Tag Archive for: storytelling

Geneviève Piché - feature“Many people have idea ‘sparks,’ small or large, and too many people squash their sparks. But it’s with those sparks that you can improve organizations and improve yourself,” says Geneviève Piché. “It could be as small as a change in process or as massive as complete transformation. Being able to embrace the spark is the essence of organizational and personal development.”

After studying economics and international studies at Macalester College, Piché joined Wells Fargo. That was 23 years ago. As a French Canadian who briefly lived in Australia growing up and chose a college with an international bend, Piché cultivated a wide world lens. At Wells Fargo, her international passion was flamed as she moved into emerging markets and finance. It’s become critical in her sustainability work, where ethics, global and regional dynamics are inextricably linked.

The diversity of opportunities and organizational culture at WF have supported her to stay inspired and grow. She recently returned from a two-week trip focused on understanding sustainability and energy transition in the Asia-Pacific region.

From “Idea Spark” To New Strategy And Role

“Embrace the sparks because they can catalyze organizational progress and develop careers,” iterates Piché. Back in May of 2020, she experienced an idea spark “that turned into a raging fire.”

Piché was leading the asset management coverage team and many of her clients were changing the way they allocated capital – moving towards ESG integration in the investment process and raising funds for specific thematic objectives – such as green infrastructure or circular economy.

“I could see there was a business need for a financial institution like ours to support those growing flows of capital, but simultaneously there were some interesting socio-economic developments happening,” recalls Piché.

Covid had revealed weaknesses in the supply chains and laid bare the unequal access to healthcare. Social justice themes had been brought to the forefront. Massive fires had been burning in Australia, consuming millions of acres of eucalyptus forest and wild lands, reminding Piché of a childhood experience at a farm where she was tending to the burnt paws of baby koalas who were fleeing or rescued from the fires.

“That was the first time I witnessed the interactions of climate change and biodiversity in my community, and it stuck with me. Now, the effects of climate change are spread way beyond Australia,” she says. “So it was a galvanizing moment for me that occurred at the same time as a call-to-action on the part of Wells Fargo leadership, when many leaders were saying we needed to do something differently and that they were all ears for ideas.”

So with the momentum of her spark and a receptive context, Piché developed a business strategy for Wells Fargo’s Corporate & Investment Banking division (CIB) around sustainable finance within ten days. Next was nurturing that spark.

“Having been at Wells Fargo for so long, I understood how things work intuitively. But for those who may be newer to an organization, knowing who understands the unwritten rules is an important part of networking,” she says. “Observe those people sitting at the right tables who communicate in a way that you like and get looped into email discussions. It’s important for career development to identify those strong and competent organizational players, even if you don’t exactly know the ropes.”

Along with knowing how things work, utilizing sponsors and mentors was also essential to fueling the spark. Piché ran the strategy across a sponsor who had organizational savvy but was not in her direct reporting line.

“First, it gave me the confidence that my idea was directionally correct because that person did their own research, too. It also allowed me to navigate our organizational structure to get the idea in the right place in the right way to build buy-in among leadership teams,” she notes.

After a couple of months and some refining, she received the call to leave her role as head of asset management and begin the new role she’d proposed.

Sustainability is a Win-Win

When it comes to a legacy of impact, and especially on Earth Day, Piché wants to convey the message that sustainability is a win-win for organizations, not a win-lose or compromise.

“Sustainability and climate efforts are about value creation. They are not check-the-box exercises. It’s about developing strategies that can drive value for companies while making the world a better place,” she says. “With a financial institution like Wells Fargo, we have a very big megaphone because we talk to so many different constituents and millions of customers, so I want people to be able to acknowledge and understand that developing strategies around environmental practices and social practices are extremely beneficial to companies in the long-term and in the short-term.”

She continues, “Once we are able to understand that, we will be more able to effectively unlock impact, drive large-scale change, support the industrial transformation that’s underway, and elevate and provide opportunities to those who have historically had fewer.”

Aligning Your Personality to the Role

Piché prefers to be a generalist who does many things at once – even picking two majors instead of one, and realizing that has helped.

