Using the Power of Storytelling to Change the World September 2014
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If you really want to change the world, you must become a powerful storyteller. Storytelling isn’t just a communications tool, but a central element of your transformative work. We must share stories that shift perceptions, ignite imaginations and inspire action. In this class you'll learn how storytelling plays an integral part in making change happen! Stories are the fabric of human identity. They are how we understand ourselves, each other and the world. Whether you are looking for funding, supporters, customers, working on writing a convincing business plan, delivering a 30 second elevator pitch, etc. you need to be able to tell a compelling story that moves people. Our ability to create change depends on our ability to tell a powerful story that not only enables others to see the world in a new way, but inspires them to become supports and champions of our causes.
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Using the Power of Storytelling to Change the World September 2014
- 5. DOMINANT NARRAT I V E - INADEQUACY
- 8. S TO R I E S H O L D O U R I D E N T I T I E S TOGETHER.
- 9. WHO AM I? WHO ARE WE? HOW IS THE WORLD? WHAT MAKES ME, ME? WHAT MAKES US, US? WHY IS THE WORLD THE WAY IT IS?
- 10. WHATEVER ANSWER WE COME UP WITH TO THESE QUESTIONS IS A NARRATIVE.
- 11. STORIES beliefs beliefs beliefs STORIES BELIEFS What we believe creates our reality. Beliefs are embedded, learned and transmitted as stories. stories STORIES beliefs OUR WORLD
- 12. Stories are the code of our collective operating system. <!DOCTYPE html> <html> <body> <h1>Story <p>story</p> </body> </html>
- 14. 4 FUNCTIONS OF MYTHS: 1. MYSTICAL- stories that reveal the wonder of the world and of being human. 2. COSMOLOGICAL- stories that attempt to describe the shape of the universe. 3. SOCIOLOGICAL- stories that support & validate a certain social order. 4. PEDOGOGICAL- stories that teach us how to overcome the challenges of being human.
- 15. WE’VE EVOLVED TO LOVE STORIES BECAUSE THEY HELP US SURVIVE.
- 16. Stories are designed to persuade an audience of a storyteller’s worldview. H O W D O T H E Y D O T H I S ? Stories express values.
- 17. S TO R I E S A R E S O C I A L G L U E .
- 18. Stories remain the invisible glue through which people narrate the meaning of their lives and interweave their lives with other lives. -Michael Margolis, Believe Me.
- 19. S TO R I E S S Y N C H RO N I Z E B R A I N S Communities are groups bound by shared values. Through storytelling, you communicate your values so your audience can say, “Hey! I believe that too!”
- 20. Great stories combine conviction and revelation
- 21. S TO R I E S A L LOW US TO CREAT E ORDER O U T O F T H E CHAOT I C .
- 22. They do this by E D I T I N G O U T irrelevant details.
- 23. AND D E F I N I N G A CAU S E FOR EACH E F F E C T.
- 24. Dominant narratives are the ARMOR OF THE STATUS QUO.
- 26. NARRAT I V E STORY STORY STORY STORY STORY STORY STORY STORY STORY STORY
- 27. S TORY -Event Unity -The ‘who, what, when, where, how’ of an event that occured -It has a begining, middle, and end NARRAT I V E -A system of stories: Two or more stories that add up to create a larger explanation about how the world is. -Narrative: What do these stories tell us about how the world is? VS
- 28. INADEQUACY OCEAN THAT TIME YOU DIDN’T FINISH A PROJECT DAD NEVER SAID, “I LOVE YOU.” GOT AN F IN BIO MEDIA INSTITUTIONS FAMILY NOT INVITED TO THE PARTY CULTURAL MESSAGES
- 29. HOW NARRATIVES NORMALIZE THE STATUS QUO: The misfortunes of those living in poverty are a result of their laziness. Welfare allows people to game the system and remain lazy. U N I V E R S A L I Z I N G CERTA I N E X P E R I E N C E S “WELFARE QUEEN”
- 30. HOW NARRATIVES NORMALIZE THE STATUS QUO: I N V I S I B I L I Z I N G OPPRESSION CRIMINALIZATION OF POVERTY 80% OF JOBS GIVEN THROUGH PERSONAL CONNECTIONS NEGATIVE ASSUMPTIONS SCHOOL TO PRISON PIPELINE HISTORY DISCRIMINATORY HIRING UNLIVABLE MINIMUM WAGE BROKEN SCHOOLS Pick yourself up by your bootstraps! Just work hard!
