Storytelling With Data Quotes

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

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

Do you trust storytellers, or do you trust data; the ingenuity of artists or the wisdom of the crowd?

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

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.

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

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.

He may not be obsessive about it enough to log his data into a spreadsheet, but he’s mindful and aware of what he’s doing. He understands the mechanism behind charm and can often turn it on or off depending on what he wants. He has learned the type of humor and story-telling that gets a positive response in women. The last thing you can say about him was that he was born into the world with the “automatic” ability to fuck a lot of girls.

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.

Conspiracy theories—feverishly creative, lovingly plotted—are in fact fictional stories that some people believe. Conspiracy theorists connect real data points and imagined data points into a coherent, emotionally satisfying version of reality. Conspiracy theories exert a powerful hold on the human imagination—yes, perhaps even your imagination—not despite structural parallels with fiction, but in large part because of them. They fascinate us because they are ripping good yarns, showcasing classic problem structure and sharply defined good guys and villains. They offer vivid, lurid plots that translate with telling ease into wildly popular entertainment.

Storytellers need their stories to resonate with their listeners. So when you envision a goal and describe the action needed to reach that goal, you transform your vision into a portrayal that depicts what’s truly possible to move people to action. While you need enough material (data and reasoned analysis) to flesh out the tale, you don’t want to bombard people with charts and tables.

interview 14 leaders from religions including Protestantism, Catholicism, Buddhism and Islam in an attempt to figure out the ten characteristics their faiths had in common. In order of importance, I found that they were: A sense of belonging; storytelling; rituals; symbols; a clear vision; sensory appeal; power from enemies; evangelism; mystery; and grandeur. When you think about the world’s most powerful brands—among them Apple, Nike, Harley-Davidson, Coca-Cola, LEGO—you realize they all make use of some if not all of these pillars.

Most remember Hitchcock as a skilled storyteller, but what few know is that the director shot his movies using two separate scripts. The first, known as “the Blue Script,” was entirely functional. In it were all the tangible onscreen components, including dialogue, props, camera angles and set descriptions. The second script, which Hitchcock referred to as “the Green Script,” chronicled in fine detail the emotional arc, or “beats,” of the film he was shooting. Hitchcock relied on both scripts, but the Green Script reminded him how he wanted moviegoers to feel, and at what point,

Wild animals enjoying one another and taking pleasure in their world is so immediate and so real, yet this reality is utterly absent from textbooks and academic papers about animals and ecology. There is a truth revealed here, absurd in its simplicity. This insight is not that science is wrong or bad. On the contrary: science, done well, deepens our intimacy with the world. But there is a danger in an exclusively scientific way of thinking. The forest is turned into a diagram; animals become mere mechanisms; nature's workings become clever graphs. Today's conviviality of squirrels seems a refutation of such narrowness. Nature is not a machine. These animals feel. They are alive; they are our cousins, with the shared experience kinship implies. And they appear to enjoy the sun, a phenomenon that occurs nowhere in the curriculum of modern biology. Sadly, modern science is too often unable or unwilling to visualize or feel what others experience. Certainly science's "objective" gambit can be helpful in understanding parts of nature and in freeing us from some cultural preconceptions. Our modern scientific taste for dispassion when analyzing animal behaviour formed in reaction to the Victorian naturalists and their predecessors who saw all nature as an allegory confirming their cultural values. But a gambit is just an opening move, not a coherent vision of the whole game. Science's objectivity sheds some assumptions but takes on others that, dressed up in academic rigor, can produce hubris and callousness about the world. The danger comes when we confuse the limited scope of our scientific methods with the true scope of the world. It may be useful or expedient to describe nature as a flow diagram or an animal as a machine, but such utility should not be confused with a confirmation that our limited assumptions reflect the shape of the world. Not coincidentally, the hubris of narrowly applied science serves the needs of the industrial economy. Machines are bought, sold, and discarded; joyful cousins are not. Two days ago, on Christmas Eve, the U.S. Forest Service opened to commercial logging three hundred thousand acres of old growth in the Tongass National Forest, more than a billion square-meter mandalas. Arrows moved on a flowchart, graphs of quantified timber shifted. Modern forest science integrated seamlessly with global commodity markets—language and values needed no translation. Scientific models and metaphors of machines are helpful but limited. They cannot tell us all that we need to know. What lies beyond the theories we impose on nature? This year I have tried to put down scientific tools and to listen: to come to nature without a hypothesis, without a scheme for data extraction, without a lesson plan to convey answers to students, without machines or probes. I have glimpsed how rich science is but simultaneously how limited in scope and in spirit. It is unfortunate that the practice of listening generally has no place in the formal training of scientists. In this absence science needlessly fails. We are poorer for this, and possibly more hurtful. What Christmas Eve gifts might a listening culture give its forests? What was the insight that brushed past me as the squirrels basked? It was not to turn away from science. My experience of animals is richer for knowing their stories, and science is a powerful way to deepen this understanding. Rather, I realized that all stories are partly wrapped in fiction—the fiction of simplifying assumptions, of cultural myopia and of storytellers' pride. I learned to revel in the stories but not to mistake them for the bright, ineffable nature of the world.

