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Join Séamus T. Byrne on a journey through the world of storytelling as he explores our innate human predisposition to story, the evolution of narratives with emerging technologies (from cave paintings to twitter) and the efficacy of storytelling as a tool to create better user and customer experiences.

As humans we are hardwired to a good story and digital storytelling is no exception to this! Best practices found in other disciplines for constructing a good story form can be applied to an online strategy, a multimedia piece, a user interface design or a brand campaign. Creating the right narrative is a vital step in building lasting, trusting relationships between your company’s offerings and your constituents (customers, users and advocates). Applying best practices of storytelling throughout the customer-to-user lifecycle can increase desirability, discoverability, clarity and usability.

With the advent and proliferation of interactive technologies, story has new challenges to face. Storytelling will once again evolve as it strives to maintain its immersive qualities in a world obsessed by user choice, as it adjusts to accommodate the scale of available channels, where narratives can literally be found everywhere and to embrace non-linearity, where a user walks away from an experience with a mosaic of truths.

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  • There are no non-linear stories. I created many of the top video games and tested it with leading screenwriters over 20 years, ran it through university testing. They are a fallacy and hype. It is impossible for them to exist for one simple reason. Time is linear and all story perceptions are linear. Within the university research we did, it pretty much proves this out. You can swap out scenes in the narrative, but they always have to fit the three act structure.

    Lots of non-detail about structure, There is no difference between a linear drama and telling the story of a brand or any other story, unless it is poorly told. A narrative is a non-story. Stories, in their classical sense always have the core three acts and adhere to what Aristotle laid out in Poetics. Always.

    All dramas, regardless of the diagram adhere to the same exact pattern, they don't jump around. The formula is cast in concrete for 2000 years. Where any storytelling goes wrong, (marketing, education, drama, gaming, etc.) is not adhering to the concrete structure. No valid constructs for communication exist other than what Aristotle set out. - Narratives meander and fall flat. --- A marketing sales funnel should adhere to the same structure outlined in Aristotle's Poetics, its the same structure for a film as it is for selling a product.

    Stories work for one primary reason. It has to do with the fundamental operations of neural patterns and brain chemistry, not some cooked up version of a sales funnel and shoehorning it into a phony three act structure model. When you understand the interconnection of beats in a story and where to insert messaging, how that connects to brain chemistry changes, you understand how to structure stories and weave in marketing content.
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  • Hi Seamus,
    A wonderful presentation. May I request for a copy of this wonderful presentation...
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  • probably add more text
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  • why don't you let people download your presentation?
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  • brillant!
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What’s the Story? Infusing experiences with the craft of storytelling Presentation Transcript

