User Experience Stories: As <Persona> I want <What?> so that <Why?> I remember teaching storytelling to Microsoft engineers in the early 2000s and explaining what I thought of as “story thinking” only to be told “no, that’s design thinking!” And it is, sort of. For me story thinking has always been agile enough to
Story as Problem/Solution It’s tempting to define story as a simple problem/solution equation. But problem/solution doesn’t accommodate the reality that humans experience problems that are simultaneously external and internal, and frequently caused by ourselves as much as the actions of others. Limiting a story to a format of problem/solution risks forcing a narrative to misrepresent
A Story Spine The best storytelling templates arise from the arts. Improv artist Kenn Adams laid out what he called a “story spine” as a mechanism to help children and adults play with improvisational theatre. According to Kenn, the origin of his template arose from his desire to bring arts, creativity, and improv play to
“And, But, Therefore” Contrast is key to the structure of any story. For example, characters with a recognizable internal struggle provide the most engaging points of reference. It is actually easier to visualize a CEO who takes paternity leave, a hero who stutters, or an enemy who loves dogs than it is to imagine a
Templates for Storytelling It is part of the storyteller’s art to tinker with details. Story templates are a wonderful shortcut to framing a message (moral) as a story. We must heed a few words of warning, though. The risk of relying on a favorite format is that every story cooked according to the same recipe
Defining Story as a Significant Emotional Experience My current teaching definition of story is: “the narration of a significant emotional experience that feels meaningful to both teller and listener.” Teaching non-professional storytellers helped me realize that it is much easier for them to find a great story if I ask them to think about a
According to Pew research, disdain between opposing political parties in America has doubled in the last 30 years, coincidentally the span of my own consulting business, Group Process Consulting. My efforts to document true stories about these escalating conflicts inadvertently produced a set of oral histories across the years: Territorial Games (1997), A Safe Place
“Politics is the art of looking for trouble, finding it everywhere, diagnosing it incorrectly and applying the wrong remedies.” Groucho Marx Troublemakers erode trust faster than we can build it back right now. Yet, many of these “troubles” are invented conflicts that distort predictably contrasting values. It helps to know what to look for. And once
I’ve been trying to infiltrate the halls of power for decades. My secret mission is to increase the diversity of thought by teaching those without a voice how to tell their stories and by teaching leaders how to find and retell stories that broaden everyone’s understanding.
We need a Magic School for Storytellers Thirty years before J. K. Rowling created Harry Potter, Ursula Le Guin’s Earthsea series imagined a magic school that taught apprentice sorcerers how to avoid abusing the power of magic. Le Guin points out early in the series that “even to light a candle is to cast a
Truth in Storytelling When I wrote the first edition of The Story Factor twenty years ago, I began with the idea that people don’t want more information. They want faith in you and your positive intentions. I never suspected that two decades later we’d be discussing an explosion of stories that intentionally undermine this faith. Without