“There are certain jobs that require you to be focused and narrow. Today, I know those jobs do not suit my personality. Roles that are broader and more entrepreneurial do,” she says. “One of the reasons I love my role now is that it’s rich in content, themes and opportunities and has many facets to the work. It allows me to juggle many things all at once and play to my strengths.”

Before she realized what job roles matched her, Piché would often supplement more narrowly-focused roles with side initiatives and projects or looking to travel to provide diversification. Perhaps only with the benefit of hindsight has she realized this, because when in a less-suited role you may normalize the feeling.

“But when you have the right job, you look forward to waking up in the morning. You’re excited about the people you’re working with and the work,” she says. “I often encourage people to think about their personalities and learning styles in finding the right role. Are you drawn to multiple threads of thoughts and projects? Do you like to travel far and wide but more shallow, or to go deep and seek real expertise in one particular area?”

Piché has further compatibility advice for people evaluating their first job or next opportunity: “It’s really important that you choose those opportunities based on the people that you will work with more so than the job itself,” she says. “Because I find the people that you are surrounded with are the defining characteristics of your experience. Developing a particular job skill is cumulative, but you want people who will support you on that journey and who inspire you.”

Piché also warns against burning those bridges. “I have found that my career path has wound in many different directions and people keep coming back into my life professionally. We say ‘don’t burn your bridges’ but really what that means is always be respectful and kind to the people who you work with. Be transparent and authentic and do your best,” she says. “When you do that, you manage those relationships and it can be that they keep on giving and building upon themselves as you progress in life.”

The Power of Storytelling

As she has become more senior, Piché’s love of writing, ability to communicate powerfully and storytelling have become greater strengths. It’s what helped to create her role. Another expression is the quarterly newsletter she sends to all Wells Fargo CIB employees to inspire and engage them in the sustainability initiative.

“Storytelling in a business context can be extremely compelling in driving leadership buy-in. It’s a great leadership skill when you can tell stories that are relatable and demonstrate expertise and thoughtfulness and authenticity,” she says. “On the flip side, great storytelling is also important in our customer relationships. What is the client looking for and what is the most compelling thing they are interested in? It’s really important to tell a story that is both quantitatively and qualitatively justified and compelling.”

Choosing to Plant Where You Can Thrive

“In the first ten years of my life, I had a very strong impression that organizations were meritocratic. Now, we understand there’s a tremendous amount of unconscious and institutional bias in all organizations, and it’s perhaps not so meritocratic beneath the surface,” she says. “There’s a lot that is challenging women’s careers and the careers of people of different backgrounds.”

At various times in her life, Piché has seen entrenched social networks that permeate professional life and make it challenging to navigate. She never doubted her competence, but it was evident some situations were more conducive to her success than others.

Those experiences underlined the importance of DEI, because breaking down institutional social barriers does not happen overnight, even in an organization where it is happening. These days, she is absolutely thriving in the broader context of sustainability where she interacts with all walks of life, geographies, races and ethnicities, while enjoying the work and feeling empowered.

Positive Impact in Every Sphere of Life

Piché wishes to impact positively in five areas: work, motherhood, partnership, self and friendship.

From weekend art challenges to bike rides to trips to school and bedtime stories, she loves creating special moments with her eight year old son. She intentionally nurtures her relationship with her husband through regular date nights. As a family, they enjoy collecting junior ranger badges through visits to U.S. national parks while building experience and knowledge around the natural and historical patrimony.

To care for herself, she does things she loves to do – whether playing music (the piano), cooking, reading or taking hikes. Also while she may have less to extend at times, she values being a thoughtful friend to the people in her life that need support.

Similarly, Piché leads her work teams authentically and transparently while demonstrating passion, enthusiasm and competence. And laughter.

“I think when you demonstrate those traits, it empowers teams and individuals to do the same. Then you have much higher performing teams and make a greater impact on people’s individual careers and sense of feeling inspired,” she says. “As leaders in the corporate world, if we can have positive impact on people’s well-being and joy and have a positive impact in the world, then I think we’ve accomplished something pretty awesome.”

