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Richard Krevolin

Prezi in a theatre... storytelling
by

Lily Fisher

on 24 September 2016

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Transcript of Richard Krevolin

ACT III
ACT I
ACT II
A Storyteller's
Toolbox

YES
point at
Yourself
brand narratives
Story
s ory
The backstory
The Fire Ant
The Mind
STORYLINE
MEMORY PROCESS
MEMORY OF ONE EVENT
MEMORY OF THE NEXT EVENT
the list tribe
the story tribe
VS.
story
bullet points
VS.
sooner or later
People don't like you
They don't listen to you
If you open your pitch with
copy of your product's superiority
bulleted
The 10 Commandments
The Story of Moses
VS.
Prof. Richard Krevolin
Emotionally Differentiating YOU through the Power of Storytelling!
the
P
O
S
R
lay
ff
tored
esponses
FUNCTIONAL DIFFERENTIATION
EMOTIONAL DIFFERENTIATION
VS.
Beyond function and price, why do people buy things?
A high level of ignorance.
Consumers judge goods and services based upon attributes that have meanings to themselves.
These attributes are frequently intangible.
Consumer are not always rational. Memories, corporate behavior, opinions of families and friends, etc. can have an impact…
emotional benefits,
sense of adventure,
security,
self-expression,
and connectedness
Products seen as Identical
excellence as a commodity
Media saturation and boredom
1800 commercial messages everyday
Marketers change jobs
lack of Brand consistency over time
VS.
Growing Retailer Power
Own label, commoditization, price pressure
Media fragmentation
multiple channels, new media
MORE CHOICES


LESS TIME
I
I
I
I
1900'S
1950'S
1990'S
2000'S
BRANDING WAS ABOUT...
Reliability
Consistency
Quality
still about
Reliability
Consistency
Quality
+
BRANDING
Emotional Execution Devices built into Communication
new
Centrality of the Consumer INSIGHT
Leading to:
Centrality of Entertainment in a Media Saturated World
Meaning Systems created
through Brand Narratives.
New Opportunities arise for Consumers and New Media to create New Stories across the brand communication platform.
Empathy/Socialability leads to new tribal formations.
BRAND
FUNCTIONAL Ads

"LACTA."
BRANDED ENTERTAINMENT
COLD
VS.
WARM
head-based
heart-based
advertising
Products are things without emotions.
All stories have Themes.

If the story is executed well and its theme is aligned with the core essence of the Brand.

The story’s emotion will connect and intertwine with the
brand’s emotional qualities.
The North Star remains constant while everything else in the sky revolves around it.

Think of the theme of your Brand Narrative as its “North Star”

What is your North Star?
Stories are a
vicarious experience.
(mirror neurons)
Chemically speaking,
the brain doesn’t differentiate
between reality and stories
Brands represent
the emotional values, i.e., the beating hearts of products.
The king died and then the queen died of grief
1.) Narrative fallacy: creating a story post-hoc so that an event will seem to have a cause Our need to fit a story or pattern to a series of connected or disconnected facts.
Stories
are driven by causation
An engaging brand narrative will circumvent our defenses and slip through to reach the deepest parts of Ourselves.
Brand Narratives
create an emotional relationship
between people and brands;
thereby connecting them.
Stories =
information wrapped
in emotion
Loyalty

Word of Mouth

More frequent and intense interactions

Brand advocacy
The king died and then the queen died.
ZALTMAN METAPHORS/ NARRATIVE THEMES:

CONNECTION

TRANSFORMATION

JOURNEY
Through the power of stories, we can make the leap from preference to passion, and maybe even, to love.
Using Emotional Messaging
to go beyond
Product Benefits
For most brands,
functional differences seem to be overleveraged
while
emotional differences seem to be underleveraged.
Prof. K.’s Golden Rule of Story

An engaging character

ACTIVELY overcomes

tremendous obstacles

to reach a desirable goal
And as a result,
the main character
CHANGES
And the change must be
for the BETTER
Over the course of the story, you move from
A state of crisis,
a state of imbalance
to a new state of
BALANCE
Please, point at yourself
Costly to obtain
Costly to store
Costly to retrieve
INFORMATION IS
loss of interest and retention
current Marketing landscape
no longer enough
useful product
we buy a product
what we buy when
the story
our feelings
about a product
STORY
values beyond utility
built into
story or legend
memorable message
specialist in stickiness
creating
change people's behavior
CAN WE TELL STICKIER
STORIES
VS.
MAGIC WAND
ROLF JENSON
The Futurist
performance advantage
‘A brand with a
can simply be undercut.

