Storytelling In Business Quotes

I got this story from someone who had no business in the telling of it.

How easily we forget-we in the business of storytelling- that life was the point all along.

Scratch the surface in a typical boardroom and we're all just cavemen with briefcases, hungry for a wise person to tell us stories.

He too had watched as the outer limits of his life had narrowed from the world at large, to the island of Manhattan, to that book-lined office in which he awaited with a philosophical resignation the closing of the finger and thumb. And then this... This! A little boy from Nebraska appears at his doorstep with a gentle demeanor and a fantastical tale. A tale not from a leather-bound tome mind you... But from life itself. How easily we forget-we in the business of storytelling- that life was the point all along.

If we all work together there is no telling how we can change the world through the impact of promoting positivity online.

Storytelling sells a vision of the future.

Having all the information in the world at our fingertips doesn’t make it easier to communicate: it makes it harder.

As I quietly stare off into space, eyes glazed over and brow thoughtfully taut, know that I am going about my business.  I am a storyteller.  Daydreaming is the best part of my job.

My grandmother lived a remarkable life. She watched her nation fall to pieces; and even when she became collateral damage, she believed in the power of the human spirit. She gave when she had nothing; she fought when she could barely stand; she clung to tomorrow when she couldn’t find footing on the rock ledge of yesterday. She was a chameleon, slipping into the personae of a privileged young girl, a frightened teen, a dreamy novelist, a proud prisoner, an army wife, a mother hen. She became whomever she needed to be to survive, but she never let anyone else define her. By anyone’s account, her existence had been full, rich, important—even if she chose not to shout about her past, but rather to keep it hidden. It had been nobody’s business but her own; it was still nobody’s business.

The first business of a story is to be a good story. When Our Lord made a wheel in the carpenter shop, depend upon it: It was first and foremost a good wheel. Don’t try to ‘bring in’ specifically Christian bits: if God wants you to serve him in that way (He may not: there are different vocations) you will find it coming in of its own accord. Any honest workmanship (whether making stories, shoes, or rabbit hutches) can be done to the glory of God.

The business of stories is not enchantment. The business of stories is not escape. The business of stories is waking up.

I can see how I could write a bold account of myself as a passionate man who rose from humble beginnings to cut a wide swath in the world, whose crimes along the way might be written off to extravagance and love and art, and could even almost believe some of it myself on certain days after the sun went down if I’d had a snort or two and was in Los Angeles and it was February and I was twenty-four, but I find a truer account in the Herald-Star, where it says: “Mr. Gary Keillor visited at the home of Al and Florence Crandall on Monday and after lunch returned to St. Paul, where he is currently employed in the radio show business… Lunch was fried chicken with gravy and creamed peas”.

All of the great mythologies and much of the mythic story-telling of the world are from the male point of view. When I was writing The Hero with a Thousand Faces and wanted to bring female heroes in, I had to go to the fairy tales. These were told by women to children, you know, and you get a different perspective. It was the men who got involved in spinning most of the great myths. The women were too busy; they had too damn much to do to sit around thinking about stories. [...] In the Odyssey, you'll see three journeys. One is that of Telemachus, the son, going in quest of his father. The second is that of the father, Odysseus, becoming reconciled and related to the female principle in the sense of male-female relationship, rather than the male mastery of the female that was at the center of the Iliad. And the third is of Penelope herself, whose journey is [...] endurance. Out in Nantucket, you see all those cottages with the widow's walk up on the roof: when my husband comes back from the sea. Two journeys through space and one through time.

We are all storytellers. We all live in a network of stories. There isn’t a stronger connection between people than storytelling.

As Isabel Allende said, “You are the storyteller of your own life, and you can create your own legend or not.” Step

People will forget what you said, people will forget what you did, but people will never forget how you made them feel.

Nobody wants a sales pitch. So instead of trying a hard sell, focus on telling a story that captivates your audience by painting a vivid picture of your vision. When you get good at storytelling, people want to be part of that story, and they’ll want to help others become part of that story too.

I once interviewed a New Age guru who spoke about how unfinished business from ancestors can trickle down to generations twice, even three times, removed. Actions in the present can help to correct the mistakes made in the past. And even if there is no absolution to be had, an understanding may help keep the same mistake from being repeated.

Stories nowadays are put in to squares, just like everything else. Stories are ever changing. They are like rivers that flow, but mankind is busy trying to dam them up and as a result, they become stagnant. They divert the water into square swimming pools, and then add chemicals to it in order to keep it sterile.

