decided which of the four books comes out first, but the topics I’ll be covering in more depth include brand storytelling, entrepreneurial narratives, social media storytelling, and storytelling for social change. In essence, helping to map out the new paradigm of business especially for society’s change-makers, innovators, and pioneers.

Believe Me: Targeting Short Attention Spans and Conversation

As I noted in yesterday’s entry, I’m introducing Michael Margolis’s new book, Believe Me: Why Your Vision, Brand, and Leadership Need a Bigger Story by asking him some questions about it, as well as sharing my own impressions.

I asked Michael what kind of reaction the book has generated. Here’s what he said:

This book is intended to be a conversation starter. So I welcome correspondence from your readers. The feedback I hear regularly about the book, is that its short, provocative, and digestible. Honestly, I wrote it for someone like me who has a pretty dismal attention span. So the print is big, the layout is fun, and every few pages, something is designed to jump out and get you thinking. And yet somebody like me also expects substance, meaning, and emotional depth. That’s who I tried to write for. The book will probably leave you with more questions than answers. And that’s equally part of the intent. This book is not for everyone. It’s just 88-pages long (short enough to read on a plane, or in a single sitting). I was trying to write more in the style of Tom Peters or Seth Godin (two of my business book role models), yet make it something totally unique and unexpected in terms of narrative format/structure. I’d love to hear what your readers have to think. As you know they can download a free excerpt of the book, and that way get a better sense of the book’s message and visual experience.

The book centers on 15 storytelling axioms (my favorite: “Reinvention is the new storyline”), and the design most definitely is fun and easily digestible. In turn, the 15 axioms fall into one-word categories (for example, Meaning, Perception, Relationship, Memory, and Choices) within three “Acts.” These Acts, Michael says, follow the classic three-act story structure: Set-up, Confrontation, and Resolution (also known as beginning, middle, and end). A wonderfully useful section in the back of the book, Putting Ideas Into Practice, summarizes the one-word categories in the Acts by presenting prompts/questions to ask yourself “to explore your story.” For the “Meaning” category, for example, the prompts/questions are:

  • What is most meaningful or memorable about your story?
  • What kind of bigger experience might people pay a premium for?

Full-page quotes are liberally sprinkled throughout the text, and I plan to record these quotes in my Story Wisdom section.

Michael ends the book with a page titled, “This Story Is Just the Beginning,” in which he notes that Believe Me is just an introduction and tantalizes by promising to produce more practical followup books. In tomorrow’s entry, Michael talks more about the future books he has in store.

Believe Me: Why the World Needs a Storytelling Manifesto for Change-Makers and Innovators

My friend Michael Margolis has just come out with the terrific new book, Believe Me: Why Your Vision, Brand, and Leadership Need a Bigger Story. In addition to being fun and easy reading (even a slow reader like me can devour it in a single sitting), the book offers free bonuses in the back said to be worth $265. These bonuses include a Story Engagement Index, a Believe Me Action Guide, a subscription to Michael’s Story Mojo newsletter, and a free telephone strategy session.

The cover proclaims Believe Me to be “a storytelling manifesto for change-makers and innovators.” I was curious about why Michael felt such a manifesto was needed. Here’s what he told me:

It seems like everybody I know is in some state of reinvention (including me). Change, innovation, adaptation are the new business as usual. I wanted to write a book that framed storytelling around these larger archetypal themes. The topic also reflects the personal path that I’ve walked as a social entrepreneur, business storyteller, and “arm-chair” cultural anthropologist. Makes for a lot of threads to tie together. There was a real creative tension that I tried to balance throughout. I didn’t want to dumb down the topic and insult the reader. And yet it was important for me to make the book “pop culture” accessible. My goal is reach really smart people who maybe don’t have “storytelling” on their radar as a strategic mindset. The Manifesto attempts to introduce readers to the greater possibilities of story in an expansive and integrated fashion. Of course, its far from complete or authoritative. It’s meant to be a spark of light, the bright yellow cover being a metaphor for the sun and the power we have to create our own reality.

Coming up: Over the next two days, I ask Michael two more questions about the book and offer my thoughts on it.