“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
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
The Moral Dilemmas of a Lion, a Scarecrow, and a Tin Man Frank Baum’s original introduction to The Wizard of Oz, written in 1900, made it clear that he felt children no longer needed the stereotypical “old-time fairy tale” that “may now be classed as ‘historical’ in the children’s library.” Baum claimed the time had
Blueprints for Building Trust Learning to drive was fun until I hit the mailbox. I burst into tears, blaming my dad, “You told me not to brake when turning corners!” It wasn’t my fault that he neglected to clarify I should brake before turning the corner so I could release the brakes while turning