By Aimee Hansen

Mary MathesonWe interviewed Mary Matheson, an award-winning British director known for directing character-driven films in innovative ways for social impact. She was recently the lead director of the 10-part 360° New Realities VR Series 10 Young Women 10 Countries. One World, which showcases the stories of 10 young female activists across the world with focus on themes of education and fair access to technology, created for the Meta Quest 2 virtual reality headset.

Matheson is currently directing a multi-platform documentary about the women behind NASA’s Artemis women-led mission to the Moon. Matheson mixes the latest technology (mobile, augmented and virtual reality) with intimate documentary techniques to bring the audience into the heart of the narrative. We spoke to her about creating impact, both through her work and in this new industry.

Q: Tell us about what has driven your career long passion for making films of social impact, especially related to women.

I started out as a journalist cutting my teeth in Latin America (in Venezuela and Colombia) when I was 23 years old, reporting on the Guerrilla War and drug cartels. My passion has always been to communicate between two different people – between characters and the audience. I’ve specialized in foreign stories, often in conflict or post-conflict zones, but what’s interested me most is the stories we don’t hear.

Even if you think about Ukraine, social media has enabled us to hear stories that we wouldn’t normally have heard through mainstream media. When I started out, those things didn’t exist. I was always more interested in what we weren’t hearing and weren’t seeing, and being able to communicate that. So leaving behind straightforward journalism, I began to focus on communication with a purpose and greater objective: communicating what life was like for the people that we often see or hear about from one particular point of view, and I’ve always been interested in sharing the other point of view.

Q: How has Virtual Reality (VR) created the platform of ‘immersive storytelling’?

Immersive storytelling is literally being able to step into the story. Instead of peering through the window into another person’s world, you open the door and step inside.

Virtual reality became another tool for me to use to communicate with audiences and try to convey another person’s experience, so they can understand what it’s like in a country they wouldn’t normally visit. What has been incredible about VR is that it suddenly opens this extraordinary door to a whole world that you can feel you’re part of, rather than just viewing.

For me, that was transformational in terms of both my work and the characters themselves being able to communicate with you, the audience, directly. In a way, as a director, I stopped being the interpreter of the story and became the facilitator between two people.

The 10 Young Women series is a 360° film series- it’s shot like a film and looks incredibly real. You feel like you’re immersed in their world, because you’ve got the Quest 2 headset on and the audio is also 360 degrees, so you’re cut off from your real world environment. Your body and your mind suspend belief, and you feel like you’re in the country with the girl you are visiting. She talks to you directly, usually looking right at you, so you feel like you’re a good friend of hers – and she’s just telling you her story.

In India, due to the timing with Covid, we ended up sending the camera to the young woman herself, taught her how to use it, and she shot the film herself. That episode has an extraordinary authenticity, like a video diary shot brilliantly from her perspective.

Q: How were you impacted by working on the 10 Young Women series?

I now try to involve and co-create the characters in the filmmaking as much as possible, giving them power in the narration of what goes in and what doesn’t. I talk to them about what they would like to do, and it means you get these extraordinary authentic moments you would never expect, and little snapshots of their lives that you wouldn’t normally get if I was imposing my ideas. It’s revolutionized my job. Even as somebody who’s traveled a lot, I’m constantly surprised by reality and the true story.

For example, I was in Germany filming with a young Syrian woman who faces a lot of racism in Germany. I had the idea to have her sitting static and have people walking all around her and use the sound to hear all the words that she hears, hear the racism she faces and feel how she feels. She was absolutely furious with me and said, why should I have to go through this again? She wanted to do it differently. She wanted a very strong image of herself (which ended up being on a bike cycling) and to talk about how supported she felt by her mom, her sister and her aunts. Her idea was to use the ululation singing of her aunts in Syria around her, and it’s such an extraordinary moment in the film.

The technology and this industry is at such a wonderful, innovative and creative place. We all know how to shoot a sequence in a film smoothly and the techniques to use to create a certain feeling, whereas with virtual reality, we’re at the dawn. Even though I’ve done a lot of 360° filmmaking now, I’m still trying out new techniques every single time. So it’s really liberating and very experimental and invites co-creation.