A brand with a
can be outflanked by technological development.

But a brand with an
can potentially command a premium forever’


Understanding Brands
emotional difference
DON COWLEY
price advantage
?
VS.
GOOD BEAUTY PRODUCTS
&
GOOD NARRATIVES
ARE BOTH ABOUT
TRANSFORMATION
VS.
Transformation
It’s gotta be about
more than just getting better skin
HAIR DRAMAS
skin stories
HAIR FLIPS
skin shots
VS.
CASE STUDY
HELPFULL ALLY
outer
Inner
Why do Skin Stories work?
Achieving More
You see, amazing skin transforms you as a person…
And
you are now
empowered to
achieve your
Ultimate Goal
Goal = nothing less than
Transformed Human Beings
Why does
“Prescribe the
Nation” work?
Good Skin Stories are built on
Dramatic Questions
An engaging character
ACTIVELY overcomes
tremendous obstacles
to reach a desirable goal,
and changes for the better along the way.
As a changed person, you are now empowered to achieve your ultimate goal!!!
What is the goal?
GOAL OF YOUR BAKING?
A tasty cookie or beautiful loaf of bread?!!
It Is about
Transformed
Human Beings
Baking has changed and empowered you to achieve your ultimate goal!!!
CREATE A BRAND NARRATIVES
Drew Westen, The Political Brain:

“A coherent story has an initial state or setting, protagonist/s, a problem that sets up what will be the central plot or storyline, obstacles that stand in the way, often a clash between the protagonists trying to solve the problem and those who stand in the way or fail to help, and a resolution.”
Drew Westen, The Political Brain:

“Most stories teach a lesson and have a moral. In general, they follow a similar and recognizable structure that gives them rhetorical power.” p. 146.
ARISTOTLE'S STORY POINTS
Dilemma
crisis
decision
action
resolution
denoument
Aristotle’s 3 Act Structure:

Set Up/Inciting Incident
Develop obstacles, conflict and the protagonist’s character, leading to BIG TROUBLE!
Climax/get out!
ACT ONE
ACT TWO
ACT THREE
assion
ero
ntagonist
wareness
ransformation
P
H
A
A
T
P
O
W
E
R
POWER STORIES
rotagonist
bstacles
eight
scalation
esolution
WAYS TO CREATE EMOTION
1.) Sympathy-Empathy
2.) Worry-fear
3.) Likeability
4.) Laughter-humor
5.) Strength
6.) Expertise
Stories Should =

1.) Entertain
2.) Inform/Teach
3.) Engage/Connect
4.) Be Emotional
5.) Feel Genuine
An engaging character
ACTIVELY overcomes
tremendous obstacles
to reach a desirable goal,
and changes for the better along the way.
To reach an ‘emotional difference’
we use brand narratives.

These brand narratives may make use of the timeless
Stories, themes and personalities
that have dominated human culture
for thousands of years.

