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Using the Power of Storytelling to Change the World September 2014
The document explores the importance of narratives in shaping identities, beliefs, and societal structures, emphasizing that storytelling serves as a collective operating system for communities. It discusses four functions of myths and highlights how dominant narratives can uphold the status quo by normalizing oppression and inequality, while also presenting the potential for transformative storytelling to inspire change. Ultimately, it underscores the necessity of crafting visionary narratives to engage audiences and catalyze a shift toward a more equitable future.
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Using the Power of Storytelling to Change the World September 2014
- 5. DOMINANT NARRAT IV E - INADEQUACY
- 8. S TO RI E S H O L D O U R I D E N T I T I E S TOGETHER.
- 9. 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?
- 10. WHATEVER ANSWER WECOME UP WITH TO THESE QUESTIONS IS A NARRATIVE.
- 11. STORIES beliefs beliefsbeliefs STORIES BELIEFS What we believe creates our reality. Beliefs are embedded, learned and transmitted as stories. stories STORIES beliefs OUR WORLD
- 12. Stories are thecode of our collective operating system. <!DOCTYPE html> <html> <body> <h1>Story <p>story</p> </body> </html>
- 14. 4 FUNCTIONS OF MYTHS: 1. MYSTICAL- stories that reveal the wonder of the world and of being human. 2. COSMOLOGICAL- stories that attempt to describe the shape of the universe. 3. SOCIOLOGICAL- stories that support & validate a certain social order. 4. PEDOGOGICAL- stories that teach us how to overcome the challenges of being human.
- 15. WE’VE EVOLVED TO LOVE STORIES BECAUSE THEY HELP US SURVIVE.
- 16. Stories are designedto 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.
- 17. S TO RI E S A R E S O C I A L G L U E .
- 18. Stories remain theinvisible glue through which people narrate the meaning of their lives and interweave their lives with other lives. -Michael Margolis, Believe Me.
- 19. S TO RI E S S Y N C H RO N I Z E B R A I N S Communities are groups bound by shared values. Through storytelling, you communicate your values so your audience can say, “Hey! I believe that too!”
- 20. Great stories combineconviction and revelation
- 21. S TO RI E S A L LOW US TO CREAT E ORDER O U T O F T H E CHAOT I C .
- 22. They do thisby E D I T I N G O U T irrelevant details.
- 23. AND D EF I N I N G A CAU S E FOR EACH E F F E C T.
- 24. Dominant narratives arethe ARMOR OF THE STATUS QUO.
- 26. NARRAT I VE STORY STORY STORY STORY STORY STORY STORY STORY STORY STORY
- 27. S TORY -EventUnity -The ‘who, what, when, where, how’ of an event that occured -It has a begining, middle, and end NARRAT 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? VS
- 28. INADEQUACY OCEAN THATTIME 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
- 29. HOW NARRATIVES NORMALIZETHE STATUS QUO: The misfortunes of those living in poverty are a result of their laziness. Welfare allows people to game the system and remain lazy. U N I V E R S A L I Z I N G CERTA I N E X P E R I E N C E S “WELFARE QUEEN”
- 30. HOW NARRATIVES NORMALIZETHE STATUS QUO: I N V I S I B I L I Z I N G OPPRESSION CRIMINALIZATION OF POVERTY 80% OF JOBS GIVEN THROUGH PERSONAL CONNECTIONS NEGATIVE ASSUMPTIONS SCHOOL TO PRISON PIPELINE HISTORY DISCRIMINATORY HIRING UNLIVABLE MINIMUM WAGE BROKEN SCHOOLS Pick yourself up by your bootstraps! Just work hard!
- 31. HOW NARRATIVES NORMALIZETHE STATUS QUO: INEVITABILITY TINA “There Is No Alternative.”
- 32. Narratives operate on underlying assumptions. ASSUMPTION ASSUMPTION ASSUMPTION ASSUMPTION Where you look to figure out where the new narrative needs to target. NARRATIVE
- 33. EXAMPLES OF DOMINANT NARRAT 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 tculture. (5 min)
- 34. By telling newstories, we can build A NEW WORLD.
- 35. The ability todream 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
- 36. T H EJ 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 : Use narrative to create new frames.
- 37. Storytelling is not just a communications tool. It is an essential part of creating change.
- 39. We have thepower to create the world we want by changing the stories we tell.