- 31. HOW NARRATIVES NORMALIZE THE STATUS QUO: INEVITABILITY TINA “There Is No Alternative.”
- 32. Narratives operate on underlying assumptions. ASSUMPTION ASSUMPTION ASSUMPTION ASSUMPTION Where you look to figure out where the new narrative needs to target. NARRATIVE
- 33. EXAMPLES OF DOMINANT NARRAT I V E S DRAW & FILL OUT ‘Deconstructing the Dominant Narrative’ (5 min) THEN, IN GROUPS OF 3 DISCUSS: What element of the status quo would you like to be changed? How is this part of the status quo protected by a dominant narrative? Tell the story as it’s told in dominant tculture. (5 min)
- 34. By telling new stories, we can build A NEW WORLD.
- 35. The ability to dream up and spread these solutions lives or dies on the ability to tell great stories that inspire people to think differently. -Jonah Sachs, Story Wars
- 36. T H E J O B O F T H E C O N S C I O U S S TO R Y T E L L E R : Use narrative to create new frames.
- 37. Storytelling is not just a communications tool. It is an essential part of creating change.
- 39. We have the power to create the world we want by changing the stories we tell.
- 40. CREAT I N G A N E W F R A M E = CREAT E A N E W M E N TA L P I C T U R E Ask: How should we imagine this problem? DOMINANT NARRATIVE NEW NARRATIVE
- 41. OLD NARRAT I V E NEW NARRAT I V E
- 42. THE INADEQUACY NARRAT I V E PERSONAL S O C I E TA L “You must earn your worth through material things, status, and accomplishments.” We live in a system that’s designed to create winners and losers. Your worth is inherent to your being, not earned through your doing. People living in poverty are to blame for their suffering because they’re lazy. OLD NARRATIVE NEW NARRATIVE
- 43. T H E S E PARATION NARRAT I V E PERSONAL S O C I E TA L “Everyone else has it more together than I do. She’s more ______ than me.” “Immigrants are mothers, daughters, fathers, sons, who are yearning for a better life for themselves and their children.” She is a complex person with her own journey, pain, and celebrations. We’re all suffering under the same narratives that convince us to compare ourselves. “Immigrants are a threat, coming to take our jobs. They don’t play by the rules and feel entitled to government benefits without working for them.” OLD NARRATIVE NEW NARRATIVE
- 44. T H E I N E V I TA B I L I T Y N A R R AT I V E OLD NARRATIVE NEW NARRATIVE
- 45. PHASE 1 PHASE 2 PHASE 3 Living in the old story. “This is the way it is” Rebelling against the old story. “Fuck the old story.” Liberation. “I choose a new story. ” Goal: Collective Liberation
- 46. OLD FRAME NEW FRAME OPPRESSOR VICTIM SAVIOR COSTS: • Diminishes the humanity of all involved. • Does not give people agency, power, choice & complexity. • Only allows people to play one role. • Perpetuates separation All suffering from dominant narratives that make us believe we are unworthy, separate, powerless and that there’s not enough to go around. UNIQUE STORY & EXPERIENCES UNIQUE STORY & EXPERIENCES } UNIQUE STORY & EXPERIENCES BENEFITS: • Grounded in compassion • Recognizes our common humanity • Helps us stand for one another with an acknowledgement of privilege • Grants power and humanity to all involved
- 47. DRAW: HOW SHOULD PEOPLE IMAGINE THE SITUATION?
- 48. ENVISION THE WORLD YOU WA N T TO L I V E I N If every campaign, project and program succeeded, what would the world look, taste, smell, feel like?