Q: Tara Brach, Ph.D, talks about creating ‘unreal others’ – how when distanced from someone, we project into their world, making them unreal. The more distant a group, the easier it is to do that. What role do you think immersive storytelling plays in making others ‘real’ and creating empathy and compassion?

Even from the beginning of my work, I was really committed to trying to reduce “othering” and for me, this is just such a powerful tool that’s indescribable until you get in there. Once you do, you suddenly feel that you’re there and it does take you to a different level of empathy.

We talk about something called presence, which is like where you feel present in a different place, and the goal for me as a Creator is to make you feel present in that world. That’s what creates the feeling of empathy, or perhaps a different feeling, but it’s strong because you feel that you’re present. There’s examples where the headset technology has even been used to help people with trauma, to help opposing sides come towards agreement through empathy, and in peace building.

Q: How has virtual reality impacted upon and changed your creative process and sensory awareness, as a director and a creator?

Suddenly I have a toolkit at my fingertips that is extraordinary and has multiplied. I am now using techniques from theater and from gaming. I’m 53 years old and I’m not a gamer or technical person – but I’m using gaming techniques all the time now. It’s just blown my mind. I’m learning and using new skills with every experience.

For example, sound is transformational. Because as a director in VR, I can make a sound behind you and you’ll turn and look behind you. So, now you can use sound as a tool to direct your viewer’s gaze.

I have had to also learn about techniques from working with immersive theater – how to draw an audience in and do blocking, a technique that you use in theater and fictional filmmaking, not in documentary. In virtual reality we talk about creating a world you’re setting up for somebody to step into, not necessarily a scene as in film, and I’ve learned about that from working with immersive theater groups.

Q: What would be an example of a gaming technique you find compelling?

I never realized gaming is so extraordinary in the sophistication of their storytelling. It’s complex and layered. Branching narrative is a classic gaming technique I’m using.

For example, I’m working on a project on NASA, about the new Artemis mission, which will put a woman on the moon for the first time in 2024. There’s a main storyline, but you’ll also be able to go off and discover more about the astronauts if you want to dig deeper into their narratives, and then come back to the main storyline.

But there are also other ways of using branch narrative where you take a choice, go down a storyline, and don’t necessarily come back to the same ending.

For example, female director Gaëlle Mourre created this experience called Mechanical Souls, examining the difference between humans and avatars. As the viewer, you didn’t know you were making a choice, but your choices were made by where you looked in the scene. If you looked in a particular direction and were more interested, then the storyline would go along in that direction. Whereas, if you were looking over here at this person, then you’d start to follow a different storyline. At the end of that experience, everybody took off their headsets, started talking and realized they’d had different experiences based on where they’d put their attention.

Another experience I had was in Northern Iraq, where I was creating an experience about the Yazidi people, who were attacked by ISIS in 2014 and lot of the women were taken as sex slaves. The way I branched the narrative was that, as the viewer, you could choose whose perspective you wanted to hear about – whether from the young woman who had been taken as a slave, from her brother who had survived an attack or from the perspective of an ISIS fighter. These were all documentary interviews, but you as the viewer can choose whose perspective you want to listen to about a particular moment in time. And you could go back and listen to all of them, too. That’s not how I would structure a story if I was making a regular film – it would have incorporated the different viewpoints or come from one particular viewpoint.

Q: What further creative possibilities are you excited about in this industry?

I’ve just taken up a job as Professor of Practice for Arizona State University’s new center for Narrative and Emerging Media in Los Angeles. What I find really exciting is helping other people to learn about this technology and making sure they understand what they can do. I’ve had students build completely different immersive experiences. It builds on my knowledge, and then I say see what you can do and they go off and do something extraordinary.

I love film, so I personally get really excited about photo-real stuff. Animation and CGI are dominating the space, but photoreal is getting there, little by little. It’s not going to be long before you can have holograms in VR that will be live – you’ll be able to talk to somebody in Kurdistan or Northern Iraq, in photo-real 3D embodiment.

