Storytellers you can't ignore in an organisation. The author of The Boss Is Not Your Friend, Vijay Nair analyses the different types of story tellers in an organisation and writes about how they influence other employees. Ever since I opted to be a writer and assumed the identity of a story teller, I feel totally at home in organisations. Allan Kay, Vice President, Walt Disney had gone on record to say 'Why was Solomon recognised as the wisest man in the world? Because he knew more stories than anyone else. Scratch the surface in a typical boardroom and we're all just cavemen with briefcases, hungry for a wise person to tell us stories.' The CEO The CEO is the most prolific of story tellers in an organisation. I was a young manager in the HR department of a multinational company. That particular year, his wife had accompanied him. There was pin drop silence in the room after this outburst.
Click here to buy The Boss Is Not Your Friend from rediff Books! Click NEXT to continue. The Atavist. Sans titre. Sans titre. Sans titre. Teaching Online Journalism ? Storytelling, Ira Glass and a few thoughts. I finally had a chance to watch these videos of Ira Glass, of This American Life, and I’m quite sure my journalism students can learn a lot from them. If you’re trying to make stories using audio or video, you should watch them.
Ira Glass on Storytelling #1 (5:23)Forget how they taught you to write stories in high school. Understand the anecdote and how to use it. Glass: “You want to be constantly raising questions and answering them, from the beginning of the story.”Ira Glass on Storytelling #2 (4:02)How hard is it to find a decent story? This is much harder than telling the story. Glass: “Between a half and a third of everything we try, we’ll go out and get the tape, and then, we’ll kill it.”
This American Life, the podcast If you log in to iTunes, you’ll find that you can download the most recent radio episode of This American Life, free. You can play the podcast on any computer, listen with headphones or through the speakers, whatever. “What I Learned from Television” Sans titre. Let’s look at storytelling again.
I always use this diagram to show students how to structure a very short video story or audio slideshow (120 seconds): Recently a student showed me this video, and I noticed that at about 1 min. 30 sec., it illustrates the story arc perfectly! The opening has elements that grab our attention (like any good opening): While we see and read the title (“The Annoying Orange”) at the 3-second mark, we hear a voice saying, “Hey, Apple!” This raises as many as three questions: Who is speaking? What is “Apple”? Why is this story called “The Annoying Orange”? At 6 seconds, two of our questions are answered when we see the orange; 3 seconds later, we see the apple.
At 20 seconds, the orange makes a lame joke, answering another question: “What does he want?” The orange continues his taunts, each one lasting only a few seconds. At about 50 seconds, we get a somewhat different visual from the orange that works to stave off boredom for the viewer. Teaching Online Journalism » The elements of storytelling. See also: Storytelling 101 with ‘The Annoying Orange’ See also: RGMP 11: Tell a good story with images and sound I spent the past two days playing host to Ken Speake, a master storyteller and a longtime journalist.
We put him in front of as many students as we could without completely wearing him down to a nub, and it might have been the most valuable 50 minutes each of those students has spent all year. We have a lot of seasoned journalists come through and talk to our students. Ken stands head and shoulders above the pack because he is all about stories — not writing, not ego, not how I beat the other guy to this source, how I toppled the politician, saved the world, or won a prize. As I watched his packages and listened to him, I was struck alternately by how easy and how hard it is to tell a story well. Bang! He went on to set up the story — how he waited for months while the p.r. people put him off. Then he showed us the story. That’s storytelling. 1. 2. 3. 4. Teaching Online Journalism » Teaching about storytelling. As a follow-up to Tuesday’s post about getting a story (and teaching students about stories), I’m going to refer to three earlier posts here: What I learned from Ken Speake, a longtime TV journalist (The elements of storytelling) is that a really good storyteller can find a story almost anywhere — but more important, why is he able to do that?
Because he’s curious about the world, about people, about things he sees. He’s not walking around thinking: “Damn, I have to find a story …” He’s thinking: “Wow, I wonder who made that? I wonder why she’s doing that? I wonder how that got here?” What I learned about students is that when they go out to gather images and sound, they are focused on the activity of gathering and not the end result — telling an interesting story. If you can’t tell me that, then you do not have a story at all. If you can tell me what the point of it all is, then that’s the point to which your finished story needs to lead me — lead the audience. Sans titre. Filmmakers and marketers continue to migrate toward one another because the key to their success is the same: story.
On my first day in graduate film school at Columbia University, my professor—a lauded screenwriter—began his class by saying, "Known, unknown, unity," and then left the room. He was referring to the ideas of the late Joseph Campbell, a brilliant philosopher who created a basis for transcendent storytelling with a modern understanding of the power of mythology. For Campbell, the "myth" did not mean some yarn about gods and fantastical creatures. It referred, instead, to the basic pattern found in every timeless narrative.