Using a table in a live presentation is rarely a good idea. As your audience reads it, you lose their ears and attention to make your point verbally. When

Luck is what happens when preparation meets opportunity.

Today’s availability of technology means that any business in any industry can develop an audience through consistent storytelling.

Since the opposition (shadow) is capable of preventing the audience (hero) from achieving success, the goal of a business narrative is to defeat the opposition (shadow).

When developing a business story, keep in mind that the opposition character (shadow) is just as important as the audience character (hero) is.

Leadership is essentially a task of persuasion—of winning people's minds and hearts.

the most compelling business presentations are a form of strategic storytelling leading listeners down a controlled path.

When prioritizing, it is common to use a two-by-two matrix –

The focus of your presentation is the audience. You are missing the point if you focus on a product or your company.

When you acknowledge the audience's shadow you become their hero.

Your entire presentation is the story.

When you have just a number or two that you want to communicate: use the numbers directly.

As your business is unique, your statement also needs to be. It has to reflect who you are and how you are different from others.

You should always want your audience to know or do something. If you can't concisely articulate that, you should revisit whether you need to communicate in the first place.

Experience shows that, once you start using the business storytelling process, you are unlikely to return to your old methods.

The beauty of ideas is that many can co-exist at the same time and propel new leaps in our personal and collective evolution.

Life is hard and we need people who’ve been in the thick of it to tell us a little something of how to survive and, also, thrive.

You know you’ve achieved perfection, not when you have nothing more to add, but when you have nothing to take away

Communicators begin with generous intent and then surrender the work to the audience to do with as they will, including identifying and resonating with the work in their own unique ways.

Our imagination tells us that being as connected as we are—the ease of travel, technological advances and pooled intelligence—should have produced better results for more people than we’re now seeing.

The sequence that made Martin Luther King Jr.’s “Dream Speech” the greatest speech of the twentieth century had all been improvised. The words “I have a dream” are not in the original copy of the speech!

If you have ever experienced that feeling of being "stuck" with writing, it is not because you haven't put your butt in a chair. It's because you are suffering from emotional procrastination toward writing.

Will you be encountering each other for the first time through this communication, or do you have an established relationship? Do they already trust you as an expert, or do you need to work to establish credibility? These are important considerations when it comes to determining how to structure your communication and whether and when to use data, and may impact the order and flow of the overall story you aim to tell.

Work is love made visible. And if you cannot work with love, but only with distaste, it is better that you should leave your work and sit at the gate of the temple and take alms of those who work with joy.” —Khalil Gibran

When you’re trying to communicate a big, audacious concept, it’s helpful to remember that where data falls short, a story might close the gap, and where story alone is not persuasive enough, data can make up the difference.

While someone might attempt a feeble carbon copy of those ideas you’ve spent years developing, they can never match the undeniably distinctive aspect of your work. Especially if it resonates across multiple platforms and in multiple formats.

Those who are resonating the most with your work, who recognize themselves in your vision, will naturally crave language that speaks to that you-and-me kind of 'we.' They’ll want to identify with your ideas personally and keep talking about them.

Oh, you mean fairy gossip, Eric,” she giggled. “I get the picture,” she said fluttering her lacy wings. “Don’t look so sad, Eric. There isn’t a day that passes when your nosy beak doesn’t find its way into someone’s business. I’m sure you’ll find the best-ever story before

It’s a revolution of storytelling that’s being launched, folks – each of us coming out of our closets to share what we’ve learned – not to preach, explain, impress, manipulate, educate, or bend others to our will, but to fan the flames of wisdom in a world that sorely needs it.

Capitalism today asks for faith in a god called “the hidden hand” and seems to have forgotten the goal of the original story. Adam Smith, capitalism's original storyteller, “wrote that the ultimate goal of business is not to make a profit. Profit is just the means. The goal is general welfare” (Wink 1992, 68).

And as always when you’re presenting numbers, it becomes much more important to craft a narrative. You have to tell a story. [See also: Chapter 3.2: Why Storytelling.] Your board isn’t in the business every day like you are—they can’t immediately understand the nuances or what the numbers actually mean unless you give them context.

The majestic whale travels the seven seas piping its unique song in the hopes of finding its tribe. The other whales in the sea can hear the solitary whale. But the song to them is foreign and unfamiliar. They’re not resonating on the same frequencies and so, it seems, there can be no reciprocity. The creature carries on, searching high and low for a sign of recognition and response.

