Most projects, presentations or initiatives are driven by facts and features the team believes will help them deliver a product or message. While facts and data are important for setting the stage and communicating goals, they’re rarely what persuades an audience or gets them to take action.
In this workshop, you will learn how to use that connection, by teaching basic skills in visual thinking and storytelling that will that transform projects and initiate action.
2. 3
SIMPLE IDEAS ABOUT
Stories & Storytelling
Stories drive people on a deep emotional level.
Stories move people to action better than facts.
Stories universally change the world.
3. 1
Stories drive us on a deep
EMOTIONAL LEVEL
We all have multiple personalities or personas.
We look for stories that make those personas consistent.
4. The song focuses on his
GENERATION’S
LACK OF ACTION
related to current world conditions
Powerless?
5. “Well, I'll just watch American Idol
because I know if I were engaged in
changing anything for the better, or
the better as I see it, it
would go unnoticed or be
completely ineffective.
A lot of people have
that feeling.”
WHAT ACTIONS DO OUR INTERNAL STORIES GET US TO TAKE?
7. Great ideas need stories to really
CONNECT TO PERSONAs
You can have the worlds greatest idea, but if you can’t convince
enough people it won’t matter.
The question is how do we do this?
8. Put yourself in the audience’s shoes
AND UNDERSTAND HOW
to activate new personas & stories
Use mechanisms that help people maintain consistency.
9. Make sense of the world
FOR OURSELVES
+
Pass your understanding
ON TO OTHERS
10. Psychology goes a long way
in storytelling
Break an existing persona
Attach to an existing persona
Baby step to a new persona
Get the person to reframe a story
Anchor to a current success story
Small steps to build a story
Expose people to other people’s story
12. True human inspiration always
starts with feeling
People will forget what you say. They will
forget what you do, but they will never
forget how you make them feel.
Maya Angelou
HOW DO WE DO THIS?
13. In order to get to feeling you have to
START WITH THE RIGHT FOCUS
15. BECOME FOCUSED ON
‘PRoving’ It
FACTS FIX
EVERYTHING
EMOTIONALLY AND ANALYTICALLY
DETACHED
TEACHING LOSES TO
SHOWING It
EMPHASIZE THE
HAVE YOU EVER KNOWN SOMETHING AND IGNORED IT?
WRONG HEROES
16. Facts are only the first
PART OF THE EQUATION
Everyone has data and facts. Touching people
on a deep level is about needs. Filter your
message through those needs.
Needs of the PERSONALITY
Significance
Uncertainty
Richness
Connection
Certainty
Beauty
Fulfillment
Growth
Truth
Wholeness
Uniqueness
Autonomy
Needs of the Spirit
* Based on CNVC Basic Human Needs inventory
17. How do our stories touch us on
AN EMOTIONAL LEVel?
A good storyteller understands that
stories are ultimately a blueprint for human
behavior. I learned a lot about this when I
studying storytelling and how it works.
These stories contain a lot of answers
22. HOW DO YOU
PUT THESE IDEAS
TOGETHER?
Tell your stories with
I.N.S.P.I.R.E
23. Connecting the pieces of the hero’s quest with the
INSPIRE FRAMEWORK
Identify with your hero to get them engaged.
Navigate your message using a universal story.
Start the journey by knowing your role as the mentor.
Produce meaning by creating a balanced message.
Initiate change by using contrast in your delivery.
Reinforce Your story with proper preparation
Encourage your audience to take action
24. Connecting the pieces of the hero’s quest with the
INSPIRE FRAMEWORK
The SETUP
Identify with your hero to get them engaged.
Navigate your message using a universal story.
Start the journey by knowing your role as the mentor.
The delivery
Produce meaning by creating a balanced message.
Initiate change by using contrast in your delivery.
Reinforce Your story with proper preparation
The Resolution
Encourage your audience to take action
26. Most of the time we are good at knowing what we
want in in the message, but we are not good at
understanding how to link our message to real need.
27. To guide your hero on their quest
UNDERSTAND WHAT THEY NEED
CONFIDENCE that the
path you are taking them
on can succeed.
TRAINING and critical lessons
to make the path easier.
KNOW YOUR GOAL
GUIDANCE through an
unfamiliar world.
ADVICE and guidance
on choices by providing
contrast.
INSIGHTS to things they
may not be aware of.
TRUST that you are indeed
the right guide.
29. WHAT’S THE ITCH?
Call To Adventure
WHERE DO THEY STAND?
Cross the Threshold
What’s the driving force behind why your content
is critical?
What do they know? What do they still needed to
know? What are the gaps?
WHAT’S THE IMPACT
What the impact of the gap? What’s the impact
of filling the gap?
WHAT’s THEIR FATE?
What are the possible outcomes of following the
guidance or choosing another path.
31. WHY WOULD I
DO THIS?
x
PLEASURE
PAIN
x
HOPE
FEAR
ACCEPTANCE
x
REJECTION
Motivation Ability must be in sync to work
ability
DO I HAVE THE
SKILLS TO DO
THIS?
Timing
trigger
WHAT GETS ME TO
TAKE ACTION?
RESOURCES
Time
Money
Physical Effort
Brain Cycles
Social Deviance
Non-Routine
opportunity windows
SPARKS = Trigger + Motivation + Ability
FACILITATOR = Trigger + High Motivation - Ability
SIGNAL = Trigger + Balanced Ability Motivation
TRUST SHOULD BE PRESENT
motivation
32. OPPORTUNITY
WINDOWS OPEN
AND CLOSE
in a good mood
worldview no longer makes sense
action can be taken immediately
Sync these with the
behavior you are trying
to Encourage
Feel indebted because of favor
immediately after a mistake
immediately after denying a request
THERE ARE ALWAYS WINDOWS
WHERE PERSUASION WILL BE
MORE EFFECTIVE.