My professor's point, albeit dramatic, was clear: There is a narrative pattern—Campbell's "Monomyth"—that resonates supremely with humankind. The idea that brands are stories is not novel. But as a filmmaker-turned-marketer, I'm sensitive to how often brands focus on tactics, or, dare I say it, politics and compromise. Too mystical to be true? The Known. Sans titre. See also Narración / Histoires et récits Brief Description: Storytelling is an ancient practice, helping us to share our knowledge with context and emotion; we can share that tacit side of what we know. Storytelling triggers listeners to respond with other stories, building new understanding. Stories can capture and hold our attention, increasing the likelihood of hearing and learning. Storytelling is very valuable in our knowledge sharing work. History When to use: Potential applications of storytelling and narratives:Team or community-building exercises.Breaking down barriers between multidisciplinary or multi-cultural teams.Workshop warm-ups.Trip and project debriefs and reviews.Problem solving.Monitoring systems.
How to use: Using objects and displays - SDC - Swiss Development CorporationUsing objects to trigger memories, find hidden histories and create vehicles for difficult things to be shared. Tips and Lessons Learnt Examples & Stories Who can tell me more? (add your name/contact email) Sans titre. Sans titre. Science is a story -- a story about ideas, but also a story about the remarkable people who devote their lives to unraveling the wonders of nature.
Scientists themselves, however, rarely have a vessel to impart their personal wisdoms since the main outlet for scientific research -- peer-reviewed literature -- is typically devoid of narrative. Not so last Friday (June 12) night at the linkurl:World Science Festival; in New York City. Two Nobel Laureates, two n Print Link this Stumble Tweet this Science is a story -- a story about ideas, but also a story about the remarkable people who devote their lives to unraveling the wonders of nature. Advertisement Comments Posts: 61 June 19, 2009 We use the left side of our brains so much in our scientific endeavors. Sign in to Report This is a wonderful article. Dr. Yu Yiming Posts: 1. Sans titre. Check-ins, blog posts, tweets and likes — as the amount of social data exponentially multiplies, the emerging question is just how these ever-growing databases of personal experiences will be collectively organized (and shared).
Memolane is a web-based ‘memory-management’ service – essentially a centralized digital scrapbook for all aspects of a user’s online identity. Linking with a host of expected services like Facebook, Twitter, Picasa and Foursquare (among others), the site also boasts the capability to backdate and upload (analog!) Memories. Recognizing the importance of privacy in the memory-sharing equation, Memolane affords users the crucial freedom to tightly edit and dictate just who can glimpse what.
Its streamlined and time-based visual layout adds a unique fluidity to the experience as well. Memolane – Your time machine for the web from Memolane on Vimeo. Memolane. Sans titre. Sans titre. Why It Matters Want to hold attention? Be understood? Be remembered? Change minds? Then tell a story. Look at any of the videos on this site and you will see how some of the most varied and complex issues one can imagine were transformed into dramas — scenarios described by a moderator and worked through by panelists.
It can be riveting. A Story is Concrete. A Story Connects. A Story Creates Conversation. But the conversation doesn’t end there. What It Takes Taking full advantage of the power of story in a dialogue requires: The Right Research – One needs to understand not only what issues matter to panelists and audience, but exactly how those issues play out in real life. The Right Panelists — Of course they must be interesting and capable speakers. The Right Format — The use of storytelling must fit one’s goals: the issues to be addressed and the information to be conveyed. Contact Good Question Consulting if you would like to discuss your goals and how we can help.
Sans titre. Unas palabras de Carlos Barrabés mientras presentaba su intervención sobre la narrativa transmedia en la mesa redonda en Ficod 2010, “Enfoques convergentes: aprendiendo a explotar el potencial de las creaciones digitales” aparecieron en Twitter momentos después de ser pronunciadas. “Nuestra religión es la multiplataforma: esta máxima nos permite entender qué es Internet” Poco después una nueva frase similar no quedó recogida en ninguna intervención en Twitter pero complementó el sentido de la anterior: “Nuestra plegaria es la multicanalidad” Dos detalles destacan en este hecho puntual.
En primer lugar la apuesta decidida per la multiplataforma y la multicanalidad cuando hablamos de un fenómeno tan relacionado con la globalidad como es la narrativa transmedia. En segundo lugar la importancia de las redes sociales y el rol activo que tienen en este campo los usuarios como generadores de contenido. La verdadera narrativa transmedia from Massimo Martinotti on Vimeo. Strategy - How Storytelling Can Spur Business Growth. When you have a well-known and fabled story attached to your business, it should be easy to go out and succeed in social media, right? For the Trapp Family Lodge resort in Stowe, Vermont, the challenge wasn't telling the old story; it was finding a way to connect the past with the present.
