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Inspired Storytelling: Engaging People & Moving Them To Action

Most projects, presentations or initiatives are driven by facts and features the team believes will help them deliver a product or message. While facts and data are important for setting the stage and communicating goals, they’re rarely what persuades an audience or gets them to take action. In this workshop, you will learn how to use that connection, by teaching basic skills in visual thinking and storytelling that will that transform projects and initiate action.

1 of 55
INSPIRED STORYTELLING
ENGAGING PEOPLE AND MOVING THEM TO ACTION
KELSEY RUGER

#HUXPASTORIES

HUXPA
EDITION
3

SIMPLE IDEAS ABOUT
Stories & Storytelling

Stories drive people on a deep emotional level.
Stories move people to action better than facts.

Stories universally change the world.
1

Stories drive us on a deep

EMOTIONAL LEVEL
We all have multiple personalities or personas.

We look for stories that make those personas consistent.
The song focuses on his

GENERATION’S

LACK OF ACTION
related to current world conditions
Powerless?
“Well,  I'll  just  watch  American  Idol  
because  I  know  if  I  were  engaged  in  
changing  anything  for  the  better,  or  
the  better  as  I  see  it,  it  
would  go  unnoticed  or  be  
completely  ineffective.  
A  lot  of  people  have  
that  feeling.”

WHAT ACTIONS DO OUR INTERNAL STORIES GET US TO TAKE?
THE RIGHT STORY

COULD BE THE ANSWER
*

*

*

A ‘PERSONA’ NEEDS TO TAKE ACTION
*
*

*

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Inspired Storytelling: Engaging People & Moving Them To Action

