2. Roy Grünewald
CV:
• Studies: Cultural Management, Academy for drama
directory
• Drama teacher and director
• Creative producer Arjan van Dijk Events
• General manager municipal theatre Gorinchem / Targett
entertainment & events
• Teacher Imagineering & management creative industries
NHTV
• Guest teacher concept development and storytelling
• Column writer
• And…
9. Storytelling is much more
then just telling a story
People can imagine, dream, create
metamorphoses, they understand (hidden)
messages, they feel emotions
10. Storytelling in events:
It’s telling the event story in a way that the
number of facts trigger the emotions and is a
contribution to the experience
A VERY IMPORTANT
EVENT EXPERIENCE TOOL
11. STORYTELLING
events have a double aim
• Marketing strategy: the strategic message
must be memorable in the consumers brain
(content)
• Experience events: to create maximum
involvement (design)
16. Storytelling
in daily life
• The first lie…
• Where are you, what are you doing, did something
happened?
• Last night I was with that girl…
• Gossips, jokes, bragging, exaggeration, lies, fraud,
tricks, love declarations
Everything told in another way than
announcements or reports
17. Basicly there are 3 forms of
communication
• Announcement (demand, order, point of
view) > we do, follow or not etc.
• Report (number of facts, journals,
processes) > we accept or not
• Story (imagination, emotion) > let us
believe, experience, let us think, learn)
18. Why we all love stories
more than announcements and reports?
Why we all understand stories
better than announcements and
reports?
20. • It’s within our DNA
• The gene FOXP2
• Fysical and neurological skills
21. Example
• My uncle died at the age of 49. One year
later, his butler died
• Harley Davidson is the best motorbike in
the world.
22. Just add…
• My uncle died at the age of 49. One year
later, his butler died of grief.
> plot, emotion, we wonder, want to know…
• Harley Davidson brings you forward and
behind…
> Interpretation of facts, insinuation, promise
25. Narratives and metaphores,
sensorial words, words with secrets,
movements, emotions
• Activate our brain in its search (puzzle) for
signification, solution
• Trigger our curiosity
26. How do we recognise
a good story?
• We have to understand the facts
• We are involved by the sequence of events
• We feel emotions (laughter, sadness etc.)
• There is a message or morality (what do we
learn?)
27. A good storyteller is able
To manipulate the brain of his
audience
(customer, consumer, public, visitor)
etc.
28. So to tell a brilliant story,
(s)he has to:
• Tease the audience (creating curiosity)
• Play with emotions and feelings
• Involve his audience
• Create suspense
• Trigger the imagination of the audience by
manipulating the facts
30. A GOOD STORY:
Facts and knowledge trigger the
IMAGINATION
A good story is NOT
an announcement or report
31.
32. What works?
basics
• To trigger curiosity
• Step by step building up the imagination
• Activation of the brain
• Result: memory
33. Storytelling as tool in
experience events
basics PLUS
• Insinuations and promises
• Translation of the message in a narrative
• Stimulation of imagination
• Wrap the audience, guests in positive
emotions
• And they will neeeeeever forget
34. Practice of storytelling in events
• Concept development (creative proces >
storyboard)
• Selling the event (to convince the client)
• Directory and design of the event (to use
experience tools > scenario)
35. So the storyteller
(as a concept developer):
• Has to translate the strategic message into a
brilliant story
• Has to wrap the message in a way the
audience feel positive emotions in their
minds.
36. So the storyteller
(as a salesman):
• Has to trigger the curiosity of the client by
pulling him into the story
• Has to take the client step by step into the
narrative of the event
• Manipulates the client with emotional
promises and insinuations
• Bombard him with experiences (emotions,
senses, secrets and movements)
Then imagination works!
37. So the storyteller
(as event director):
• Has to trigger the curiosity of the guests by
pulling them into the story
• Has to take the guests step by step into the
narrative of the event
• Manipulates the public with emotional
promises and insinuations
• Bombard them with experiences (emotions,
senses, secrets and movements)
Then imagination works!
41. YOU CAN HAVE THE MOST
BRILLIANT IDEAS…
IF YOU CANNOT TELL THEM
WITH IMAGINATION AND POWER
THE IDEA SHALL NOT BE
ACCEPTED
42. LOGIC THINKING BRINGS US
FROM A TO B
BUT
IMAGINATION BRINGS US
EVERYWHERE
(Einstein)
43. The first theatrelaw:
‘your audience is willing to
believe what you are and what
you tell, if you as an actor
(storyteller) are able to convince
what you play’
Aristoteles (350 b.C.)