Our digital devices and the outlooks they inspired allowed us to break free of the often repressive timelines of our storytellers, turning us from creatures led about by future expectations into more fully present-oriented human beings. The actual experience of this now-ness, however, is a bit more distracted, peripheral, even schizophrenic than that of being fully present. For many, the collapse of narrative led initially to a kind of post-traumatic stress disorder—a disillusionment, and the vague unease of having no direction from above, no plan or story. But like a dose of adrenaline or a double shot of espresso, our digital technologies compensate for this goalless drifting with an onslaught of simultaneous demands. We may not know where we're going anymore, but we're going to get there a whole lot faster. Yes, we may be in the midst of some great existential crisis, but we're simply too busy to notice.

He elbows his way—blindly—through the crowd. People are ushering him forward. “Hurry, He’s calling you. He’s very busy.” Bartimaeus bounces forward like a pinball. Feet shuffling. Steps uncertain. Note the context: Jesus is on His way to Jerusalem. To the cross. Where He is going to redeem His people from the curse. He knows this. He is walking straight toward His own execution, and yet for some illogical and inexplicable reason He stops to talk with the blind, smelly beggar living under a curse.

Our understanding of the world of business is all mixed up with storytelling and mythology. Which is funny because we’re missing the real story by focusing on individuals. In fact, half the companies in the Fortune 500 were started during a bear market or recession. Half. The point is that most people start from disadvantage (often with no idea they are doing so) and do just fine. It’s not unfair, it’s universal. Those who survive it, survive because they took things day by day—that’s the real secret. Focus on the moment, not the monsters that may or may not be up ahead.

CLUES! The story must work on a superficial level, and it must also work on a deeper level for someone like you who cares to look back and re-examine. That is the delight of storytelling for me: that it can be what it is, and that it can also carry reverberations, when you go back and look a second time. It’s like life, I think. Life has clues and sometimes we are so busy living we don’t see them. So I write very carefully. And I keep refining and tweaking. I don’t think anything should be in a story for nothing. And likewise, I don’t think anything should appear in a story from absolutely nowhere.

Viola Bai knew how to tell a story. She knew that all the violence is contained in the precision of a detail. She knew how to work the timing so that the bell rang just as the bartender was busy with the fly of his name-brand jeans. At that moment her devoted audience slowly dispersed, their cheeks red with envy and indignation. Viola was made to promise that she would go on with her story at the next bell, but she was too intelligent to actually do it. She always ended up dismissing the whole thing with a pout of her perfect mouth, as if what had happened to her was of no importance. It was just one more detail in her extraordinary life, and she was already light-years ahead of everyone else.

Too many film schools, as well as any number of screenwriting gurus and an obscene number of how-to-write tomes, have made a business of catering to fledgling screenwriters and filmmakers by exploiting their belief that the only thing standing between them and an Oscar is the right kind of knowledge. If only one knew enough, one could easily become rich and famous. Unfortunately, almost all are susceptible to that eternal malady – “that last great infirmity of the soul” – which is FAME. And whilst I don’t deny the value of technical knowledge, such knowledge matters very little if the story one is trying to tell doesn’t matter, either because it’s incoherent or simply because it fails to make us care.

As an audience it seems we’re as good as saying, “I’ll pay attention to your idea if you… * are already being taken seriously in some way * have found your place (professionally or personally) * believe strongly in something relevant to your idea * are connecting (with ideas, with people) in meaningful ways * are finding ways to be useful in the world * are finding ways to achieve more of what you value * have developed mastery and control * are participating in interesting things * and are radiating love and acceptance for self and others.” Your chosen audience will have three or four things on that list they value most in their own lives. And because they do value those things so highly, they’ll be looking for those signals from you.

Storytellers like King make a conscious effort to incorporate metaphor into their speeches and presentations—the “promissory note” being just one of many metaphors in King’s speech. Metaphor gave King the tool to “breathe life” into abstract concepts: • “Let us not seek to satisfy our thirst for freedom by drinking from the cup of bitterness and hatred.” • “Now is the time to rise from the dark and desolate valley of segregation to the sunlit path of racial justice.” • “I have a dream that one day even the state of Mississippi, a desert state, sweltering with the heat of injustice and oppression, will be transformed into an oasis of freedom and justice.” • No, no, we are not satisfied, and we will not be satisfied until justice rolls down like waters and righteousness like a mighty stream.

