How to convert your learning into story, step-by-step Following a sweet true-story-based and lovely introduction from Aaron Stroud, his wife Katie takes the stage to tell us about story for learning during session W202 of ASTD2014. She said that when she researched the topic herself, she found a lot of information about the importance of story and it’s benefits, but not much about how to actually go about developing a story for learning purposes. I’m glad to hear this, because I had the same experience. Of course, I have lots of little story-examples that I occasionally use to illustrate a point in training. Katie started by telling her own rags to riches story * When listening, I was drawn to hear more and I started to like her more. * There are many other types of story (boy meets girls, Hero’s Journey …) which we are not necessarily going to see here. To start making your story, you need first to define the problem in story-terms Background – my story is about an IT consultancy company. Place it – where does the problem happen?
Top Blurb No-Nos Struggling with your blurb? Who isn't! Sometimes all you need is to go through and prune out the "blurb no-no's." Here are some of mine, in no particular order. Fintoozler Syndrome* Fantasy writers especially have trouble with Fintoozler Syndrome; it's when you have so many weird words in your blurb that no one has any idea what you're talking about. Made-up example: When the Wizards of Z'mesdhal find the Slati'shfiker of Gromaldi, young Fergalush Hornshub is thrust into a desperate race to save the land of Dhariq'ween. (Oh yeah, extra points for lots of apostrophes.) When a group of evil wizards finds a powerful stone, young Fergalush Hornshub must race against time to save his people. Yeah, I know, it's not a great story, but I'm not writing a book here, I'm writing a blurb. ;) Non-fantasy writers can also fall into this trap by throwing too many names and/or places at the reader all at once. Show Stoppers These are words that will stop your blurb stone dead in its tracks. Nope.
25 Ways To Fuck With Your Characters As storyteller, you are god. And to be frank, you’re not a particularly nice god — at least, not if you want your story to resonate with readers. A good storyteller is a crass and callous deity who treats the characters under his watchful eye like a series of troubled butt-puppets. From this essential conflict — storyteller versus character — a story is born. (After all, that’s what a plot truly is: a character who strives to get above all the shit the storyteller dumps on his fool head.) Put differently, as a storyteller it’s your job to be a dick. It’s your job to fuck endlessly with the characters twisting beneath your thumb. And here’s 25 ways for you to do just that. 1. Gods have avatars, mortal or semi-mortal beings that exist on earth to embody the deity’s agenda. 2. The audience and the character must know the stakes on the table — “If you don’t win this poker game, your grandmother will lose her beloved pet orangutan, Orange Julius.” 3. 4. 5. 6. This one? 7. 8. 9. 10. 11. 12. 13.
Techniques to engage people when you facilitate change Dutch actor, coach, trainer and speaker Juanita Coble kicks off session #W110 on change and the importance of engaging people in the process. Welcome to ASTD2014 day 4… According to Coble, Neuroscience tells us that when people are uncertain, they move into an “away state”. This accounts for many of the negative reactions to whatever change is going on. Starting with a role-play, Coble took the stage as an actress, playing the role of interim director, Mrs Smith. “She” wouldn’t answer my questions, “she” was very direct, seemed to think she knew it all and was overly positive, but in a strange fake way. Following Coble’s stage moment, session participants were invited to play a role and discuss their reactions to the change with “colleagues”. Thinking about one of our own changes, Coble asked us to make notes in answer to 3 different questions: “What has to go?” As the session moved on, participants were really encouraged to express their feelings about those things. I believe that.
Writing Act I of Your Screenplay Every act in the three-act structure has a set of tasks to accomplish. The first act serves as your audience's introduction to the entire world of the script — people, places, time frame, and all. Remember that your audience members begin in a neutral darkness. In their advance toward some new awareness, they're not unlike visitors in a foreign country. You need to orient them fairly quickly to the story that's about to unfold. Your opening moments Begin with an image. The eye picks up details much more quickly than the ear, and nothing's more disconcerting than staring at talking heads. Also, everything that happens in the first moments of a film is important. The first ten pages If your opening image grabs the audience's attention, you have roughly ten pages after that opening to convince them that your film is worth watching. The first ten pages provide an initial criterion on which to judge the ensuing story. Everything that happens now is a setup for what comes next. Plot point one
Storytelling Cheat Sheet Il y en a des possibilités! Une fois vendu sur le principe et le pouvoir deshistoires, il suffit d’ouvrir vos oreilles pour les entendre partout... Honnête Riche en émotions Pas trop spécifique « ...et quand le petit garçon vitvraiment un loup et se mit àcrier, personne ne vint à sonaide! Pour apprendre pourquoi il ne fautpas mentirHistoire de « je vous connais » adresséeaux managers « anti-histoire » « L’inimaginable se produisit: letrésor de fromage avait disparu.Grands cris ! Pour convaincre de la valeur d’unecertaine attitude face auchangement « ..et quand j’ai trouvé sa fille 1kmplus loin sur la plage, je lui ai dit qu’iln’était pas fait pour être père…C’était à cela que je pensais 3semaines plus tard quand jecherchais désespérément ma filleFelicity au shopping. Histoire de « qui suis-je? Intonation Pas trop longue Utilisation d’humour « The story factor »de Annette Simmons« Storytelling : La machine à fabriquer des histoireset à formater les esprits » de Christian Salmon
The Story Factor (book) At about 6.00 o'clock on Monday morning July. 19, 1987, a ragged, fatigued middle aged man of 42 collapsed near Victoria Station. CCTV footage captured intermittent crowds shuffling past the dying man, no doubt assuming him to be a morning drunk. He lays there alone for a short time, dazed and in agony, doubled up with abdominal pains. Later that day police release a statement to the public - "Officers are investigating the identity and circumstances surrounding the death which is assumed to have been alcohol related." The facts, however, suggest otherwise. Story has an effect on people that is nigh on impossible to put a finger on. "It's like cutting the kitten in half to see why it is cute." So what are the elusive elements that create a good story? As well as answering these questions, this is a book that sets out to put the facts straight. Appropriately enough, we are introduced to the book with a story. The man on stage proceeds to tell his story and ends with a song.