Another passion of mine is getting this technology out to the underrepresented voices. It’s about making sure that those people have access to the technology and there are no obstacles in the way. That’s often what the problem is – not that people don’t want to or don’t know how to do it – but that they’re blocked. We just need to make sure the obstacles aren’t there. Maybe not everyone can afford a headset, but we can make them available, such as in libraries or community centers, so there’s not a block to entry. We’re in the middle of working that out at a grassroots level in LA.

Q: What are the opportunities to create more equitability of voices in this industry?

We’re right at the start, it’s a whole new medium, and we can set the new rules. For example, I’m passionate that this is not for young people, but everybody. Why shouldn’t women in their fifties do this? There’s a lot of cultural prejudice against middle-aged women, that we won’t be able to keep up with technology. There is a myth around VR being techy or gaming, that it isn’t our world, but actually why shouldn’t it be? We can simply use it for what we want it to be.

In terms of diversity, equity and inclusion, what’s really interesting for me is who’s creating and distributing these narratives? How do we, early on in this game, meaningfully create an industry that is equitable? How do we really change the structure so it becomes an industry that has proper representation? It’s still white and male, and there’s yet also a strong female directing presence. But where the money goes is the big thing. When it comes to venture capitalists and female run businesses, that’s where we’ve got to really put in a lot of work – both bottom-up and top-down.

From the bottom up, that means looking at the big companies – who they’re hiring, who they’re giving internships to. Looking at people’s potential as opposed to necessarily their qualifications is a really interesting and different way of hiring people, not necessarily through traditional routes. It also means making sure funding, not only venture capitalists, but other types of funding both within business and also foundations, goes towards women, BIPOC communities and other marginalized voices.

We have an opportunity now to ensure that it’s really a representative industry that is being created and built in a way that reflects society, so it’s not one singular point of view that we’re seeing. That’s what I’ve always been excited to be a part of, and the possibility I see here, too.

Interviewed by Aimee Hansen

Elise Valmorbida Guest contributed by Elise Valmorbida

The business world is full of people telling other people that they must tell stories.

They’re right in a way, because we like a bit of drama. We resist or resent dull information. Our attention is more and more a scarce asset. None of us has time or energy to spare. And a brand is nothing if not a story.

But the word ‘story’ gets tossed around like litter in the wind. The great story mavens—from Hollywood screen-writers to wilderness faith-healers—are quoted wantonly in business environments everywhere. Urged to tell stories, well-intentioned organisations too often grow narrative moss: pseudo-stories, shaggy old news pages, voiceless forums, scattered chatter across any kind of social media, unread newsletters, explicit claims of brand “passion” that seduce too few…

Whatever tale you need to tell—elevator pitch, brand history, personal profile, case study, script scenario, project proposal—you can use these tips from the world of literary storytelling to boost your brand success.

Deep-vein authenticity.

Why are you telling a story—this story? What’s at its heart? Think philosophically about the essence. Think, really think, until you unearth its unique truth. If you find a paradox or contradiction, chances are that’s the narrative crux. If embellishment is needed, it will emanate from the heart.

Fresh, not stale.

Samuel Beckett wrote his best plays first in French. He must have been fairly good at French, but it was a foreign language. So why did he do it? He wanted to stop the fluent from flowing. It was a defence against cliché. He compelled himself to think quite carefully about every word, rather than lapsing into lazy ideas or phrases. Try to “think fresh” when you make your verbal and visual choices.

Plot.

Just for now, I’d like you to pretend your brand is a cat.

The cat sat on the mat, and then it sat somewhere else, and then it had a nap, and then…

Yawn.

Instead of “and then”, it’s better plotting to think “so”, “but” or “meanwhile”.

The cat sat on the mat, so the dog had to sit somewhere else.

The cat sat on the mat, but the mat reeked of dog.

The cat sat on the mat. Meanwhile, the dog lurked behind the door.

Concrete nouns.