Question number four: I read somewhere that you were an actor before you became an author. CC: That sounded more like a judgement than a question. MG: It was. Usually people pick a career in medicine or business to fall back on. With your chosen professions, it's like you decided to sail upstream without a paddle or a canoe. CC: Well, performing and writing have always been the same thing to me. You get to be a storyteller in both fields, and at the end of the day, I suppose a storyteller is what I consider myself the most. MG: Well, la-di-da. I know what you mean, though. I was an actress myself back in the golden days of Hollywood - you know, before all this streaming trash. CC: Would I recognize your work? MG: Did you ever see the film Gone with the Wind? CC: Of course! MG: I supplied the wind. CC: [A beat of silence.} How much longer is this interview going to take?

Anaphora is effective in the building of a movement because it increases the intensity of an idea, and intense ideas sear themselves into our brain. There’s a reason why Winston Churchill chose anaphora as his go-to rhetorical device to rally the British people in World War II: We shall fight in France, we shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air, we shall defend our Island, whatever the cost may be, we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender. Business leaders often shy away from anaphora because they believe it’s a tool reserved for political speeches. Actually, anaphora can be seamlessly and comfortably incorporated into business presentations meant to inspire audiences to see the world differently.

The life of man is a story; an adventure story; and in our vision the same is true even of the story of God. The Catholic faith is the reconciliation because it is the realisation both of mythology and philosophy. It is a story and in that sense one of a hundred stories; only it is a true story. It is a philosophy and in that sense one of a hundred philosophies; only it is a philosophy that is like life. But above all, it is a reconciliation because it is something that can only be called the philosophy of stories. That normal narrative instinct which produced all the fairy tales is something that is neglected by all the philosophies—except one. The Faith is the justification of that popular instinct; the finding of a philosophy for it or the analysis of the philosophy in it. Exactly as a man in an adventure story has to pass various tests to save his life, so the man in this philosophy has to pass several tests and save his soul. In both there is an idea of free will operating under conditions of design; in other words, there is an aim and it is the business of a man to aim at it; we therefore watch to see whether he will hit it. Now this deep and democratic and dramatic instinct is derided and dismissed in all the other philosophies. For all the other philosophies avowedly end where they begin; and it is the definition of a story that it ends differently; that it begins in one place and ends in another. From Buddha and his wheel to Akhen Aten and his disc, from Pythagoras with his abstraction of number to Confucius with his religion of routine, there is not one of them that does not in some way sin against the soul of a story. There is none of them that really grasps this human notion of the tale, the test, the adventure; the ordeal of the free man. Each of them starves the story-telling instinct, so to speak, and does something to spoil human life considered as a romance; either by fatalism (pessimist or optimist) and that destiny that is the death of adventure; or by indifference and that detachment that is the death of drama; or by a fundamental scepticism that dissolves the actors into atoms; or by a materialistic limitation blocking the vista of moral consequences; or a mechanical recurrence making even moral tests monotonous; or a bottomless relativity making even practical tests insecure. There is such a thing as a human story; and there is such a thing as the divine story which is also a human story; but there is no such thing as a Hegelian story or a Monist story or a relativist story or a determinist story; for every story, yes, even a penny dreadful or a cheap novelette, has something in it that belongs to our universe and not theirs. Every short story does truly begin with creation and end with a last judgement.

All human creativity is an echo of God’s creativity. When God makes man, he forms him in the dirt, breathes life into him, and sends him out in the world. We’ve been playing in the dirt ever since. Just as God took something he’d made, shaped it, breathed life and meaning into it, and transformed it into something new, so we set about our own business, taking creation, shaping it, and giving it new meaning and purpose. Clay becomes sculpture. Trees become houses. Sounds are arranged in time to become music. Oils, pigments, and canvas are arranged to become paintings. Various metals, glass, and petroleum products become iPhones. The same is true of stories. There is nothing new under the sun, and our stories—no matter how fresh and new they might feel—are all a way of “playing in the dirt,” wrestling with creation, reimagining it, working with it, and making it new. Our stories have a way of fitting into the bigger story of redemption that overshadows all of life and all of history. Because that bigger story is the dirt box in which all the other stories play.

At a crucial point of the Battle of Britain, when German warplanes were bombing London daily, every available British aircraft was in the sky to stop the planes from reaching the city. As Churchill sat in a car with his military secretary he said, “Don’t speak to me. I have never been so moved.” Churchill sat quietly for five minutes. He then turned to his secretary and asked him to write down a thought that would become one of the most famous quotes of World War II: “Never in the field of human conflict has so much been owed by so many to so few.”6 Only four words in that sentence are more than one syllable and, in six words, Churchill told the entire story of British courage and what it meant to the rest of the world: so much, so many, so few. Those six words summarize stories that fill entire books. “So much” stands for freedom, democracy, and liberty—much of which would have been eliminated if Hitler had not been stopped. “So many” represents the entire population of the British empire at the time and those who lived in the countries Hitler invaded. “So few” is a reference to a small number of English pilots, many of whom were killed in the skies as they defended their homeland.