  • 1. What’s the Story? Infusing Experiences with the Craft of Storytelling! Séamus T. Byrne
  • 2. Introduction • Séamus Byrne ‣ Creative Director at Graphic Mint ‣ My background ‣ The Organic City ‣ Ongoing Narrative
  • 3. Contents • Why do Stories Matter? • The Evolution of Storytelling with Technology • Storytelling in the UXiverse ‣ Business Narratives ‣ Customer Narratives ‣ User Narratives • Infusing Experiences with Storytelling
  • 4. Why do Stories Matter? “We experience life as a series of ongoing narratives, as conflicts, characters, beginnings, middles and ends.” – Dr. Walter Fischer
  • 5. Stories and Community • It is through the sharing of stories that communities: ‣ Build their identities, pass on tradition, construct meaning
  • 6. The Evolution of Storytelling with Technology • Allowing storytellers to re-craft compelling tales in emerging media
  • 7. LascaUX Caves • Estimated to be 17,000 years old • First recorded evidence of human storytelling • Depicting 2,000 figures: animals, humans and abstract signs Once Upon a Time...
  • 8. Oral Tradition • Stories passed on from Generation to Generation • Verbally transmitted folktales, sayings, ballads, song or chants • Most commonly referenced by the bard
  • 9. Written Alphabet • Text Replaced the Oral Tradition (partially) • 850 B.C. Homer the bard writes the oldest work of western literature: The Iliad
  • 10. The Book of Kells • Circa 800 A.D. the book depicts the 4 Gospels • Illuminated manuscript: juxtaposed pictorial art and text
  • 11. The Printing Press • Brought about by Gutenberg in 1439 • More people had access to new and old knowledge • Brought about a scientific revolution, rise of the novel
  • 12. The 20th Century • Film, Radio and Television were born • Story was re-purposed for the different media
  • 13. Linear Stories
  • 14. The Internet • In 1969, the Internet was born • The Digital Age: Digital and Interactive Storytelling
  • 15. The Modern Narrative • Web 2.0: Blogging, Micro-blogging, Social Networks • New Media: Mobile, Broadband, Podcasting • Author-ville: Participation via UGC and feedback The new bards are here!
  • 16. Non-Linear Stories
  • 17. The Plot Thickens • Narratives are “literally” everywhere
  • 18. Storytelling in the UXiverse • Business Narratives • Customer Narratives • User Narratives
  • 19. The Setting
  • 20. The Setting Enterprise
  • 21. The Setting Ecosystem Enterprise
  • 22. The Setting Ecosystem Enterprise Brand
  • 23. The Setting Ecosystem Enterprise Product Brand
  • 24. The Setting Ecosystem Enterprise Product Brand Service
  • 25. The Setting Ecosystem Enterprise Touch-points Product Brand Service
  • 26. Business Narratives Corporate • Corporate Narrative: Mission,Vision,Values, Name, Corporate Identity
  • 27. Business Narratives Corporate PR/Advertising • Corporate Narrative: Mission,Vision,Values, Name, Corporate Identity • PR/Advertising Narrative: Press Releases, News and Events, Blog Posts, Social Networks, History, Annual Reports, Advertising
  • 28. Business Narratives Corporate PR/Advertising Brand • Corporate Narrative: Mission,Vision,Values, Name, Corporate Identity • PR/Advertising Narrative: Press Releases, News and Events, Blog Posts, Social Networks, History, Annual Reports, Advertising • Brand Narrative: Offering (product/service), Tone, Messaging, Positioning, Copy, Metaphor, Features, Advantages
  • 29. Business Narratives Corporate Public Domain PR/Advertising Brand
  • 30. Customer and User Narratives Public Domain • Public Domain Narrative: Collective Public Opinion, recommendations, reviews, word of mouth, viral
  • 31. Customer and User Narratives Public Domain Customer • Public Domain Narrative: Collective Public Opinion, recommendations, reviews, word of mouth, viral • Customer Narrative: The path a customer takes towards purchasing an offering
  • 32. Customer and User Narratives Public Domain Customer User • Public Domain Narrative: Collective Public Opinion, recommendations, reviews, word of mouth, viral • Customer Narrative: The path a customer takes towards purchasing an offering • User Narrative: The path a user takes when using a product and/or service
  • 33. Customer and User Narratives Corporate Public Domain PR/Advertising Brand
  • 34. Customer and User Narratives Corporate Public Domain Customer PR/Advertising Brand
  • 35. Customer and User Narratives Corporate Public Domain Customer User PR/Advertising Brand
  • 36. Example: Apple Stories • Consistent emotional connection with consumer based Corporate, PR/advertising and Brand narratives. • Founded in garage, Adam and Eve eating forbidden fruit
  • 37. Customer Narrative General Public Brand PR/Advertising Public Domain WWW Customer Websites Corporate
  • 38. Customer Narrative General Public Expectations Brand PR/Advertising Public Domain WWW Customer Websites Corporate
  • 39. Customer Narrative Customer Journey When the need arises, the customer has to successfully discover and find your offering Discover Examine Purchase