Welsh-noir author and creative writing teacher Malcolm Pryce writes: “Concrete nouns are judgement free. They don’t tell you what to think, they give you the information and allow you to form your own opinion. Rather than tell me the food was disgusting, which is an instruction to be disgusted, imagine you told me instead, the cook ran out of stock, so she took the bandage off her foot and put it in the stew. Presumably this image arouses disgust naturally within you. This is really what we mean by show not tell.”

Emotion.

Try the cook’s stew above.

Poetry.

Think of a representational still-life painting, where a fly appears to have landed on an apple because the apple looks so real; it’s almost a photograph. Now, think of a more abstract painting—say, a group of apples by Cézanne—and you’re invited to notice the brush-strokes, the gestures of the artist, the qualities of the paint and grain of the canvas. That’s how I think of poetic prose. Beyond the job of information, there’s pleasure to be had in the movements and textures of language itself.

Dialogue.

Voiced utterances are like opening a window and letting in fresh air. “I love spoken words!” the reader says. Think quotation, endorsement, testimonial, user review…

Less is more.

“I would have written you a shorter letter, but I didn’t have the time”—so wrote the 17th-century philosopher Blaise Pascal. When you edit, your story will probably get shorter. That’s good. Each remaining word (or image) will work harder for you. Bonus: your audience will feel respected because you haven’t wasted their time.

Other people’s shoes.

When I write fiction, I imagine the world from each character’s point of view. They have their own beliefs and reasons for doing things—they are not me. Imagine the situation of your reader as they read your story. Don’t tell them what you think they should feel.

Tell your story to one person.

A business doesn’t read your story, a person does.

Action, reaction.

Be clear about your story’s purpose. Are you inviting people to feel, or understand, or spend, or take some kind of action? Don’t overload the narrative with too many wishes—they’ll cancel each other out.

The end is the beginning…

When we finish reading the last words of a good story, we feel a pleasurable little grief. Perhaps we want to read the whole thing again. Perhaps we want to share it with others. Our world has shifted subtly on its axis. We think about things differently now.

About the author

Elise Valmorbida is a communications consultant, multi-published author and teacher of creative writing. Her latest novel The Madonna of the Mountains (Spiegel & Grau, USA) is a New York Post “must-read” and The Times (UK) Book of the Month. Bestselling author Sara Gruen describes it as “powerful and entrancing, a riveting adventure for the soul.”

Disclaimer: The opinions and views of guest contributors are not necessarily those of theglasshammer.com

book

Image via Pixabay

By Aimee Hansen

Forbes has called it “the new strategic imperative of business.” Oral storytelling may have started around the fire, but today it’s trending hot on the list of sought-after leadership competencies at the boardroom table and in the C-Suite.

While storytelling may be innate, it doesn’t mean we’re all equally skilled in wielding the power of storytelling. But it turns out that being an engaging and persuasive storyteller is far less about raw talent than you might think and more about getting fluent in the structural ABC’s (or rather, IRS) of storytelling.

theglasshammer.com spoke to Esther K. Choy, Founder and President of Leadership Story Lab and author of the book Let The Story Do The Work: The Art of Storytelling for Business Success.

Why We Dont Tell Stories

“Storytelling in a business context is a pivot from something we are doing naturally and intuitively,” said Choy, “but it’s adding a different application. I think it would be a pity if we (women) don’t make full use of what comes natural to us.”

Choy observes that we tend to be more reserved about telling stories at work than we need to be.

“A lot of people have a certain misconception that when you tell stories you assume the spotlight and you are talking about yourself… And this is something that many of us have been socialized not to do,” says Choy. “The other thing is that if you haven’t been trained how to tell stories strategically in a business setting, it can take a while,” states Choy. “These days people’s attentions spans are very short.”

The need to be persuasive and concise is why immersing yourself in the anatomy of effective storytelling is so important.

An Expansive and Emotive Leadership Art

In addition to speaking to and from the heart, telling and receiving stories is also a more expansive mindset skill than analytical or rational argument.

