Like many of my most recent batch of Q&A invitees, Nora Camp and her work popped up as suggestions in my Scoop.it curation. I am most excited to have her join the Q&A series because she and her company, Duo.ca, are approaching brand storytelling in a unique way. This Q&A will run over the next six days.
Bio: [from the Duo.ca Web site]: Nora Camps, president, of DUO.CA is a brand strategy consultant for charitable foundations, not for profit organizations and companies who have an entrepreneurial spirit. Nora’s personal interest is in executing agricultural theme marketing initiatives for a brighter future on a greener planet. Over time Nora has articulated, and indeed demonstrated the power of high fidelity storytelling, and how she uses print collateral and events to build an organization’s character.
Before starting her own firm, Nora worked in advertising, direct mail, sales, media relations and corporate design.
Nora says: “I love helping people achieve great things: connecting people with ideas and each other: and juxtaposing disparate ideas to produce new realities. My painting and photography exemplify these desires”.
Q&A with Nora Camps, Questions 1 and 2:
Q: Who are you? Share something about your early years, something that coloured how you think about storytelling now.
A: In 1969, our family took delivery of a Telefunken stereo in a teak cabinet. I’ve since seen many of the very same cabinets in vintage furniture stores across Toronto, so I know we were not alone in our experience. The unit was carefully carried into our small house, positioned in the place of honour in the living room and plugged in. Mom, Dad, my brother, our dog and I sat down for the first sounds from our very own hi-fi system. The unit came with a record and we placed that on the turntable, carefully closed the sliding doors and sitting back to hear a voice that sounded very much like Peter Ustinov tell us that we were about to experience the incredible quality of High Fidelity Sound Reproduction. A car horn sounded from the left side of the cabinet and then birds tweeting on the right … clarity and amazing precision … and then a symphony began some orchestral suite. This was our foray into a way of hearing that would establish a new measure of what is good, average and unacceptable in sound reproduction. This quality of sound would be forever remembered by me as high fidelity sound — sound which reproduced the complete range of the sound experience — subtly nuanced, magnificently reported, larger and more textured than life. There is a direct relationship between how I think about story, about what I call High Fidelity Story Telling and this early experience of hi-fi sound reproduction.
Q: Can you talk a bit about your company’s concept of “High Fidelity Story Telling?”
A: We have broken down High Fidelity Story Telling into seven distinct
deliverables — each one can build out a campaign or be used alone. We use something called ‘residual memory’ to program the stories to be memorable and easy to recall/retell. The way we use imagery, with words or on its own, is quite different from the convention. We have begun to deliver a story essay for Monforte Dairy each month, and we want to do that for others. We are talking to a foundation who can use all seven facets of High Fidelity Story Telling to launch and sustain a fundraising campaign for a significant sum … we can incorporate our storytelling method into social media campaigns … Can you tell that after 27 years in business, I am completely smitten with storytelling?