  • 40. Customer Narrative Customer Journey When the need arises, the customer has to successfully discover and find your offering Discover Customer must easily understand the offering is appropriate for their needs Examine Purchase
  • 41. Customer Narrative Customer Journey When the need arises, the customer has to successfully discover and find your offering Discover Customer must easily understand the offering is appropriate for their needs Examine Ease and flow of purchase experience Purchase
  • 42. Customer Narrative Customer Journey When the need arises, the customer has to successfully discover and find your offering Discover Customer must easily understand the offering is appropriate for their needs Examine Ease and flow of purchase experience Purchase Sales and marketing have ensured a successful customer experience, the plane has landed but the journey is not over yet...
  • 43. User Narrative User Journey begins by interacting with the Use offering: User Journey User Goal
  • 44. User Narrative User Journey begins by interacting with the Use offering: Easy to Use User Journey User Goal
  • 45. User Narrative User Journey begins by interacting with the Use offering: Easy to Use Useful User Journey User Goal
  • 46. User Narrative User Journey begins by interacting with the Use offering: Easy to Use Useful User Journey Meaningful User Goal
  • 47. User Narrative User Journey begins by interacting with the Use offering: Easy to Use Useful User Journey Meaningful User-centred design brings the user to their goal. User Goal
  • 48. User Narrative Expectations User Journey begins by interacting with the Use offering: Easy to Use Useful User Journey Meaningful Expectations User-centred design brings the user to their goal. User Goal
  • 49. End-to-End Story Experience
  • 50. End-to-End Story Experience Customer
  • 51. End-to-End Story Experience Customer User
  • 52. End-to-End Story Experience General Public Customer Advocate Prospect User Beginning Middle End
  • 53. The Advocate • I love product “x”
  • 54. Where Storytelling Goes Wrong!
  • 55. Where Storytelling Goes Wrong! G en er al P ub lic
  • 56. Where Storytelling Goes Wrong! G en er al P ub Pr lic os pe ct
  • 57. Where Storytelling Goes Wrong! G en er al P ub Pr lic os C pe us ct to m er
  • 58. Where Storytelling Goes Wrong! r se U er m to us C ct pe os Pr lic Pub al er en G
  • 59. Where Storytelling Goes Wrong! G en er al P ub Pr lic os C pe us ct to m er U se r Advocate
  • 60. Where Storytelling Goes Wrong! G en er al P ub Pr lic os C pe us ct to m er U se r Advocate
  • 61. Where Storytelling Goes Wrong! Poor Advertising G en Lack of Clarity er al Bad Customer Service P ub Pr lic os Unusable Product C pe us ct to m er U se r Advocate
  • 62. Love Stories • The “love story” between you and your constituents is the most important factor in building strong and lasting relationships. • Love stories increase the chances of adoption by advocates
  • 63. Unleash the Storyteller • Crafting better story experiences
  • 64. Unearth the Story • Unearth the story central to the overall customer and user experience (story experience)
  • 65. Map Story World • Map ecosystem and identify touch-points
  • 66. Research the Characters • What are the customer and user goals and expectations?
  • 67. Outline Basic Plot • Craft a story designed to provide customers and/or users with an optimal Beginning, Middle, End: Blue Sky Scenarios • Remove their obstacles (- to +) (tension, time)
  • 68. Set the Stage • Every element from language, Choices available, and even UI arrangement can be used to support main story • Presentation/visual structure, elements from theatre
  • 69. Share the Script • Communicate story plan to other departments
  • 70. Why Use Storytelling? • Deeper Meaning: Enhance UCD with another layer of relevance • Automatic Advantage: Humans are hardwired to storytelling • Emotional response: Positive reactions increase adoption • Cohesive Experience: Harmonic, Holistic and end-to-end
  • 71. FIN. • Have fun telling stories...
  • 72. Image Credits • http://onedollardietproject.files.wordpress.com/2009/05/img_2666.jpg • http://www.parkland.lib.sk.ca/SASM%202009.jpeg • http://designgraphics.ncsu.edu:82/designtech/img/Research2008_NonLinearNarative.jpg • http://storycharts.ca/wp-content/uploads/2009/08/SchindlersList.jpg • http://mtcompletecomm.com/images/res_sheets/overviewLG.jpg • http://yamz.files.wordpress.com/2009/04/bard_1.jpg • http://3.bp.blogspot.com/_vxEaWyLdV44/SwMNMuan0fI/AAAAAAAAAME/JZ2WzJlgaGM/s1600/ TRUFFLES+-+dog.jpg • http://media.photobucket.com/image/map%20storyworld/griffinial/MapleStory_world_map.png • http://wiki.fluidproject.org/download/attachments/3904542/Kivio-personas-overview.png • http://www.linlindesigns.com/images/exploreChicago_userScenario.jpg • http://villagetheatre.files.wordpress.com/2009/08/p1050025.jpg • http://img709.imageshack.us/i/sansspicture.jpg/ • http://hughgrahamcreative.com/images/blog-pilgrimsprogress.jpg • http://2pass.files.wordpress.com/2009/10/bard.jpg