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storytelling tool: a checklist for story content

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When we create content, we don't want it to be just that - CONTENT. We want all the pieces and bits to make a story. A one that is exciting and interesting to follow. So let's make sure it becomes that by checking if we have the right ingredients.

Published in: Marketing

storytelling tool: a checklist for story content

  1. 1. storytelling toolwhat to consider when working on a content project
  2. 2. storytelling toolwhat to consider when working on a content project THE HOW, THE WHO AND THE WHAT
  3. 3. storytelling toolwhat to consider when working on a content project THE HOW, THE WHO AND THE WHAT ACTIONABLE CHECKLIST BEFORE TO MAKE SURE YOU THOUGTH OF EVERYTHING
  4. 4. THE READER THE STORYTELLER STORY TIME: who controls the story time, i. e. the time when the story can be experienced? CHOICE: who controls the choices within the story? PLACE: who picks where the story is going to unfold? LENGTH: who decides what is the length of the episode or the whole story? where lies the control of different story elements?
  5. 5. THE HERO THE OPPONENT OBJECT is someone who tries to get something or achieve a certain goal the hero is most easily defined when juxtaposed to some external forces (like time) or other character seeking the same object there is no conflict if there is nothing to seek or to gain – we need an object that holds a specific value within the story world and for the hero and opponents (like the one ring to rule them all)
  6. 6. 1st DRAMATIC ARCH 2nd DRAMATIC ARCH drama builds when you increase the odds – every time you increase the odds, the viewer or listener is more and more unsure of the outcome. Doubt is a storytelling weapon.
  7. 7. 1st DRAMATIC ARCH 2nd DRAMATIC ARCH drama builds when you increase the odds – every time you increase the odds, the viewer or listener is more and more unsure of the outcome. Doubt is a storytelling weapon. build the tension gradually and remember that a loss that occurs early in the narrative only increases the tension later the rule is simple: the next conflict has to be bigger than the previous – end with a bang not a whimper
  8. 8. REVEAL EXPOSE INTERFERE HIDE stories are not about telling, but about hiding something till the right moment – the imbalance of knowledge between the storyteller and the listener is what drives the story. Where are different strategies to managing information
  9. 9. REVEAL EXPOSE INTERFERE HIDE you might hint at the fact that the information is there, but not allow to see it fully you can choose to expose the information, i. e. disclose the end of the story you could omit crucial information altogether without anyone suspecting that it exists you would be able to show the information indirectly, through other story cues
  10. 10. good vs evil effort vs inaction known vs unknown obscurity vs success corruption vs purity going from one state to another or the essential conflict between the two states gives the backbone to the story and makes it relatable and understandable
  11. 11. remember that redundancy is a sin in a story – use the channels in such a way that they would contribute but not duplicate each other – sort out what information is being presented in which channel and how the overall narrative becomes more that the sum of its parts VS
  12. 12. THE BEGINNING OF THE STORY BACKWARD FORWARD stories don’t just move forward – they can jump back and forth. A story unfolds in both directions, into the future as much as into the past.
  13. 13. WWW.SEMIOSEARCH.LT

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