- 49. FILL OUT: ‘IMAGINING A NEW NARRATIVE.’
- 50. COMMUNICAT I N G YOUR NEW NARRAT I V E : “This is how it has been, but this is how it could be. Here’s how we are making that happen and why we need you.”
- 51. VISIONARY NARRAT I V E = SOUL OF A MOVEMENT.
- 52. HOW TO C R A F T A VISIONARY NARRAT I V E 1. Hook: Personal story that describes the status quo
- 53. Choosing a personal story: Think about the shift in perspective you want the audience to have. Do you have a story of when you had that shift in perspective yourself?
- 54. 2. Describe the status quo from a macro perspective.
- 55. 3. Cost of the status quo. What does the status quo mean for people? What’s at stake if things stay the way they are?
- 56. 4. How could things be instead? Alternate reality. Other Possibility. Paint a picture of the future with compelling details.
- 57. 5. How is this vision of the future going to come true? What’s it going to take? Why do you believe this is possible? (this is where you introduce your solution or organization).
- 58. 6. How your audience is essential/needed in order for this new future to come true.
- 59. 8. Call to Action-what can your audience do to affirm their participation in your narrative?
- 60. Questions to consider when crafting a visionary narrative: 1. What does the narrative you are creating mean for your audience? 2. How is your audience a character in this story? How might you empower them through this story? 3. what values will they be expressing to their networks if they share your message?
- 61. 1. Form a group of 3. 2. Individually draw two pictures or write: How It Is & How It Could Be. 3. Each share your visionary narrative with each other.
- 62. P I C K I N G A S TORY What is your goal? What action do you want them to take? What Ah-Ha! moment might help them take that action? What story will lead to that Ah-Ha! moment? CHOOSE THE STORY THAT WILL GET THEM TO TAKE THAT ACTION.
- 63. Write on an index card: 1. One ah-ha moment you had. 2. What’s your next step? 3. What additional questions do you have? What would you love to learn more about? How can I serve you further on this journey?
- 65. ELEMENTS OF GREAT S TO R I E S
- 66. GREAT STORIES... Are emotional and show vulnerability.
- 67. GREAT STORIES... Are about journeys where the protagonist learns something about the world.
- 68. GREAT STORIES... Describe a personal transformation.
- 69. GREAT STORIES... have dramatic tension. The stakes are high. They make the audience wonder, “What will happen next?”
- 70. GREAT STORIES... Include memorable, vivid, sensory details that are relevant to the core message.
- 71. GREAT STORIES... Are simple- they only include details that illustrate the mesage.
- 72. T U R N TO A N E I G H B O R : Tell a story that represents why you do what you do. It must include a specific scene with vivid, sensory details. While listening, be a story detective: What values are expressed in this story? What makes a good story?
- 73. S TORY PORT F O L I O : The individual stories that add up to your visionary narrative.
- 74. YO U R S TORY PORT F O L I O THE CALLING STORY Each person in your organization has a calling story. The story of when they knew they had to do this work. The person they met. THE ORIGIN STORY The story of how your organization came to be. The story of your founder’s insight that led to your formation. LESSON STORIES Stories about lessons that you’ve learned along your changemaking path. “We realized we weren’t going to be successful on our mission unless we....“ MOVEMENT STORIES Stories about how your supporters got inspired to take action and what they did as a result. IMPACT STORIES Stories about someone whose life changed as a result of your organization.
- 75. HOW TO S T RUCTURE YOUR S TORY: S TORY ARC MOMENT OF CHANGE The A-ha! Moment. Ground it in a specific location. AFTER How is life different because of this realization? Include a detail or anecdote about how the impact was experienced. CALL TO ACTION Relate the story back to your audience. Empower them to apply the moral of the story to their lives. JOURNEY TO CHANGE Struggle of the journey makes the character change. PROBLEM Present the problem. Include a detail or anecdote about how the challenge was experienced. BEGINNING The hook: set the stage and introduce who, what, when, and where.