Hardy reinforces his narrative with stories of heroes who didn’t have the right education, the right connections, and who could have been counted out early as not having the DNA for success: “Richard Branson has dyslexia and had poor academic performance as a student. Steve Jobs was born to two college students who didn’t want to raise him and gave him up for adoption. Mark Cuban was born to an automobile upholsterer. He started as a bartender, then got a job in software sales from which he was fired.”8 The list goes on. Hardy reminds his readers that “Suze Orman’s dad was a chicken farmer. Retired General Colin Powell was a solid C student. Howard Schultz, the CEO of Starbucks, was born in a housing authority in the Bronx … Barbara Corcoran started as a waitress and admits to being fired from more jobs than most people hold in a lifetime. Pete Cashmore, the CEO of Mashable, was sickly as a child and finished high school two years late due to medical complications. He never went to college.” What do each of these inspiring leaders and storytellers have in common? They rewrote their own internal narratives and found great success. “The biographies of all heroes contain common elements. Becoming one is the most important,”9 writes Chris Matthews in Jack Kennedy, Elusive Hero. Matthews reminds his readers that young John F. Kennedy was a sickly child and bedridden for much of his youth. And what did he do while setting school records for being in the infirmary? He read voraciously. He read the stories of heroes in the pages of books by Sir Walter Scott and the tales of King Arthur. He read, and dreamed of playing the hero in the story of his life. When the time came to take the stage, Jack was ready.

Give the Audience Something to Cheer For Austin Madison is an animator and story artist for such Pixar movies as Ratatouille, WALL-E, Toy Story 3, Brave, and others. In a revealing presentation Madison outlined the 7-step process that all Pixar movies follow. 1. Once there was a ___. 3 [A protagonist/ hero with a goal is the most important element of a story.] 2. Every day he ___. [The hero’s world must be in balance in the first act.] 3. Until one day ___. [A compelling story introduces conflict. The hero’s goal faces a challenge.] 4. Because of that ___. [This step is critical and separates a blockbuster from an average story. A compelling story isn’t made up of random scenes that are loosely tied together. Each scene has one nugget of information that compels the next scene.] 5. Because of that ___. 6. Until finally ____. [The climax reveals the triumph of good over evil.] 7. Ever since then ___. [The moral of the story.] The steps are meant to immerse an audience into a hero’s journey and give the audience someone to cheer for. This process is used in all forms of storytelling: journalism, screenplays, books, presentations, speeches. Madison uses a classic hero/ villain movie to show how the process plays out—Star Wars. Here’s the story of Luke Skywalker. Once there was a farm boy who wanted to be a pilot. Every day he helped on the farm. Until one day his family is killed. Because of that he joins legendary Jedi Obi-Wan Kenobi. Because of that he hires the smuggler Han Solo to take him to Alderaan. Until finally Luke reaches his goal and becomes a starfighter pilot and saves the day. Ever since then Luke’s been on the path to be a Jedi knight. Like millions of others, I was impressed with Malala’s Nobel Peace prize–winning acceptance speech. While I appreciated the beauty and power of her words, it wasn’t until I did the research for this book that I fully understood why Malala’s words inspired me. Malala’s speech perfectly follows Pixar’s 7-step storytelling process. I doubt that she did this intentionally, but it demonstrates once again the theme in this book—there’s a difference between a story, a good story, and a story that sparks movements.

It's also about integration: owning up to the parts of yourself, however much you might not like them. In the Real there are so many taboos that people are completely fragmented. That's the joke of it. They cling rigidly to the idea that they are one unique person, while they are busy hiding parts of themselves they can't accept.

millennials are a median age of twenty-seven. There’s seventy-five to eighty million of us. We are now the biggest group of employees in the workforce. There’s more of us than boomers or gen X. We’re also approaching peak spending years. And so as a foundational part of the economy, millennials are by far the most important group for the next forty years. And so, as a business, that’s the group you want to build your audience around. When you look at Fox News, CNN, MSNBC, all of those—all of those great news companies have a median viewer above sixty years old. That’s median. That means half of them are even older than that. “We plan on growing up with our audience,” Alcheck continued. “The biggest innovation is actually improving the storytelling, improving the journalism. Our audience is maturing, is approaching a new life stage where it’s about getting married and having kids and thinking about the world differently than they’ve been thinking about it for the last decade. And so for us, a big part of what we’re doing is continuing—is a relentless focus on making our journalism better. And I think that’s what’s going to ultimately either keep people or people will leave.