  • 1. INSPIRED STORYTELLING ENGAGING PEOPLE AND MOVING THEM TO ACTION KELSEY RUGER #HUXPASTORIES HUXPA EDITION
  • 2. 3 SIMPLE IDEAS ABOUT Stories & Storytelling Stories drive people on a deep emotional level. Stories move people to action better than facts. Stories universally change the world.
  • 3. 1 Stories drive us on a deep EMOTIONAL LEVEL We all have multiple personalities or personas. We look for stories that make those personas consistent.
  • 4. The song focuses on his GENERATION’S LACK OF ACTION related to current world conditions Powerless?
  • 5. “Well,  I'll  just  watch  American  Idol   because  I  know  if  I  were  engaged  in   changing  anything  for  the  better,  or   the  better  as  I  see  it,  it   would  go  unnoticed  or  be   completely  ineffective.   A  lot  of  people  have   that  feeling.” WHAT ACTIONS DO OUR INTERNAL STORIES GET US TO TAKE?
  • 6. THE RIGHT STORY COULD BE THE ANSWER * * * A ‘PERSONA’ NEEDS TO TAKE ACTION * * *
  • 7. Great ideas need stories to really CONNECT TO PERSONAs You can have the worlds greatest idea, but if you can’t convince enough people it won’t matter. The question is how do we do this?
  • 8. Put yourself in the audience’s shoes AND UNDERSTAND HOW to activate new personas & stories Use mechanisms that help people maintain consistency.
  • 9. Make sense of the world FOR OURSELVES + Pass your understanding ON TO OTHERS
  • 10. Psychology goes a long way in storytelling Break an existing persona Attach to an existing persona Baby step to a new persona Get the person to reframe a story Anchor to a current success story Small steps to build a story Expose people to other people’s story
  • 11. 2 Stories are better for moving PEOPLE TO ACTION than facts, figures & features
  • 12. True human inspiration always starts with feeling People  will  forget  what  you  say.    They  will   forget  what  you  do,  but  they  will  never   forget  how  you  make  them  feel. Maya Angelou HOW DO WE DO THIS?
  • 13. In order to get to feeling you have to START WITH THE RIGHT FOCUS
  • 15. BECOME FOCUSED ON ‘PRoving’ It FACTS FIX EVERYTHING EMOTIONALLY AND ANALYTICALLY DETACHED TEACHING LOSES TO SHOWING It EMPHASIZE THE HAVE YOU EVER KNOWN SOMETHING AND IGNORED IT? WRONG HEROES
  • 16. Facts are only the first PART OF THE EQUATION Everyone  has  data  and  facts.  Touching  people   on  a  deep  level  is  about  needs.    Filter  your   message  through  those  needs. Needs of the PERSONALITY Significance Uncertainty Richness Connection Certainty Beauty Fulfillment Growth Truth Wholeness Uniqueness Autonomy Needs of the Spirit * Based on CNVC Basic Human Needs inventory
  • 17. How do our stories touch us on AN EMOTIONAL LEVel? A  good  storyteller  understands  that     stories  are  ultimately  a  blueprint  for  human   behavior.  I  learned  a  lot  about  this  when  I   studying  storytelling  and  how  it  works.   These stories contain a lot of answers
  • 22. HOW DO YOU PUT THESE IDEAS TOGETHER? Tell your stories with I.N.S.P.I.R.E
  • 23. Connecting the pieces of the hero’s quest with the INSPIRE FRAMEWORK Identify with your hero to get them engaged. Navigate your message using a universal story. Start the journey by knowing your role as the mentor. Produce meaning by creating a balanced message. Initiate change by using contrast in your delivery. Reinforce Your story with proper preparation Encourage your audience to take action
  • 24. Connecting the pieces of the hero’s quest with the INSPIRE FRAMEWORK The SETUP Identify with your hero to get them engaged. Navigate your message using a universal story. Start the journey by knowing your role as the mentor. The delivery Produce meaning by creating a balanced message. Initiate change by using contrast in your delivery. Reinforce Your story with proper preparation The Resolution Encourage your audience to take action
  • 25. Create commonality and identify with the hero
  • 26. Most  of  the  time  we  are  good  at  knowing  what  we   want  in  in  the  message,  but  we  are  not  good  at   understanding  how  to  link  our  message  to  real  need.
  • 27. To guide your hero on their quest UNDERSTAND WHAT THEY NEED CONFIDENCE that the path you are taking them on can succeed. TRAINING and critical lessons to make the path easier. KNOW YOUR GOAL GUIDANCE through an unfamiliar world. ADVICE and guidance on choices by providing contrast. INSIGHTS to things they may not be aware of. TRUST that you are indeed the right guide.
  • 28. To strengthen your stories build your hero’s WORLD VIEW
  • 29. WHAT’S THE ITCH? Call To Adventure WHERE DO THEY STAND? Cross the Threshold What’s the driving force behind why your content is critical? What do they know? What do they still needed to know? What are the gaps? WHAT’S THE IMPACT What the impact of the gap? What’s the impact of filling the gap? WHAT’s THEIR FATE? What are the possible outcomes of following the guidance or choosing another path.
  • 30. BEHAVIOR HABITS B.J. FOGG Researcher, Stanford FOGG BEHAVIOR MODEL Tiny Habits project
  • 31. WHY WOULD I DO THIS? x PLEASURE PAIN x HOPE FEAR ACCEPTANCE x REJECTION Motivation Ability must be in sync to work ability DO I HAVE THE SKILLS TO DO THIS? Timing trigger WHAT GETS ME TO TAKE ACTION? RESOURCES Time Money Physical Effort Brain Cycles Social Deviance Non-Routine opportunity windows SPARKS = Trigger + Motivation + Ability FACILITATOR = Trigger + High Motivation - Ability SIGNAL = Trigger + Balanced Ability Motivation TRUST SHOULD BE PRESENT motivation
  • 32. OPPORTUNITY WINDOWS OPEN AND CLOSE in a good mood worldview no longer makes sense action can be taken immediately Sync these with the behavior you are trying to Encourage Feel indebted because of favor immediately after a mistake immediately after denying a request THERE ARE ALWAYS WINDOWS WHERE PERSUASION WILL BE MORE EFFECTIVE. Time / Place / Context
  • 33. Navigate your message using universal stories