As a species, humans straddle a line between external and internal intelligence. With big brains and (typically) small clan size, humans have traditionally harnessed individual cleverness to outcompete rivals for food and mates, to hunt and dominate other species, and, eventually, to seize control of the planet. As later chapters will show, we have also externalized our wisdom in the form of trails, oral storytelling, written texts, art, maps, and much more recently, electronic data. Nevertheless, even in the Internet era, we still romanticize the lone genius. Most of us—especially us Americans—like to consider any brilliance we may possess, and the accomplishments that have sprung from it, as being solely our own. In our egotism, we have long remained blind to the communal infrastructure that undergirds our own eureka moments.

Stories contain data. Filtered by choices. You learn what the storyteller values. What they think about others. Most importantly, what they think about themselves. Are they the hero? A distant observer? A victim?

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.

A story can get a customer engaged more that any brochure, listing just features and benefits. A story can literally make someone feel the value of working with you. Stories do what data does not.

Studies show that we are wired to remember stories much more than data, facts, and figures. However, when data and stories are used together, audiences are moved both emotionally and intellectually.” The

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

When storytellers bombard people with too much information, the audience is forced to burn too many calories organizing the data. As

There is a story in your data. But your tools don’t know what that story is. That’s where it takes you—the analyst or communicator of the information—to bring that story visually and contextually to life.

When you have an intuitive brain, you have an autopilot computer. You put the data in, and the computer shows you the story. The computer gets honed over the years by consuming great stories and becoming aware of what you love about storytelling.

When clients want to add a bunch of confusion to their marketing message, I ask them to consider the ramifications of doing so if they were writing a screenplay. I mean, what if The Bourne Identity were a movie about a spy named Jason Bourne searching for his true identity but it also included scenes of Bourne trying to lose weight, marry a girl, pass the bar exam, win on Jeopardy, and adopt a cat? The audience would lose interest. When storytellers bombard people with too much information, the audience is forced to burn too many calories organizing the data. As a result, they daydream, walk out of the theater, or in the case of digital marketing, click to another site without placing an order. Why do so many brands create noise rather than music? It’s because they don’t realize they are creating noise. They actually think people are interested in the random information they’re doling out. This is why we need a filter. The essence of branding is to create simple, relevant messages we can repeat over and over so that we “brand” ourselves into the public consciousness.

In most organizations, information is no longer sufficient to spark change. Data is no longer king. Thinking takes us only part of the way home. It’s feeling that completes the journey, feeling and the courage to communicate our message in a fresh, new way.

Having all the information in the world at our fingertips doesn’t make it easier to communicate: it makes it harder. The more information you’re dealing with, the more difficult it is to filter

Buyer Legends is a business process that uses storytelling techniques to map the critical paths a prospective buyer might follow on his journey to becoming a buyer. This process aligns strategy to brand story to the buyer’s actual experience on their customer journey. These easy-to-tell stories reveal the opportunities and gaps in the customer’s experience versus the current marketing & sales process. These legends communicate the brand’s story intent and critical touch point responsibilities within every level of an organization, from the boardroom to the stockroom. Buyer Legends reconcile the creative process to data analysis; aligning metrics with previously hard-to-measure marketing, sales, and customer service processes. The first result is improved execution, communications, and testing. The second result is a big boost to the bottom line.

The key skill sets in this new world will belong to the data scientists who understand when, why, and how customers use bank products, and the storytellers who can place the product or service in the customer’s life when and where they need it. Not those who attempt to pull me into a branch so I can jump through the risk hoops to prove I am worthy of a product.