People will pay a dollar for a program with information, but they’ll pay $ 10 for a program with information plus a story.

Shawn Callahan, author of Putting Stories to Work,10 started his business storytelling company, Anecdote,11 in 2004. In those days, Shawn told me, you could hardly use the word ‘story’ in a business meeting without experiencing resistance.

enablers I know: results-oriented high achievers. They have real experience working with customers, communities, and constituents. They are practical. They are hardworking. They always have an appetite to make things better. They have a diverse set of jobs in their career that can be tied together with an enablement theme. They are great storytellers. They are mentors. They are technical. They are not afraid to roll up their sleeves and do hard work. They work many thankless hours. Q is all of the above and an inspiration to us all. How do we find and develop more people like Q in corporations? How do we make sure that every team, every department, and every company has their quota of enablers met? If we agree that having more enablers in our businesses will yield great results and build culture, then the next step is to recruit, develop, and mentor more enabler leaders.

I almost always use dark grey for the graph title. This ensures that it stands out, but without the sharp contrast you get from pure black on white (rather, I preserve the use of black for a standout color when I’m not using any other colors). A number of preattentive attributes are employed to draw attention to the “Progress to date” trend: color, thickness of line, presence of data marker and label on the final point, and the size of the corresponding text.

On the horizontal x-axis, we don’t need every single day labeled since we’re more interested in the overall trend, not what happened on a specific day. Because we have data through the 10th day of a 30-day month, I chose to label every 5th day on the x-axis (given that this is days we’re talking about, another potential solution would be to label every 7th day and/or add super-categories of week 1, week 2, etc.). This is one of those cases where there isn’t a single right answer: you should think about the context, the data, and how you want your audience to use the visual and make a deliberate decision in light of those things.

My legs haven’t disabled me, if anything they’ve enabled me. They’ve forced me to rely on my imagination and to believe in the possibilities … So the thought that I would like to challenge you with today is that maybe instead of looking at our challenges and our limitations as something negative or bad, we can begin to look at them as blessings, magnificent gifts that can be used to ignite our imaginations and help us go further than we ever knew we could go. It’s nearly impossible to resist the urge to stand up and cheer for Purdy because, as we now know, our brains are wired to respond to such a story. Purdy believes that storytellers who have experienced struggle feel more deeply because they’ve experienced the depth of life and its highest peaks. “My biggest struggles have led to my biggest accomplishments,”7 Purdy says.

Many people believe that if they use big words—capacious, voluminous, consequential language—others will find their use of such words to be a sign of intelligence. The exact opposite is true. If you want to sound smart and confident, replace big words with small ones. Big words don’t impress people; big words frustrate people.

Leaders who launch movements don’t “implement” a plan. They carry it out. Leaders who start movements don’t offer “remuneration” for carrying out the plan. They reward people for doing it. Leaders who launch movements don’t carry out a plan from “inception to termination.” They see it through from start to finish.

Churchill proved that one person can make a difference. One person can save a civilization. But no person has a chance to persuade the greatest number of people if they cannot explain their ideas with short, well-chosen words.

Anaphora is a storytelling device where a word or phrase is repeated at the beginning of successive clauses and sentences. In politics Democratic and Republican leaders share one big love—anaphora.

According to Southwest CEO Gary Kelly, a company’s purpose should answer the question, “Why do we exist?” Kelly adds, “We exist to connect people to what’s important in their lives through friendly, reliable, and low-cost air travel.”6 Only storytelling can rally passionate people around a common purpose. Each week Kelly gives a “shout out”—public praise—to employees who have gone above and beyond to show great customer service. Each month the Southwest Spirit magazine features the story of an employee who has gone above and beyond. Southwest highlights positive behaviors through a variety of recognition programs and awards. Finally, internal corporate videos are filled with real examples and stories to help employees visualize what each step of the purpose looks and feels like.

At 2:30 a.m. on the night of August 2, 1943, Kennedy, the skipper of a PT boat on patrol in World War II, got the chance to play the hero in his own life story. An enemy destroyer rammed the boat and split it in half. Two members of the 13-man crew were killed. One man was terribly injured and would certainly die if left on his own to swim to safety. Kennedy took a strap of the man’s life jacket, put it between his teeth, and swam four hours to a tiny uninhabited island that was only 70 yards wide. “With the physical courage of which he’d shown himself to be capable, Jack Kennedy had turned his years of frailty and private suffering into a personal and public confidence that would take him forward,”10 writes Matthews. Stories of heroes and heroic actions challenge us to remake our own internal narratives.

