21228 Wk 5 Lecture Storytelling  and  Impression Management
I Can’t Think! Begley, Sharon (2011), Newsweek, Feb 27 <ul><li>The Twitterization of our culture has revolutionized our li...
Pyramid Principle and Alternative Structures <ul><li>Pyramid structure </li></ul><ul><ul><li>Reports </li></ul></ul><ul><u...
Different types of value  Financial Value Business Value Personal  Value <ul><li>Financial  </li></ul><ul><li>Business </l...
Roles of storytelling <ul><li>Preserve culture via social knowledge </li></ul><ul><ul><li>Schank & Abelson (1995)  </li></...
Compelling Stories <ul><ul><li>beginning, middle, end (plot structure) </li></ul></ul><ul><ul><li>Imagination integrating ...
Good Story <ul><li>The fundamental tenent of all stories is to have an &quot;inciting incident&quot; (McKee, 2003) that en...
X-Factor and Storytelling Sood (2010)
“ Stay Hungry stay Foolish” Steven Jobs Stanford Commencement Speech 2005  <ul><li>“ Today I want to tell you three storie...
Storytelling Theory of Structure and Emotional Slope Woodside, Sood & Miller (2008) Acts through Time (Seconds, Minutes, H...
Critical Model of Consulting Nikolova,Reihlen and Schlapfner (2009) <ul><li>Shaping impressions social practices: </li></u...
Presentation of Self in Everyday Life (PSEL)Concepts Goffman 1959 <ul><li>1. The Drama </li></ul><ul><li>actors give meani...
Further Extending the Dramaturgical Framework in Marketing and Consumer Psychology Woodside, Sood & Miller (2008)
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Wk 5 stories and impression mgmt

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  • Wk 5 stories and impression mgmt