GrabCAD is an online community of more than one million mechanical engineers. Hardi Meybaum, a young entrepreneur from Estonia, founded the venture-funded company to serve as a place where mechanical engineers much like him could share their computer-aided design (CAD) 3-D models.

the “data scientist,” which combines the skills of the statistician, software programmer, infographics designer, and storyteller.

Beyond annoying our audience by trying to sound smart, we run the risk of making our audience feel dumb. In either case, this is not a good user experience for our audience. Avoid

Never again will you simply show data. Rather, you will create visualizations that are thoughtfully designed to impart information and incite action.

Exploratory analysis is what you do to understand the data and figure out what might be noteworthy or interesting to highlight to others.

When we’re at the point of communicating our analysis to our audience, we really want to be in the explanatory space, meaning you have a specific thing you want to explain, a specific story you want to tell—probably about those two pearls.

Concentrate on the pearls, the information your audience needs to know.

What do you need your audience to know or do? This is the point where you think through how to make what you communicate relevant for your audience and form a clear understanding of why they should care about what you say.

If you simply present data, it’s easy for your audience to say, “Oh, that’s interesting,” and move on to the next thing. But if you ask for action, your audience has to make a decision whether to comply or not. This elicits a more productive reaction from your audience, which can lead to a more productive conversation—one that might never have been started if you hadn’t recommended the action in the first place.

Here are some action words to help act as thought starters as you determine what you are asking of your audience: accept | agree | begin | believe | change | collaborate | commence | create | defend | desire | differentiate | do | empathize | empower | encourage | engage | establish | examine | facilitate | familiarize | form | implement | include | influence | invest | invigorate | know | learn | like | persuade | plan | promote | pursue | recommend | receive | remember | report | respond | secure | support | simplify | start | try | understand | validate

What would a successful outcome look like? If you only had a limited amount of time or a single sentence to tell your audience what they need to know, what would you say? In particular, I find that these last two questions can lead to insightful conversation.

3-minute story The 3-minute story is exactly that: if you had only three minutes to tell your audience what they need to know, what would you say? This is a great way to ensure you are clear on and can articulate the story you want to tell.

Generally, diagonal elements such as lines and text should be avoided. They look messy and, in the case of text, are harder to read than their horizontal counterparts. When it comes to the orientation of text, one study (Wigdor & Balakrishnan, 2005) found that the reading of rotated text 45 degrees in either direction was, on average, 52% slower than reading normally oriented text (text rotated 90 degrees in either direction was 205% slower on average). It is best to avoid diagonal elements on the page.

Note how, within each, the preattentive attribute grabs your attention, and how some attributes draw your eyes with greater or weaker force than others (for example, color and size are attention grabbing, whereas italics achieve a milder emphasis).

Especially in live presentation settings, repeated iterations of the same visual, with different pieces emphasized to tell different stories or different aspects of the same story (as demonstrated in Figures 4.7, 4.8, and 4.9), can be an effective strategy. This allows you to familiarize your audience with your data and visual first and then continue to leverage it in the manner illustrated.

Highlighting one aspect can make other things harder to see One word of warning in using preattentive attributes: when you highlight one point in your story, it can actually make other points harder to see. When you’re doing exploratory analysis, you should mostly avoid the use of preattentive attributes for this reason. When it comes to explanatory analysis, however, you should have a specific story you are communicating to your audience. Leverage preattentive attributes to help make that story visually clear.

My base color is grey, not black, to allow for greater contrast since color stands out more against grey than black. For my attention-grabbing color, I often use blue for a number of reasons: (1) I like it, (2) you avoid issues of colorblindness that we’ll discuss momentarily, and (3) it prints well in black-and-white. That said, blue is certainly not your only option (and you’ll see many examples where I deviate from my typical blue for various reasons).

Position on page Without other visual cues, most members of your audience will start at the top left of your visual or slide and scan with their eyes in zigzag motions across the screen or page. They see the top of the page first, which makes this precious real estate. Think about putting the most important thing here (see Figure 4.17). Figure 4.17 The zigzag “z” of taking in information on a screen or page

Affordances In the field of design, experts speak of objects having “affordances.” These are aspects inherent to the design that make it obvious how the product is to be used. For example, a knob affords turning, a button affords pushing, and a cord affords pulling. These characteristics suggest how the object is to be interacted with or operated. When sufficient affordances are present, good design fades into the background and you don’t even notice it.