When we hear a story, the neural activity increases fivefold, like a switchboard has suddenly illuminated the city of our mind.

If you want people to buy your product, you have to get them to care about your story.

Good stories surprise us. They make us think and feel. They stick in our minds and help us remember ideas and concepts in a way that a PowerPoint crammed with bar graphs never can.

good story also has specific details to help the listener see herself in the founder’s story. A detail such as Sara’s seat number on the airplane is irrelevant to the story. The fact that Sara’s $98 pair of white pants hung in the closet for eight months because she didn’t like the way they looked on her is something that many women can relate to.

Successful organizations and companies share the stage with their best storytellers. Brands are a collection of narratives. Unleash your best stories.

The unique thing you get with a pie chart is the concept of there being a whole and, thus, parts of a whole. But if the visual is difficult to read, is it worth it? In

We’re all “storytellers.” We don’t call ourselves storytellers, but it’s what we do every day. Although we’ve been sharing stories for thousands of years, the skills we needed to succeed in the industrial age were very different from those required today. The ability to sell our ideas in the form of story is more important than ever. Ideas are the currency of the twenty-first century. In the information age, the knowledge economy, you are only as valuable as your ideas. Story is the means by which we transfer those ideas to one another. Your ability to package your ideas with emotion, context, and relevancy is the one skill that will make you more valuable in the next decade. Storytelling is the act of framing an idea as a narrative to inform, illuminate, and inspire. The Storyteller’s Secret is about the stories you tell to advance your career, build a company, pitch an idea, and to take your dreams from imagination to reality. When you pitch your product or service to a new customer, you’re telling a story. When you deliver instructions to a team or educate a class, you’re telling a story. When you build a PowerPoint presentation for your next sales meeting, you’re telling a story. When you sit down for a job interview and the recruiter asks about your previous experience, you’re telling a story. When you craft an e-mail, write a blog or Facebook post, or record a video for your company’s YouTube channel, you’re telling a story. But there’s a difference between a story, a good story, and a transformative story that builds trust, boosts sales, and inspires people to dream bigger.

What appears to be a set of solutions is merely a set of initial hypotheses, proposed explanations that now must be rigorously tested. A good problem solver will search for facts, all the while updating the hypothesis. Great problem solvers not only seek information that confirms their hypothesis but also mercilessly hunt for disconfirming information.

If your audience is overly complacent, begin with the complication to create a sense of urgency.

Had I made the right decision to give up law school—the “safe” choice—to pursue my passion—a career in broadcast journalism? Would I be stuck making $ 15,000 a year for the rest of my career? Would my father, who had landed on these shores as an Italian immigrant with $ 20 in his pocket after World War II, have been proud of my decision, or would the former prisoner of war have felt that his son was squandering an opportunity to make it in America?

Design is your silent storyteller. The visual aesthetic you share with the world tells a story about the values you uphold. When your audience is not ready or willing to listen, a strong visual can capture even the most evasive of minds. Design is not ornamental or secondary: it can propel your stories far beyond the spaces you initially planned for.

Why are you so into Pinot?” 2 Maya asks. In the next 60 seconds of the movie, the character of Miles Raymond tells a story which would set off a boom in sales of Pinot Noir. It’s a hard grape to grow. It’s thin-skinned, temperamental, ripens early. It’s not a survivor like Cabernet, which can just grow anywhere and thrive even when it’s neglected. No, Pinot needs constant care and attention. In fact it can only grow in these really specific, tucked away corners of the world. And only the most patient and nurturing of growers can do it, really. Only somebody who really takes the time to understand Pinot’s potential can coax it into its fullest expression. Its flavors are the most haunting and brilliant and thrilling and subtle and ancient on the planet. Miles is describing himself in the dialogue and using Pinot as a metaphor for his personality. In this one scene moviegoers projected themselves on the character, feeling his longing and his quest to be understood. Sideways was a hit and won an Oscar for Best Adapted Screenplay. It also launched a movement, turning the misunderstood Pinot Noir into the must-have wine of the year. In less than one year after the movie’s 2004 fall release date, sales of Pinot Noir had risen 18 percent. Winemakers began to grow more of the grape to meet demand. In California alone 70,000 tons of Pinot Noir grapes were harvested and crushed in 2004. Within two years the volume had topped 100,000 tons. Today California wine growers crush more than 250,000 tons of Pinot Noir each year. Interestingly, the Japanese version of the movie did not have the same “Sideways Effect” on wine sales. One reason is that the featured grape is Cabernet, a varietal already popular in Japan. But even more critical and relevant to the discussion on storytelling is that Japanese audiences didn’t see the “porch scene” because there wasn’t one. The scene was not included in the movie. No story, no emotional attachment to a particular varietal. You see, the movie Sideways didn’t launch a movement in Pinot Noir; the story that Miles told triggered the boom. In 60 seconds Maya fell in love with Miles and millions of Americans fell in love with an expensive wine they knew little about.