- 40. CREAT I NG A N E W F R A M E = CREAT E A N E W M E N TA L P I C T U R E Ask: How should we imagine this problem? DOMINANT NARRATIVE NEW NARRATIVE
- 41. OLD NARRAT IV E NEW NARRAT I V E
- 42. THE INADEQUACY NARRATI V E PERSONAL 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
- 43. T H ES E PARATION NARRAT I V E PERSONAL S O C I E TA L “Everyone else has it more together than I do. She’s more ______ than me.” “Immigrants are mothers, daughters, fathers, sons, who are yearning for a better life for themselves and their children.” She is a complex person with her own journey, pain, and celebrations. 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
- 44. T H EI N E V I TA B I L I T Y N A R R AT I V E OLD NARRATIVE NEW NARRATIVE
- 45. PHASE 1 PHASE2 PHASE 3 Living in the old story. “This is the way it is” Rebelling against the old story. “Fuck the old story.” Liberation. “I choose a new story. ” Goal: Collective Liberation
- 46. OLD FRAME NEWFRAME 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. UNIQUE STORY & EXPERIENCES UNIQUE STORY & EXPERIENCES } UNIQUE STORY & EXPERIENCES 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
- 47. DRAW: HOW SHOULDPEOPLE IMAGINE THE SITUATION?
- 48. ENVISION THE WORLD YOU WA N T TO L I V E I N If every campaign, project and program succeeded, what would the world look, taste, smell, feel like?
- 49. FILL OUT: ‘IMAGININGA NEW NARRATIVE.’
- 50. COMMUNICAT I NG YOUR NEW NARRAT 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.”
- 51. VISIONARY NARRAT IV E = SOUL OF A MOVEMENT.
- 52. HOW TO CR A F T A VISIONARY NARRAT I V E 1. Hook: Personal story that describes the status quo
- 53. Choosing a personalstory: 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?
- 54. 2. Describe thestatus quo from a macro perspective.
- 55. 3. Cost ofthe status quo. What does the status quo mean for people? What’s at stake if things stay the way they are?
- 56. 4. How couldthings be instead? Alternate reality. Other Possibility. Paint a picture of the future with compelling details.
- 57. 5. How isthis vision of the future going to come true? What’s it going to take? Why do you believe this is possible? (this is where you introduce your solution or organization).
- 58. 6. How youraudience is essential/needed in order for this new future to come true.
- 59. 8. Call toAction-what can your audience do to affirm their participation in your narrative?
- 60. Questions to considerwhen crafting a visionary narrative: 1. What does the narrative you are creating mean for your audience? 2. How is your audience a character in this story? How might you empower them through this story? 3. what values will they be expressing to their networks if they share your message?
- 61. 1. Form agroup 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.
- 62. P I CK I N G A S TORY 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.
- 63. Write on anindex card: 1. One ah-ha moment you had. 2. What’s your next step? 3. What additional questions do you have? What would you love to learn more about? How can I serve you further on this journey?
- 64.
- 65. ELEMENTS OF GREATS TO R I E S
- 66. GREAT STORIES... Areemotional and show vulnerability.
- 67. GREAT STORIES... Areabout journeys where the protagonist learns something about the world.
- 68. GREAT STORIES... Describea personal transformation.
- 69. GREAT STORIES... havedramatic tension. The stakes are high. They make the audience wonder, “What will happen next?”
- 70. GREAT STORIES... Includememorable, vivid, sensory details that are relevant to the core message.
- 71. GREAT STORIES... Aresimple- they only include details that illustrate the mesage.
- 72. T U RN TO A N E I G H B O R : 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?
- 73. S TORY PORTF O L I O : The individual stories that add up to your visionary narrative.
- 74. YO U RS TORY PORT 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 ORIGIN STORY The story of how your organization came to be. The story of your founder’s insight that led to your formation. LESSON STORIES 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....“ MOVEMENT STORIES Stories about how your supporters got inspired to take action and what they did as a result. IMPACT STORIES Stories about someone whose life changed as a result of your organization.
- 75. HOW TO ST RUCTURE YOUR S TORY: S TORY ARC MOMENT OF CHANGE The A-ha! Moment. Ground it in a specific location. AFTER How is life different because of this realization? Include a detail or anecdote about how the impact was experienced. CALL TO ACTION Relate the story back to your audience. Empower them to apply the moral of the story to their lives. JOURNEY TO CHANGE Struggle of the journey makes the character change. PROBLEM Present the problem. Include a detail or anecdote about how the challenge was experienced. BEGINNING The hook: set the stage and introduce who, what, when, and where.