The biggest shift was from a bar graph to a line graph. As we’ve discussed, line graphs typically make it easier to see trends over time. This shift also has the effect of visually reducing discrete elements, because the data that was previously five bars has been reduced to a single line with the end points highlighted. When we consider the full data being plotted, we’ve gone from 25 bars to 4 lines. The organization of the data as a line graph allows the use of a single x-axis that can be leveraged across all of the categories. This simplifies the processing of the information (rather than seeing the years in a legend at the left and then having to translate across the various groups of bars).

Action titles on slides The title bar at the top of your PowerPoint slide is precious real estate: use it wisely! This is the first thing your audience encounters on the page or screen and yet so often it gets used for redundant descriptive titles (for example, “2015 Budget”). Instead use this space for an action title. If you have a recommendation or something you want your audience to know or do, put it here (for example, “Estimated 2015 spending is above budget”).

Figure 5.10 Add action title and annotation In Figure 5.10, thoughtful use of text makes the design accessible. It’s clear to the audience what they are looking at as well as what they should pay attention to and why.

Who is your audience? What do you need them to know or do? This chapter describes the importance of understanding the situational context, including the audience, communication mechanism, and desired tone.

Short-term memory Short-term memory has limitations. Specifically, people can keep about four chunks of visual information in their short-term memory at a given time. This means that if we create a graph with ten different data series that are ten different colors with ten different shapes of data markers and a legend off to the side, we’re making our audience work very hard going back and forth between the legend and the data to decipher what they are looking at.

By combining the visual and verbal, we set ourselves up for success when it comes to triggering the formation of long-term memories in our audience.

While tables interact with our verbal system, graphs interact with our visual system, which is faster at processing information.

Remember Mary Poppins? The nanny all other nannies could never measure up to? When the children refused to take their medicine, she paired the healing concoction with a spoonful of sugar. Just as dog parents hide their puppy pills in peanut butter or, as my mom was prone to do, crush up Tylenol tablets and mix them in with applesauce (a food I still regard with a hint of suspicion), so you should wrap your data/logic/points/information in a story.

The pursuit of the past makes you aware, whether you are novelist or historian, of the dangers of your own fallibility and inbuilt bias. The writer of history is a walking anachronism, a displaced person, using today’s techniques to try to know things about yesterday that yesterday didn’t know itself. He must try to work authentically, hearing the words of the past, but communicating in a language the present understands. The historian, the biographer, the writer of fiction work within different constraints, but in a way that is complementary, not opposite. The novelist’s trade is never just about making things up. The historian’s trade is never simply about stockpiling facts. Even the driest, most data-driven research involves an element of interpretation. Deep research in the archives can be reported in tabular form and lists, by historians talking to each other. But to talk to their public, they use the same devices as all storytellers – selection, elision, artful arrangement.

When it comes to the form and function of our data visualizations, we first want to think about what it is we want our audience to be able to do with the data (function) and then create a visualization (form) that will allow for this with ease.

If you have an idea worth spreading, you don’t need permission from anybody to spread it. If you have an idea worth spreading, the reliable research, data and definitions can be added later. If you have an idea worth spreading, you can sound it out with some loyal friends and let them remind you how much hard-won experience you’ve racked up—how many thousands of hours in deliberate practice.

Forward-thinking organizations look to empower more of their workers with data so they can make better-informed decisions and respond more quickly to market opportunities and challenges.

We’re swimming in an ocean of information like none of our ancestors before us. And this access to abundant sources of data presents a mixed blessing. There is so much competing information, both trivial and significant.

The art of the perfect pitch deck lies in the balance between data and storytelling. It's not just about what you say; it's about how you make your audience feel.

After undertaking an entire analysis, it can be tempting to want to show your audience everything, as evidence of all of the work you did and the robustness of the analysis. Resist this urge. You are making your audience reopen all of the oysters! Concentrate on the pearls, the information your audience needs to know.

as we start creating content via our computer, something happens that causes us to form an attachment to it. This attachment can be such that, even if we know what we’ve created isn’t exactly on the mark or should be changed or eliminated, we are sometimes resistant to doing so because of the work we’ve already put in to get it to where it is.

The story should ultimately be about your audience, not about you.

Model visual #5: horizontal stacked bars Figure 6.5 shows the results of survey questions on relative priorities in a developing nation. This is a great deal of information, but due to strategic emphasizing and de-emphasizing of components, it does not become visually overwhelming. Figure 6.5 Horizontal stacked bars Stacked bars make sense here given the nature of what is being graphed: top priority (in first position in the darkest shade), 2nd priority (in second position and a slightly lighter shade of the same color), and 3rd priority (in third position and an even lighter shade of the same color). Orienting the chart horizontally means the category names along the left are easy to read in horizontal text.