46. To convince:
• I believe in what I play (gestures)
• I believe what I’m telling you (language)
• I refer to common knowledge (facts)
• I change reality (manipulating the facts)
• I tease and trigger (manipulating
imagination)
• I’m building up suspense (from horror to
terror)
• I create a happy end
47. 3 powerfull instruments to tell
idea and message of an event
1. Story structure (creates cohesion and
suspense) > 6 steps
2. Stratification (using dimensions make
stories fascinating) > 3 dimensions
3. Story energy (make stories convincing) > 5
elements
60. Storytelling structure in events
The storyboard:
Step by step description of the
number of ‘things what happen’
61. Storyboard
imagine the event ‘movie’
• Pre exposure…(invitation, promises)
• …You enter the scene and then…
• …and then…and next…meanwhile…
• …A path of magical moments
• …up to a peak, a climax…
• …pffff…the end and going home…
• …post experience (what is the memory?)
62. Magical moments
• ‘this is us’…
• Surprise the visitor/guest
• Sub climaxes
• Peaks and easy moments, action and chill
63. Peak-end rule
• Make the climax memorable
• Timing of the climax moment
• People need time to understand the climax
• The end is ALLWAYS positive (messsage)
• The last experience must be memorable
• > is of great influence of the total
experience
65. Structure
STORY
1. Prologue
2. Trigger
3. Teasers, building up sub
climaxes and suspense
4. Climax
5. Purification
6. Epilogue
STORYBOARD EVENTS
1. Pre exposure
2. Entree, start and then…
3. further…next…then…
(magical moments)
4. Peak, finale
5. Landing/chilling
6. Post experience
67. DIMENSIONS
• For children and adults
• Wrapped metafores
• Hidden messsages and symbols
• Suggestive codes
• Insinuations
>
• Triggering the subconscious
68. 1st dimension:
physic observations
• Girl: wearing a red riding hood
• Forest: trees, path, grandmothers house
• Wolf: predator who speak human language
69. 2nd dimension:
symbolism, insinuations, promise
• Girl: Why she wears a red hood? How old is
she? Naive, initiation rite from child to
adult, simple-minded
• Forest: unknown area full of potential
danger, slums, the Bronx etc.
• Wolf: hunting for victims, lover boy,
gangster, demon
70. 3rd dimension:
judgement and morality
• Girl: Lost her innocence, was saved
(learned for the rest of her life: don’t be
naive)
• Forest: Darkness, hell of life (be prepared
for mischief and disaster)
• Wolf: Human criminal mind, evil (warning)
76. 1st dimension:
physic observations
• Trains: transportation machines
• Different worlds: transportation concepts
• Travellers: people, moving from A to B
• Technics: machinery
77. 2nd dimension:
symbolism, insinuations, promise
• Trains: economic progress
• Different worlds: people, discovering the
world
• Travellers: connecting people
• Technics: inventions
78. 3rd dimension:
value and morality
• Trains: prosperity
• Different worlds: globalisation
• Travellers: understanding
• Technics: innovations
82. USE NARRATIVE TOOLS
• Start with a promise (make him curious)
• Use the LRR structure
• Magical moments
• Secret codes and dimensions
• Peak end rule
83. USE NARRATIVE
LANGUAGE
• Use strategic words, but don’t exaggerate!
• Triggering senses
• Emotions
• Atmosphere
• Movements
84. THE CASE
• A Sylvester party
• 100 guests
• Message: it was a bad year because of the
crisis, but we believe in a better future
• Special location
• Good catering and entertainment
• From 10 pm till 2 am
85. PRESENTATION
• Sell your idea of the ‘voyage’ of the guests from A
to B in a brilliant story
• Convince in 7 minutes
• Use the ‘experience’ curve
• Use a theme
• Remember: tell a STORY, not serial
announcements or a report
91. This ppt presentation owns to
Roy Grünewald Special Concepts.
You may only use this for study purposes.
Publication and/or presentation for other
purposes is not allowed without written
permission of the author:
Roy Grünewald, Haarstraat 3,
4201 JA Gorinchem
+31183-632742 / +316-53781356
roygrunewald@hotmail.com