Ultimately, the von Trapps turned to social media to tell stories of the next generation of family members, and found they could use their stories to help grow their business. When Johannes von Trapp, the youngest son of Maria in the Sound of Music, started the transition to hand the business over to his son Sam, they turned to my firm to see how we could use online marketing. We noticed two things right away: Sam was starting to implement a lot of changes, and he was telling us stories about these changes every time we saw him. We realized we had an opportunity but needed to put some structure around the idea of using those stories. We asked ourselves a few key questions: For Trapp, we started by... Sans titre. Sans titre. Sans titre. Interactive Narratives - The Best in Multimedia Storytelling and Multimedia Journalism. International Storytelling Center.
Collaborative storytelling. Sans titre. Story Dynamics - learn to tell clear and commanding stories that will move and transform your listeners. Sans titre. Le fabuleux business du transmedia storytelling. A l’occasion de la grande conférence Tools of Change for Publishing organisée par O’Reilly et qui vient de s’achever à New York, il y a eu une intervention très intéressante de Jeff Gomez, qui est, avec Henry Jenkins, un des grands pontes du transmedia storytelling aux USA.
Sauf qu’à la différence de ce dernier, enseignant-chercheur au MIT, Jeff Gomez en a fait un réel business avec sa compagnie Starlight Runner Entertainment qui créé des « univers narratifs » pour, entre autres, Avatar, Halo, Dexter, et Pirates des Caraïbes. Mais, au juste, le transmedia storytelling, à part être un vilain terme jargonneux, c’est quoi, et surtout, comment ça fonctionne ? Le transmedia storytelling en bref Si on prend une définition très large de « transmedia storytelling », on peut comprendre le concept comme le fait de raconter une histoire sur différents médias. Qu’est ce que ça apporte par rapport à une histoire classique ?
Comment faire du transmedia storytelling ? Share and Enjoy. Tim Sheppard's Storytelling Resources for Storytellers. Sans titre. Le “story-telling” est devenu l’un des termes à la mode du marketing-journalistique. Pour intéresser désormais le public, il faut lui raconter une histoire susceptible de l’émouvoir. Une pratique ancienne qui présente des risques déontologiques.
Les faits sont mornes, banals, inintéressants ? Et bien, habillons-les d’un vernis narratif agréable, “vendeur” qui fera appel aux émotions : compassion, révolte, admiration. Tout plutôt que l’apathie et l’indifférence des évènements bruts. L’enquête universitaire valide ou invalide un postulat en fonction des éléments trouvés. Patrick Champagne dans “la vision médiatique” a montré comment les journalistes construisent parfois la réalité qu’ils prétendent décrire. Story-telling, par souci de vitesse et de rentabilité Primo, les journalistes télé n’ont guère le temps de procéder à une vraie enquête. Secondo, la course à l’audience, la concurrence pousse au spectaculaire et à la simplification. Des émeutes à Vaux-en-Velin ? L’édulcoration du réel. Sans titre. Sans titre. Par Catherine Malaval, docteur en histoire (Lowe Strateus) et Robert Zarader, docteur en économie (Equancy & Co), auteurs de La bêtise économique, Perrin, 2008 Télécharger au format pdf - 11 pages - 350 Ko Dans un monde d’information accélérée, raccourcie et zappée, souvent vite oubliée, la médiatisation et la captation du lecteur/auditeur empruntent souvent des chemins faciles, tentants et tortueux à la fois, ceux de la déformation, l’amalgame, la psychologisation des faits.
La sélection subjective de la parole rapportée prime, comme l’oubli de la polyphonie, cette exigence de l’histoire d’être racontée à plusieurs voix. C’est dans ce contexte marqué que le concept de « storytelling » est né et se développe. Sur cette dérive du métier de journaliste, depuis la première critique argumentée et focalisée sur Le Monde écrite par Pierre Péan et Philippe Cohen en 2003 , d’anciens journalistes ou toujours en activité sont même les critiques les plus acides . National Storytelling Network. Sans titre. Storytelling. Sans titre. Sans titre. Sans titre. Le Story Telling, l’art de raconter une histoire pour vendre… Sans titre. Sans titre. Sans titre. Sans titre. Sans titre. Le Storytelling.com, un site S?bastien Durand Conseil.
Untitled. Storytelling.