And maybe timeless myths and archetypes.
Persuasion= Function of Likeability
transcendence
DIFFERENTATION
RELATIONSHIP
physIcal realIty
Michael Hauge's SIX STAGE PLOT STRUCTURE
................
................
................
25%
10%
50%
0%
75%
90-99%
100%
ACT I
ACT II
ACT III
turning point 2
Change
of Plans
turning point 3
Point of no return
turning point 1
Opportunity
turning point 4
Major Setback
turning point 5
Climax
stage 1
SETUP
stage 2
NEW
SITUATION
stage 2
stage 2
stage 2
stage 2
COMPLICATION & HIGHER STAKES
FINAL PUSH
AFTERMATH
PROGRESS
Prof. K.’s
Big 7 Story Questions
1. Who is your main character ?
2. What does your main character want/need/desire?
-- Start with ONE dramatic problem
The want/need/desire should be something that is TANGIBLE
Something we all want/need/desire.
Love/boyfriend
Money/prize
Life/survival
The Inner Need should
reflect the Outer Need!
6 ways to create feelings :
1.) Sympathy-Empathy
2.) Worry-fear
3.) Likeability
4.) Laughter-humor
5.) Strength
6.) Expertise
There is no drama without conflict
Obstacles create conflict
RAISE THE STAKES!
The higher the stakes,
the more interested we are.
3. Who keeps her from achieving her goals?
4. How in the end does she achieve what she wants –
in an unusual, unexpected and interesting way?
Most stories today tend to offer hope. Thus, happy endings.
A predictable ending is not a good or happy ending.
The Ending should be unexpected, but INEVITABLE.
5.What are you saying by ending your story this way?
What is your THEME?
The THEME is delivered through the character’s ARC.
And the ending dictates the THEME.
6. How do you want to tell your story?
Problem could be in the telling.
Where do you begin?
Where do you end?
Structure does not have to be formulaic.
What narrative devices can we employ?
7. How does the main character CHANGE?
Conflict creates character arc
Character arc is in stages
An external reward should
reflect an internal change
Change for the better
character sympathy
+
high stakes
+
high probability of failure
+
uncertainty of outcome
SUSPENCE =
“Frank was stressed out and nervous.”
VS.
the imperfect hero
between a human being
Shortest Distance
"The bait has to taste good to the fish, not the fisherman"
And the truth
Story
How you can leverage NARRATIVES to communicate,
persuade and influence others.
the plucky parrot and the hunter.
a simple interactive exercise!
Neurocognitive studies show:

Story is the fundamental platform for organizing ideas.

It’s how people remember information.

And it’s how you connect emotionally with human beings.
Neurocognitive studies show:

Mirror Neurons allow us to mentally mirror the actions of others.

stress-norepinephrine-amygdala/memory

not self-interest, but socialability

Soft-wired to need to belong

HOMO EMPATHICUS/NARRATIVUS
“Frank wrapped and un-wrapped the telephone cord around his finger.”
A Few
Good Builds...
It’s all
About the Build…
Less adjectives.
No adverbs.
Action verbs.
Aide Memoire:
These sentences
engage the reader as a participant, not merely a spectator.
BE MEAN!!! IT CAN ALWAYS GET WORSE AND BIGGER
Go to MacDonalds
and order a
MacGuffin
CONTEXT
TEXT
SUBTEXT!
Show,
Don’t Tell !
Strengths
overcome
weaknesses
leading to growth
INFERIOR
NO CLOCK
NO TENSION
NO THRILLS!!
Pay-off
The Bullets Flying Overhead Principle
The Speeding Timex Principle
EQUAL
Thank you

RKrevolin@yahoo.com

PowerStoryConsulting.com
set up
special weaknesses
The perfect hero
special skills
VS.
BAD GUY
MUST BE
SUPER COMPETENT
VS.
NO SCENES FOR STUPID PEOPLE
SUPERIOR
THE HALL OF UNGAINLY EXPOSITION
Your story is only as good as your BAD GUY
PROF. K's CASE STUDY:
WHAT’S THE READER'S POSITION AND WHY?
NATIVE AMERICAN STORYTELLER RULES
GROWTH
OVER TIME AND
IN STAGES
IS CALLED
CHARACTER ARC
Can you find
an OBJECT
to symbolize
each character?
VS.
1.) Learn one meaningful thing every day.

2.) Teach one meaningful thing each day.

3.) Do one meaningful thing each day for someone else without them knowing it.

4.) Treat all living things with respect.
the incompetent hero
HOW DO I
EXPLAIN ALL
THIS STUFF?
NO BAD GUY
NO HERO
NO GROWTH
Prof. K.'s rule #3
Dorothy's Broomstick Engine
The perfect hero
When's a gimmick,
not really a GIMMICK?
The Backward Writer Principle
Emotional Messaging
For most brands


tEND TO be overleveraged



tEND TO be underleveraged.
functional differences
emotional differences
Prof. K.’s Golden Rule of Story

An engaging character

ACTIVELY overcomes

tremendous obstacles

to reach a desirable goal
And as a result,
the main character

And the change must be
for the
CHANGES
BETTER...
state of crisis
state of imbalance
new state of BALANCE
Transformation
The DaVinci Code
Brand Narratives
Well-executed, On Target Brand Narratives bring:
So, who is
the HERO?
What are the brand narratives?
what story do they live by?
personality
story
ritual
Full transcript