“When we listen to a story, it involves 40 to 50 different regions of our brain. When you are perhaps using the analytical side of your brain, it’s far more limiting.” states Choy. “That’s why we have the saying that people forget facts, but they never forget a good story. You can try to forget a good story, but it’s really hard. The reason is that it’s such a whole brain experience. It’s sticky. It’s memorable. It gets us feeling. It’s almost as if we were there, inside the story.”

Indeed, emotional recall changes the memory game. Fact are between six and 22 times more likely to be remembered if conveyed through story than list.

We are not only rational beings, even when making basic decisions. “Every single decision, big and small, must involve an emotional process to make a decision and act on it. That’s just the way we’re wired,” states Choy. “That’s why no amount of sheer analytical presentations and data can actually persuade someone until and unless their emotions are tapped somehow.”

Storytelling is a way of showing versus telling that guides the listener along on an intentional emotional experience. It creates a synchronization between speaker and listener. The result, often, is a trust that is conducive to building consensus.

“When you’re the storyteller and I’m the listener, our brains actually begin to synchronize,“ states Choy. “Because the story that you are telling me, that you are painting, I am also trying to imagine and feel. The storyteller’s brain and the listener’s brain begin to hum and synchronize. That’s why we feel an incredible connection.”

Storytelling Starts With Listening

“In order for any of us to become great storytellers, we must first become story collectors,” states Choy. “So before we set out to tell great stories, to razzle and dazzle and influence and persuade other people, we also need to learn how to get other people to tell their stories.”

While this partly mirrors the principle that if you want to write, you need to read, it also comes from the need to create receptivity and two-way communication. This is especially true when negotiating friction with colleagues.

“In a business setting, when you’re trying to persuade other people, it’s really hard for others to even begin to open their mind and ears unless they feel heard. That has to go first,” states Choy. “We don’t have to agree with them, but we have to acknowledge them and make them feel heard. That is the only way to get them to open their minds and their ears to hear our story.”

In order to effectively persuade, even storytelling has to be a conversation.

The Craft of Connection (IRS): Intrigue, Rivet, Satisfy

It’s not true that some people just aren’t storytellers.

“I think 80% of what makes a good storyteller can be boiled down to process. It’s more a matter of willingness, not ability,” states Choy. “If you’re willing to learn the process, to practice it and get feedback – then no matter your confidence and creativity and natural ability – you will be a great storyteller.”

Choy’s story toolbox and strategic structure is IRS. The beginning must be Intriguing. The middle should be Riveting. The end should be Satisfying.

Act 1 – Intriguing: The shortest part of your story should begin with time and location and end with a hook. The hook can be based upon conflict (any tension of opposing forces), contrast, or contradiction (contradicting the expectations of your audience).

One thing you should not do, says Choy, is to begin with “let me tell you a story,” which can raise skepticism. Focus on intriguing. We often need to dig out the hook of our story and bring it to the front.

Act 2 – Riveting: This is “the meat of the story” – the overcoming of obstacles, challenges, setbacks, more setbacks, and triumphs. When we’ve lost our audience, it’s often because we began with Act 2, rather than setting our story up or effectively wrapping it up.

“That’s why some stories feel flat or feel like they go on and on with no end in sight,” states Choy. “But if you set up the story right, then you’ve earned the right to tell your stories.”

Act 3 – Satisfying: This is the climax and final resolution, which delivers on intentions and takeaways, either open-ended (such as provoking discussion) or close-ended (such as closing a deal). The same story can have either open-ended or close-ended intention, based on how you resolve it.

“Whichever path that may be,” states Choy, “you should think ahead of time at least to what you would like to see happen after you tell that story.”

Personal Proficiency

Ultimately, storytelling, like many skills that are important to leadership, are a matter of both craft and practice. Storytelling is one area in which it can be both professionally and personally rewarding to develop your proficiency.

Author Note: Aimee Hansen leads womens writing and yoga retreats on Lake Atitlan, Guatemala (Nov 25 – Dec 3 2017, Jan 27 – Feb 4 2018) and other locations and dates in which we explore the power of storytelling when it comes to owning our voices and self-expression in all areas of our lives. Find out more about her events: www.thestorytellerwithin.com