First, To whom are you communicating? It is important to have a good understanding of who your audience is and how they perceive you. This can help you to identify common ground that will help you ensure they hear your message. Second, What do you want your audience to know or do?

recommend anything other than a white background.

In my experience, however, the best way to learn a tool is to use it. When you can’t figure out how to do something, don’t give up. Continue to play with the program and search Google for solutions. Any frustration you encounter will be worth it when you can bend your tool to your will!

Further develop the situation or problem by covering relevant background. Incorporate external context or comparison points. Give examples that illustrate the issue. Include data that demonstrates the problem. Articulate what will happen if no action is taken or no change is made. Discuss potential options for addressing the problem. Illustrate the benefits of your recommended solution.

it’s easy to spot a hawk in a sky full of pigeons, but as the variety of birds increases, that hawk becomes harder and harder to pick out.

Even though medicine is all about facts and data, the driving force of what engages people (employees, investors, customers) is the human story behind what we’re doing. Again and again we have found that crafting it into human terms is the most effective way to engage those three groups.

One thing to keep in mind with a table is that you want the design to fade into the background, letting the data take center stage. Don’t let heavy borders or shading compete for attention. Instead, think of using light borders or simply white space to set apart elements of the table.

Horizontal bar chart If I had to pick a single go-to graph for categorical data, it would be the horizontal bar chart, which flips the vertical version on its side. Why? Because it is extremely easy to read. The horizontal bar chart is especially useful if your category names are long, as the text is written from left to right, as most audiences read, making your graph legible for your audience.

Don’t show the second y-axis. Instead, label the data points that belong on this axis directly. Pull the graphs apart vertically and have a separate y-axis for each (both along the left) but leverage the same x-axis across both. Figure 2.27 illustrates these options. Figure 2.27 Strategies for avoiding a secondary y-axis

We’ll discuss six principles here: proximity, similarity, enclosure, closure, continuity, and connection.

Alignment The single change having the biggest impact in the preceding before-and-after example was the shift from center-aligned to left-justified text. In the original version, each block of text on the page is center-aligned. This does not create clean lines either on the left or on the right, which can make even a thoughtful layout appear sloppy. I tend to avoid center-aligned text for this reason.

I took up reading fiction again. Part of this was due to the fact that some of my favorite Christian writers (like C.S. Lewis and G.K. Chesterton) wrote fiction. This was surprising, mainly because fiction was not a main staple of most of the pastors I knew. In fact, the consensus seemed to be that reading fiction was a waste of time. What pastors needed was books on theology, pastoral counseling, and administration, not fairy tales and outer space adventures. However, I discovered just the opposite--reading fiction stoked my imagination. Good stories spoke in ways that exposition and data could not. As some have said, 'thou shalt not' speaks to the head, but 'once upon a time' speaks to the heart. Reinforcing this was the fact that Jesus, the greatest teacher ever, was a prolific storyteller.

Sometimes bar charts are avoided because they are common. This is a mistake. Rather, bar charts should be leveraged because they are common, as this means less of a learning curve for your audience.

Good decisions mad on bad data are just bad decisions you don't know about...yet.

If you do succeed in persuading them, you’ve only done so on an intellectual basis. That’s not good enough, because people are not inspired to act by reason alone

tables interact with our verbal system, graphs interact with our visual system, which is faster at processing information.

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Do AI Tools Have the Potential to Enhance or Reduce the Personal Connection in Content Creation? AI writing tools have undoubtedly transformed content creation, but they raise an interesting question: do they enhance or reduce the personal connection that writers have with their audience? On one hand, tools like MyEssayWriter.ai and PerfectEssayWriter.ai can help writers streamline the writing process, improve the structure, and ensure proper citations, which can make content more polished and professional. They can certainly enhance efficiency and help creators meet deadlines. However, these tools primarily generate content based on patterns and data, lacking the emotional depth and personal experiences that often make writing resonate with readers. While AI can assist in organizing ideas and correcting grammar, it can't replicate the unique voice, storytelling ability, or personal touch that human writers bring to their work. So, while AI tools are valuable in refining technical aspects of writing, the personal connection may be diluted if we rely too heavily on them. What do you think—do AI tools take away the human element, or do they help writers focus on the parts of content creation that matter most?