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Using the Power of Storytelling to Create Impact August 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. This workshop is designed to teach how to tell stories that catalyze your work and fulfill your personal or organizational mission.

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Using the Power of Storytelling to Create Impact August 2014

  1. D O M I N A N T N A R R AT I V E - I N A D E Q U A C Y
  2. S TO R I E S H O L D O U R I D E N T I T I E S TO G E T H E R .
  3. 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?
  4. WHATEVER ANSWER WE COME UP WITH TO THESE QUESTIONS IS A NARRATIVE. NARRATIVES ≠ TRUTH.
  5. STORIES STORIES beliefs beliefs BELIEFS What we believe creates our reality. Beliefs are embedded, learned and transmitted as stories. stories STORIES beliefs beliefs OUR WORLD
  6. Stories are the code of our collective operating system. <!DOCTYPE html> <html> <body> <h1>Story <p>story</p> </body> </html>
  7. WE’VE EVOLVED TO LOVE STORIES BECAUSE THEY HELP US SURVIVE.
  8. 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.
  9. STORIES ARE SOCIAL GLUE.
  10. 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.
  11. Communities are groups bound by shared values. Through storytelling, you communicate your values so your audience can say, “Hey! I believe that too!” S TO R I E S S Y N C H R O N I Z E B R A I N S
  12. AT THE HEART OF EVERY STORY IS AN A-HA! MOMENT
  13. STORIES ALLOW US TO CREATE ORDER OUT OF THE CHAOTIC.
  14. THEY DO THIS BY EDITING OUT IRRELEVANT DETAILS.
  15. AND DEFINING A CAUSE FOR EACH EFFECT.
  16. Dominant narratives are the ARMOR of the status quo.
  17. NARRATIVE STORY STORY STORY STORY STORY STORY STORY STORY STORY STORY
  18. S T O R Y -Event Unity -The ‘who, what, when, where, how’ of an event that occured -It has a begining, middle, and end N A R R AT 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? V S
  19. 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
  20. “WELFARE QUEEN” The misfortunes of those living in poverty are a result of their laziness. Welfare allows people to game the system and remain lazy. H O W N A R R AT I V E S N O R M A L I Z E T H E S TAT U S Q U O : UNIVERSALIZING CERTAIN EXPERIENCES
  21. H O W N A R R AT I V E S N O R M A L I Z E T H E S TAT U S Q U O : INVISIBILIZING OPPRESSION CRIMINALIZATION OF POVERTY HISTORY BROKEN SCHOOLS UNLIVABLE MINIMUM WAGE NEGATIVE ASSUMPTIONS SCHOOL TO PRISON PIPELINE DISCRIMINATORY HIRING 80% OF JOBS GIVEN THROUGH PERSONAL CONNECTIONS Pick yourself up by your bootstraps! Just work hard!
  22. H O W N A R R AT I V E S N O R M A L I Z E T H E S TAT U S Q U O : INEVITABILITY TINA “There Is No Alternative.”
  23. Narratives operate on underlying assumptions. ASSUMPTION ASSUMPTION ASSUMPTION ASSUMPTION Where you look to figure out where the new narrative needs to target. NARRATIVE
  24. E X A M P L E S O F D O M I N A N T N A R R AT 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 culture. (5 min)
  25. By telling new stories, we can build A N E W W O R L D .
  26. 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
  27. Use narrative to create new frames. 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 :
  28. N E W N A R R AT I V E F R A M E D E L I V E R E D T H R O U G H P E R S O N A L S TO R I E S =T H E B E S T W AY TO A W A K E N T H E W O R L D
  29. CREATING A NEW FRAME = CREATE A NEW MENTAL PICTURE dominant narrative new narrative Ask: How should we imagine this problem?
  30. T H E I N A D E Q U A C Y N A R R AT I V E P E R S O N A L 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
  31. T H E S E PA R AT I O N N A R R AT I V E P E R S O N A L S O C I E TA L “Everyone else has it more together than I do. She’s more ______ than me.” We are one. Humans are complex, nuanced individuals. Race is a biological fiction but a social reality. She is a complex person with her own journey, pain, and celebrations. She is a loving, divine being. 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
  32. OLD NARRATIVE NEW NARRATIVE
  33. 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. 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 UNIQUE STORY & EXPERIENCES UNIQUE STORY & EXPERIENCES UNIQUE STORY & EXPERIENCES }
  34. DRAW: HOW SHOULD PEOPLE IMAGINE THE SITUATION?
  35. ENVISION THE WORLD YOU WANT TO LIVE IN If every campaign, project and program succeeded, what would the world look, taste, smell, feel like?
  36. FILL OUT ‘IMAGINING A NEW NARRATIVE.’
  37. C O M M U N I C AT I N G Y O U R N E W N A R R AT 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.”
  38. SOUL OF A MOVEMENT. V I S I O N A R Y N A R R AT I V E =
  39. 1. Hook: Personal story that describes the status quo OR a brief glimpse into what’s possible H O W TO C R A F T A V I S I O N A R Y N A R R AT I V E
  40. 2. Define the status quo.
  41. 3. Cost of the status quo.
  42. 4. Alternate reality. Other Possibility.
  43. 5. How do you know this other future is possible?
  44. 6. Compelling details of the new reality.
  45. 7. How your audience is essential/needed in order for this new future to come true.
  46. 8. Call to Action
  47. 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.
  48. www.awakestorytelling.com facebook.com/awakestorytelling annie@awakestorytelling.com
  49. P I C K I N G A S TO R Y 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
  50. E L E M E N T S O F G R E AT S TO R I E S
  51. Great stories... Are emotional and show vulnerability.
  52. Great stories... Are about journeys where the protagonist learns something about the world.
  53. Great stories... Describe a personal transformation.
  54. Great stories... have dramatic tension. The stakes are high. They make the audience wonder, “What will happen next?”
  55. Great stories... Include memorable, vivid, sensory details that are relevant to the core message.
  56. Great stories... Are simple- they only include details that illustrate the mesage.
  57. TURN TO A NEIGHBOR: 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?
  58. S TO R Y P O R T F O L I O : The individual stories that add up to your visionary narrative.
  59. Y O U R S TO R Y P O R T 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 story of how your organization came to be. The story of your founder’s insight that led to your formation. Stories about someone whose life changed as a result of your organization. Stories about how your supporters got inspired to take action and what they did as a result. 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....“ THE ORIGIN STORY LESSON STORIES IMPACT STORIES MOVEMENT STORIES
  60. H O W TO S T R U C T U R E Y O U R S TO R Y: S T O R Y A R C H MOMENT OF CHANGE AFTER CALL TO ACTION The A-ha! Moment. Ground it in a specific location. How is life different because of this realization? Include a detail or anecdote about how the impact was experienced. Relate the story back to your audience. Empower them to apply the moral of the story to their lives. BEGINNING The hook: set the stage and introduce who, what, when, and where. PROBLEM Present the problem. Include a detail or anecdote about how the challenge was experienced. JOURNEY TO CHANGE Struggle of the journey makes the character change.
  61. 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?

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