storytelling toolwhat to consider when working on a content project

storytelling toolwhat to consider when working on a content project

THE HOW, THE WHO AND THE WHAT

storytelling toolwhat to consider when working on a content project

THE HOW, THE WHO AND THE WHATACTIONABLE CHECKLIST BEFORE TO MAKE SURE YOU THOUGTH OF EVERYTHING

CONTROL

THE READER THE STORYTELLER

who controls the story?

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?

CONFLICT

who is against who

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)

DRAMA

dramatic arches

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.

dramatic arches

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

INFORMATION

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

show or hide?

REVEAL

EXPOSE

INTERFERE

HIDE

you might hint at the fact that the information is there, but not allow to see it fully

show or hide?

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

ARCHETYPE

recognizable structures

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

CHANNELS

telling

showing

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

TIME

THE BEGINNING OF THE STORY

BACKWARD

FORWARD

moves in both directions

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.

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