  • 34. UNIVERSAL TRUTH A universal story is one that communicates widely understood values, beliefs or situations that are understand regardless of race, religion or gender. They work because they are universal & the most common way humans communicate. Think of these as universal dramatic patterns.
  • 35. DRAMATIC PATTERN is better for communication THAN SIMPLE NARRATIVE Narratives have a place, but not for our purposes.
  • 36. NOTE:    Every  story   can  be  different   but  they  are  rooted   in  plot  patterns. They  are  so  much  a  part  of  us  that  you  could  call   them  “instinct”.  They  are  primal  behaviors.  Every   plot  is  different  but  each  has  its  root  in  pattern.  By   building  patterns  you  construct  a  framework  for  your   presentation.  
  • 37. INSPIRE STORY WHEEL By Kelsey Ruger wer Ans all C The Reve lat Triu ions & mph s DELIVERY (Be TU gin P nin g) SE N n& lutio g Reso The e Endin Th Me Ch et Th ara e cte rs (Middle) TIO LU SO ND) RE (E Set The Stage ax lim ts e C en Th f Ev o ir he ns T o ind irati F p As Face The Trial Sto ivers rie al s os gic ) (Lo Lo g e (Cr os ) Eth ibility d ng Learnin Styles Un Presentation Story Halo Pathos (Emotion) Met a Sto Sub ries & Plot s ry & age l Im isua ayout V L t en re t on ctu C u Str Suppor ting Da ta & Sourc es I N S P I R E
  • 38. INSPIRE STORY WHEEL By Kelsey Ruger wer Ans all C The Reve lat Triu ions & mph s DELIVERY (Be TU gin P nin g) SE N n& lutio g Reso The e Endin Th Me Ch et Th ara e cte rs (Middle) TIO LU SO ND) RE (E Set The Stage ax lim ts e C en Th f Ev o ir he ns T o ind irati F p As Face The Trial I N S P I R E Un Sto ivers rie al s Pathos (Emotion) Met a Sto Sub ries & Plot s ry & age l Im isua ayout V L t en re t on ctu C u Str Suppor ting Da ta & Sourc es os gic ) (Lo Lo g e (Cr os ) Eth ibility d ng Learnin Styles THE STORY ARC THE ARRANGEMENT OF EVENTS Presentation Story Halo
  • 39. THE APPEAL ARC KEEPING ARGUMENT BALANCE wer Ans all C The Reve lat Triu ions & mph s DELIVERY (Be TU gin P nin g) SE N n& lutio g Reso The e Endin Th Me Ch et Th ara e cte rs (Middle) TIO LU SO ND) RE (E Set The Stage ax lim ts e C en Th f Ev o ir he ns T o ind irati F p As Face The Trial Sto ivers rie al s os gic ) (Lo Lo g e (Cr os ) Eth ibility d ng Learnin Styles Un Presentation Story Halo Pathos (Emotion) Met a Sto Sub ries & Plot s ry & age l Im isua ayout V L t en re t on ctu C u Str Suppor ting Da ta & Sourc es I N S P I R E
  • 40. INSPIRE STORY WHEEL By Kelsey Ruger wer Ans all C The DELIVERY (Be TU gin P nin g) n& lutio g Reso The e Endin Th Me Ch et Th ara e cte rs (Middle) TIO LU SO ND) RE (E SE THE THROUGHLINE WILL THE HERO SUCCEED OR FAIL? N Set The Stage Reve lat Triu ions & mph s ax lim ts e C en Th f Ev o ir he ns T o ind irati F p As Face The Trial Sto ivers rie al s os gic ) (Lo Lo g e (Cr os ) Eth ibility d ng Learnin Styles Un Presentation Story Halo Pathos (Emotion) Met a Sto Sub ries & Plot s ry & age l Im isua ayout V L t en re t on ctu C u Str Suppor ting Da ta & Sourc es I N S P I R E
  • 41. No hero’s quest can work without A WIZARD or MENTOR Hint: You know your wizard better than anyone else.
  • 42. MENTORS GUIDES WIZARDS Have true passion. Understand the hero’s struggle. Exhibit vulnerability. Exhibit humility. Understand the source of wisdom. Start with Why.
  • 43. Produce meaning by using A balanced message
  • 44. BRAIN SCIENCE AT WORK WHAT MAKES US TICK REPTILIAN BRAIN Controls instinctual action I WANT FOOD! Feed ME! LIMBIC BRAIN Controls EMOTION I feel like I know why I want Food NEOCORTEX Controls logic and ration I’ll give you 10 reasons why I WANT Food.
  • 45. PRODUCE MEANING FOR THE HERO BY CREATING A BALANCED MESSAGE Sto ivers rie al s gic ) os (Lo Lo g e (Cr os ) Eth ibility d ng Learnin Styles Un Presentation Story Halo Pathos t en re t on ctu C u Str (Emotion) M et a Sto Sub ries & Plot s ry age Im sual yout Vi La & Suppor ting Da ta & Sourc es I N S P I R E
  • 46. ETHOS An appeal to the authority of honesty of the speaker. It is how well the speaker convinces the audience that he or she is qualified to speak of the particular subject. Pathos An appeal the audience’s emotion audience. It can be in the form of metaphor, conflict, a passionate delivery, an evocative slide or even a claim that a matter in unjust. Logos A logical appeal or the simulation of it. It is normally used to describe facts and figures that support the speakers topic.
  • 47. Use message contrast to initiate change
  • 48. WE TRY TO&USE TO SEEK AN ANSWER TOFIGHT LOGIC TO OUR NEEDS OUR NATURAL TENDENCY INSTINCT
  • 49. We make basic decisions in order to FULFILL NEEDS Do  you  understand   my  narrative? SELFACTUALIZATION morality, creativity, spontaneity, acceptance, experience, purpose, learning and inner potential SELF-ESTEEM confidence, achievement, respect of others the need to be a unique individual LOVE & BELONGING friendship, family, intimacy, connection SECURITY health, employment, family, social stability PHYSIOLOGICAL breathing, food, water, shelter, clothing, sleep
  • 50. To  solve   To  bring   problems closure WHY DO PEOPLE MAKE DECISIONS To  get   things  done To  resolve issues
  • 51. er nsw ll A Ca The Reve lat Triu ions & mph s DELIVERY (Middle) ing ) SE (Be TU gin P n N I N S P I R E INITIATE CHANGE BY USING CONTRAST IN YOUR DELIVERY n& lutio g Reso The e Endin Th TIO LU SO ND) RE (E What Will They Learn? What Gets Them Going? Set The Stage ax lim ts e C en Th f Ev o What Will They Face? ir he ns d T tio Fin pira As Me Ch et Th ara e cte rs Face The Trial
  • 52. Man  vs.  Man Man  vs.  Nature Man  vs.  Society Man  vs.  Machine Man  vs.  God/ F ate/Destiny Man  vs.  Himself
  • 53. Use stories to create a deep EMOTIONAL CONNECTION Choose stories over facts to MOVE PEOPLE TO ACTION Use universal stories to help CHANGE THE WORLD
  • 54. Connecting with people through the INSPIRE FRAMEWORK Identify with your hero to get them engaged. Navigate your message using a universal story. Start the journey by knowing your role as the mentor. Produce meaning by creating a balanced message. Initiate change by using contrast in your delivery. Reinforce Your story with proper preparation Encourage your audience to take action