I have a dream that one day on the red hills of Georgia, the sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood.” “I have a dream that one day…” “I have a dream that one day…” “I have a dream today.” In the Dream Speech King puts on a master class in the use of anaphora. Anaphora is a storytelling device where a word or phrase is repeated at the beginning of successive clauses and sentences. In politics Democratic and Republican leaders share one big love—anaphora. In January 2015 Democratic president Barack Obama asked the nation: “Will we accept an economy where only a few of us do spectacularly well? Or will we commit ourselves to an economy that generates rising incomes and chances for everyone who makes the effort?” 6 “Will we approach the world…?” “Will we allow ourselves to be…?

Below is Pixar’s storytelling process overlayed on Malala’s Nobel Prize acceptance speech: Once there was a little girl who lived in a “paradise home” in Pakistan’s Swat Valley, “a place of tourism and beauty.” 4 Every day she had “a thirst for education” and would go to class “to sit and learn and read.” Until one day the Swat Valley “turned into a place of terrorism.” Because of that girls’ education became a crime and “girls were stopped from going to school.” Because of that Malala’s priorities changed: “I decided to speak up.” Until finally the terrorists attacked Malala. She survived. “Neither their ideas nor their bullets could win.” Ever since then Malala’s voice “has grown louder and louder” because Malala is speaking for the 66 million girls deprived of an education. “I tell my story, not because it is unique, but because it is not,” Malala said. “It is the story of many girls … I am those 66 million girls who are deprived of education.

Brand storytelling is about standing for something and striving for excellence in everything your business does. It’s about framing your scarcity and dictating your value. It’s about thinking beyond the functionality of products and services and creating a sense of loyalty and meaningful bonds with your customers.

they are not content to sit at home, like many of us would in their situation. Instead, they know that somewhere, in a remote and possibly dangerous place, lies a prize of immeasurable value.

Ever since we added language to our tried-and-true communication system of grunting, hand gestures, and evocative facial expressions (insert image of eyebrow-waggling Neanderthal here), every story that ever got through to anyone, convincing them of something they didn’t already believe, did it by connecting to their experience. Story was the key to our survival, and every savvy storyteller knew that—how else could they have convinced their tribe that it’s better to harness fire than to run from it?

The same applies to other venues; without the written word, book publishers, magazines, blogs, and game designers have nothing to do and would swiftly go out of business. Everything starts with the word, and they know it.

The idea that this technology is a new business model for animation is bullshit. Good luck with that! The artists and storytellers will want to continue to grow the technology, so this year’s technology will be obsolete in ten years.” Katzenberg was right, of course. No matter how much technology you throw at the art of making an animated movie, a good one will always be expensive. Pixar made Toy Story for around $20 million (a number that doesn’t include what Disney spent on it for promotion and distribution). Pixar’s 2013 movie, Monsters University, is rumored to have cost around $200 million, marketing included.

The prevailing narrative about Silicon Valley’s culture lionizes company founders, and Tom Wolfe’s exquisite storytelling has played up Noyce’s roots in small-town Iowa as the genesis of the egalitarian, stock-for-everyone business culture of the West Coast.[66] But, as we have seen, it was Arthur Rock who provided the impetus for Fairchild’s creation and who opened the founders’ eyes to the possibility of owning the fruits of their research. It was Rock who demonstrated the potential of the limited partnership that developed the Valley’s equity culture, and Rock who helped to catalyze the failure of the corporate venture model at Fairchild by prying away Jean Hoerni and Jay Last. When it came to the creation of Intel’s employee stock plan, moreover, it was probably Rock who proposed access for everyone, and it was certainly Rock who devised the plan’s details.[67] In a letter laying out his thinking in August 1968, Rock described a way of balancing the interests of investors and workers: Intel should avoid equity grants to short-term employees but extend them to everyone who made a long-term commitment. “There are too many millionaires who did nothing for their company except leave after a short period,” he observed wisely.[68] Without Rock’s judicious counsel, Intel’s employee stock program would not have set the standard in the Valley, because it would not have been sustainable.