Time / Place / Context
34. UNIVERSAL TRUTH
A universal story is one that communicates widely
understood values, beliefs or situations that are
understand regardless of race, religion or gender.
They work because they are universal & the most
common way humans communicate.
Think of these as universal dramatic patterns.
35. DRAMATIC PATTERN
is better for communication
THAN SIMPLE NARRATIVE
Narratives have a place, but not for our purposes.
36. NOTE: Every story
can be different
but they are rooted
in plot patterns.
They are so much a part of us that you could call
them “instinct”. They are primal behaviors. Every
plot is different but each has its root in pattern. By
building patterns you construct a framework for your
presentation.
37. INSPIRE STORY WHEEL
By Kelsey Ruger
wer
Ans all
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Story Halo
Pathos
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Sub ries &
Plot
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ry &
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l Im
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Suppor
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I N S P I R E
38. INSPIRE STORY WHEEL
By Kelsey Ruger
wer
Ans all
C
The
Reve
lat
Triu ions &
mph
s
DELIVERY
(Be TU
gin P
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SE
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I N S P I R E
Un
Sto ivers
rie al
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Pathos
(Emotion)
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Sub ries &
Plot
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Eth ibility
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THE STORY ARC
THE ARRANGEMENT OF EVENTS
Presentation
Story Halo
39. THE APPEAL ARC
KEEPING ARGUMENT BALANCE
wer
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Pathos
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Suppor
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I N S P I R E
40. INSPIRE STORY WHEEL
By Kelsey Ruger
wer
Ans all
C
The
DELIVERY
(Be TU
gin P
nin
g)
n&
lutio
g
Reso
The e Endin
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Me
Ch et Th
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cte
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(Middle)
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SE
THE THROUGHLINE
WILL THE HERO SUCCEED OR FAIL?
N
Set The
Stage
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Triu ions &
mph
s
ax
lim ts
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(Cr
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Eth ibility
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Learnin
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Presentation
Story Halo
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Met
a Sto
Sub ries &
Plot
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l Im
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V
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Suppor
ting Da
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& Sourc
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I N S P I R E
41. No hero’s quest can work without
A WIZARD or MENTOR
Hint: You know your wizard better than anyone else.
44. BRAIN SCIENCE AT WORK
WHAT MAKES US TICK
REPTILIAN BRAIN
Controls instinctual action
I WANT FOOD!
Feed ME!
LIMBIC BRAIN
Controls EMOTION
I feel like I know
why I want Food
NEOCORTEX
Controls logic and ration
I’ll give you 10
reasons why I WANT
Food.
45. PRODUCE
MEANING FOR THE HERO
BY CREATING A BALANCED MESSAGE
Sto ivers
rie al
s
gic
)
os
(Lo
Lo
g
e
(Cr
os )
Eth ibility
d
ng
Learnin
Styles
Un
Presentation
Story Halo
Pathos
t
en re
t
on ctu
C u
Str
(Emotion)
M et
a Sto
Sub ries &
Plot
s
ry
age
Im
sual yout
Vi
La
&
Suppor
ting Da
ta
& Sourc
es
I N S P I R E
46. ETHOS
An appeal to the
authority of honesty
of the speaker. It is
how well the speaker
convinces the
audience that he or
she is qualified to
speak of the
particular subject.
Pathos
An appeal the
audience’s emotion
audience. It can be in
the form of
metaphor, conflict, a
passionate delivery, an
evocative slide or
even a claim that a
matter in unjust.
Logos
A logical appeal or
the simulation of it. It
is normally used to
describe facts and
figures that support
the speakers topic.
48. WE TRY TO&USE TO SEEK AN ANSWER TOFIGHT
LOGIC TO OUR NEEDS
OUR NATURAL TENDENCY INSTINCT
49. We make basic decisions in order to
FULFILL NEEDS
Do you understand
my narrative?
SELFACTUALIZATION
morality, creativity, spontaneity,
acceptance, experience,
purpose, learning and inner
potential
SELF-ESTEEM
confidence, achievement, respect of others the
need to be a unique individual
LOVE & BELONGING
friendship, family, intimacy, connection
SECURITY
health, employment, family, social stability
PHYSIOLOGICAL
breathing, food, water, shelter, clothing, sleep
50. To solve
To bring
problems
closure
WHY DO PEOPLE
MAKE
DECISIONS
To get
things done
To resolve
issues
51. er
nsw ll
A
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lat
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DELIVERY
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INITIATE
CHANGE BY USING
CONTRAST IN YOUR DELIVERY
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The e Endin
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What Will
They Learn?
What Gets
Them Going?
Set The
Stage
ax
lim ts
e C en
Th f Ev
o
What Will
They Face?
ir
he ns
d T tio
Fin pira
As
Me
Ch et Th
ara
e
cte
rs
Face
The Trial
52. Man vs. Man
Man vs. Nature
Man vs. Society
Man vs. Machine
Man vs. God/
F
ate/Destiny
Man vs. Himself
53. Use stories to create a deep
EMOTIONAL CONNECTION
Choose stories over facts to
MOVE PEOPLE TO ACTION
Use universal stories to help
CHANGE THE WORLD
54. Connecting with people through the
INSPIRE FRAMEWORK
Identify with your hero to get them engaged.
Navigate your message using a universal story.
Start the journey by knowing your role as the mentor.
Produce meaning by creating a balanced message.
Initiate change by using contrast in your delivery.
Reinforce Your story with proper preparation
Encourage your audience to take action