    1. 1. 21228 Wk 5 Lecture Storytelling and Impression Management
    2. 2. I Can’t Think! Begley, Sharon (2011), Newsweek, Feb 27 <ul><li>The Twitterization of our culture has revolutionized our lives, but with an unintended consequence—our overloaded brains freeze when we have to make decisions…The research should give pause to anyone addicted to incoming texts and tweets. The booming science of decision making has shown that more information can lead to objectively poorer choices, and to choices that people come to regret. It has shown that an unconscious system guides many of our decisions, and that it can be sidelined by too much information… </li></ul><ul><li>A key reason for information’s diminishing or even negative returns is the limited capacity of the brain’s working memory. It can hold roughly seven items (which is why seven-digit phone numbers were a great idea). Anything more must be processed into long-term memory. That takes conscious effort, as when you study for an exam. When more than seven units of information land in our brain’s inbox…the brain struggles to figure out what to keep and what to disregard. Ignoring the repetitious and the useless requires cognitive resources and vigilance, a harder task when there is so much information. </li></ul>Can ’t Respond – Irritable – Bored - So What - No Decisive Action
    3. 3. Pyramid Principle and Alternative Structures <ul><li>Pyramid structure </li></ul><ul><ul><li>Reports </li></ul></ul><ul><ul><li>Letters </li></ul></ul><ul><ul><li>Memos </li></ul></ul><ul><li>Chronological </li></ul><ul><ul><li>narrative </li></ul></ul><ul><ul><li>cause/effect </li></ul></ul><ul><li>Problem-solution </li></ul><ul><ul><li>FAQs </li></ul></ul><ul><li>Webinars/Zipcast </li></ul><ul><li>G+ Hangout </li></ul><ul><li>Sales Letters </li></ul><ul><li>Email </li></ul><ul><li>Voice Mail </li></ul><ul><li>PowerPoint </li></ul><ul><li>Proposals </li></ul><ul><li>Industry Conferences </li></ul>
    4. 4. Different types of value Financial Value Business Value Personal Value <ul><li>Financial </li></ul><ul><li>Business </li></ul><ul><li>Personal </li></ul>
    5. 5. Roles of storytelling <ul><li>Preserve culture via social knowledge </li></ul><ul><ul><li>Schank & Abelson (1995) </li></ul></ul><ul><li>Sensemaking </li></ul><ul><ul><li>Confusing social and personal experiences or “messy” situations (Bruner, 1990) into a rational story that sequences the events to make sense of the world outside them </li></ul></ul><ul><ul><li>“ sequencing is a powerful heuristic for sensemaking”(Weick, 1995, p129) </li></ul></ul><ul><ul><li>People ’s self understanding is based on narratives they construct to make sense of their lives (Gergin & Gergin, 1983) </li></ul></ul><ul><li>Emotional experiences </li></ul><ul><ul><li>“ components of pleasure are to a great extent unconscious” ( Hiltunen, 2002) </li></ul></ul><ul><ul><li>“ Proper pleasure” Poetics (Aristole,330BC) “pity,fear and catharsis”(Hiltunen,2002) </li></ul></ul>
    6. 6. Compelling Stories <ul><ul><li>beginning, middle, end (plot structure) </li></ul></ul><ul><ul><li>Imagination integrating past, present, and future </li></ul></ul><ul><ul><li>Parts of story enacted in daily life </li></ul></ul><ul><ul><li>Exists in mind of the client </li></ul></ul><ul><ul><li>An unusual event </li></ul></ul><ul><ul><li>A moral and teaching perspective </li></ul></ul><ul><ul><li>Suspense (Brewer and Lichtenstein, 1982; Durgeen, 1988 ; Gergen and Gergen, 1988). </li></ul></ul>
    7. 7. Good Story <ul><li>The fundamental tenent of all stories is to have an &quot;inciting incident&quot; (McKee, 2003) that enhances the story tension by causing an imbalance to occur (Woodside and Chebat, 2001) that moves the protagonist from an original balance state to imbalance; the imbalance causes action (implicit or explicitly planned or unplanned) to restore balance by finding a solution or resolution (Heider,1958). </li></ul>
    8. 8. X-Factor and Storytelling Sood (2010)
    9. 9. “ Stay Hungry stay Foolish” Steven Jobs Stanford Commencement Speech 2005 <ul><li>“ Today I want to tell you three stories.“ </li></ul><ul><li>“ The first story is about connecting the dots.“ </li></ul><ul><li>“ My second story is about love and loss.“ </li></ul><ul><li>“ My third story is about death.“ </li></ul>
    10. 10. Storytelling Theory of Structure and Emotional Slope Woodside, Sood & Miller (2008) Acts through Time (Seconds, Minutes, Hours, Days, Weeks, Months, Decades) Prequel Act 1 (Balance) Act 2 (Imbalance) Act 3 (Resolution) Act 4 (Sensemaking & Storytelling) Emotion Evaluative slope A1 A2 V3 V4 A4 S3 S4 Dictionary. Ai = actor; Vi = event/action; Si = scene; interaction/dialogue. Note: only A1, the protagonist, appears in all acts. In Act 4 the protagonist makes sense of the action when telling the story to herself and/or others about the events occurring beforehand (prequel), the action leading up (Act 1) to the inciting incident (act 2) and how the story turns out (resolution, Act 3. A1 A2 V1 V2 A3 S1 S2 A2 A1 A5 A6 A7 S6 S7 S8 A2 A5 A1 S9 A1 V5 V6 V7 V8 S10 V9
    11. 11. Critical Model of Consulting Nikolova,Reihlen and Schlapfner (2009) <ul><li>Shaping impressions social practices: </li></ul><ul><li>Storytelling </li></ul><ul><li>Rhetorical skills </li></ul><ul><li>Charisma </li></ul><ul><li>Demonstrating </li></ul><ul><li>Tangible solutions </li></ul><ul><li>Client reflections </li></ul>
    12. 12. Presentation of Self in Everyday Life (PSEL)Concepts Goffman 1959 <ul><li>1. The Drama </li></ul><ul><li>actors give meaning to selves, others & their situation </li></ul><ul><li>performances before observers deliver impressions (actor's goals). </li></ul><ul><li>Information exchanged to confirm identity & significance of behaviour. </li></ul><ul><li>The actor may have no &quot;intent&quot; yet others impute attributes to them. </li></ul><ul><li>2. Front </li></ul><ul><li>audience requires &quot;idealised&quot; front. Believable performance. Stereotypical repertoires - &quot;expressive equipment &quot; to establish “self”. Dramatic realisation - &quot;impression management&quot;. Must be convincing + &quot;in-line&quot; with expectations, conventions, mores, rules </li></ul><ul><li>Credibility won by: satisfying expected duties & role performance + consistency in communicating activities & traits. </li></ul><ul><li>3. Signs & signifiers in projecting the front - the setting & props </li></ul>
    13. 13. Further Extending the Dramaturgical Framework in Marketing and Consumer Psychology Woodside, Sood & Miller (2008)

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