Story Juice

Writte n by
Lisa Johnson & Julie Fuoti

d e s ign by
Amy Waters
www.amywaters.com
l and of d e s ire Illu s tration by
Cassie Huck
Special thanks to
Matt Stevenson & Terry Andrews
for making it happen
Sto ry Juice |'stre joos| (noun)

The (often missing) ingredient that makes data sing,
captivates audiences to cheer, drives brand buzz and
makes people feel something. Story Juice taps into
emotions, making information interesting, memorable
and easy to share.
The 7
Powers of
Storytellers
Storytellers know how to accelerate brand

growth and spread ideas because of their
ability to:
1. Motivate people to pay attention
2. Inspire people to action
3. Bring data to life and make it relevant to peoples daily lives
4. Make information memorable, repeatable, and easy to spread
5. Shape new beliefs and change minds
6. Raise money
7. Gather and unite an authentic community
S to r y Ju ic e t he power o f sto r y
The Story of Aqua Jogger

In 1990, Lisa was a recent college grad working in customer service
for a quirky little water fitness company called AquaJogger. Almost
every call Lisa answered started the same way:
(Lisa) Good Morning, AquaJogger. How can I help you?

(Caller) Isthisreally t he place that makes t hose

bluefoambelts?Wow!Iveworkedsohardtofind

you. I have spent three weeks tracking down this

1-800 number. I met/heard about this guy/girl

whowassufferingfroma(fillintheblank)injury.
He/she started using your product with quite

miraculous results. Now they are active/

competing/walkingagain,justlikethey

did before they got hurt.
Almost every caller told a story about someone who was transformed
from injured to active. The story alone was what motivated the caller to
spend an inordinate amount of time tracking down the phone number
to place an order.
STORIES MOTIVATE PEOPLE

TO PAY ATTENTION AND
ULTIMATELY TAKE ACTION
Lisa took credit card after credit card, each time ringing up $50 for
the foam flotation device. Despite an utter lack of marketing budget,
the story effectively closed the deal before the customer even picked up
the phone to place the order. Lisa began to wonder what this amazing
product could do for her, so she became a certified instructor and
started teaching classes after work.
Unfortunately, while her classes were taking off, the AquaJogger
company was not. Suddenly, most of the staff got laid off and money was
tight. Seizing the opportunity, Lisa walked past the presidents office
one day and asked why the product was only sold in a handful of stores
and two mail-order catalogs. Wouldnt it be better if more accounts sold
the product?
While the president agreed with Lisas assessment, there was

no money to package the product and catalogues didnt know about
AquaJogger, much less understand why they should carry it.
So, Lisa collected about $5 in dimes and quarters, went to the library
and found a book called The Catalog of Catalogs. She photocopied
until her change ran out.
Since the company had virtually no marketing materials (except
for a bare bones one-sheet spec document), she pulled out a piece of
letterhead and began with the only asset she had stories of how real
people were using the product to transform their lives. She created a
series of letters and sent them off to catalog buyers. By the end of the
year, two catalogs had turned into 40, and retail buyers were calling to
ask, what is an AquaJogger?
During her nightly water fitness classes, Lisa saw another
opportunity. Although her fitness classes were filled primarily with
women, the AquaJogger belt was shaped to fit a mans trunk, instead
of a womans smaller waist and curvy hips. Lisa talked to Carey Kerns,
a PR professional who worked with AquaJogger, about her desire to
reshape the belt so it would better fit womens bodies. Carey saw an
opportunity to parlay a product improvement into press coverage, so
she encouraged Lisa to go ahead.
Inspired, Lisa engaged the help of Steve, the shipping manager,
who brought in his bandsaw to create new prototypes. Together, using
a sharpie marker and Lisas students as testers, the duo designed a
slimmer, more balanced belt that comfortably hugged a womans
curves. They called it the AquaJogger FIT.
STORIES SHAPE BELIEFS

AND CHANGE MINDS
Excited by the new AquaJogger FIT for women, Lisa brought the idea
to management. She was immediately shut down. Sales were up, but
there was no budget to invest in a women-only product. At the time,
there were few (if any) products made specifically for women, and many
leaders feared that focusing on women would feminize their brands and
alienate male customers.
Never one to quit, Lisa turned to the people who had helped her
before the catalog buyers. Two of them were smart women, and
Lisa recounted stories from her class, explaining how the popular new
FIT prototypes were increasing comfort and improving her students
posture. With the promise of a six-month exclusive, both buyers
committed to purchase 50% of the first run, essentially covering all the
hard costs of production.
The AquaJogger FIT belt debuted in USA Today, and during the next
few years, over 1,200 newspapers and 65 magazines carried the story
of this innovative new product.
Stories dont just work for sm all companies

with shoestring budgets; they can also change
national agendas.
In 2005, Ed Bradley of 60 Minutes interviewed 16-year-old Harlem
resident Sean Seale, who was a struggling high school sophomore.(1)
http://www.cbsnews.com/video/watch/?id=5914292n
STORIES ARE MEMORABLE,

REPEATABLE, AND
EASY TO SPREAD
Ed Bradley:
What do you see yourself doing after high school?
Sean Seale:
High school right now. To tell you the

truth I am saying hell with it.
Ed Bradley:
So when you are 21 where will you be?
Sean Seale:
I dont know if I will be here when I am 21.
Ed Bradley:
Where would you be?
Sean Seale:
I could be dead.
Ed Bradley:
Is that ok with you?
Sean Seale:
Ya.
Fast forward to 2009. Anderson Cooper is doing a follow-up interview

with Sean, a graduate from one of Harlem Children Zones charter
schools.
Anderson Cooper:
Sean Seale:
Anderson Cooper:
Sean Seale:
When you look back at the way you were back

then, when you were 16, what do you see?
I see a hard, lost kid.
Do you know what you want
to do down the road?
Right now I want to get into college.
First I will get my degree... next path
is my job... my career. that is my goal
right now, to get my degree.
This is one of hundreds of stories that recount how the Harlem

Childrens Zone (HCZ) has changed lives. Harlem Childrens Zone has
helped put historically low-achieving students in New York on academic
par with their grammar school peers. HCZ is an organization built on story
and shepherded by a master storyteller, Geoffrey Canada. Canada is the
passionate visionary who had 650 kids in college in September 2010,
according to a report by ABC World News anchor Diane Sawyer.(2) Canada
has raised over $100 million dollars to fund an integrated, comprehensive
network of schools and social services designed to support residents
in an ever- expanding area of Harlem in New York City. His promise is
compelling:
If your child comes to this school, we will guarantee that we

will get your child into college.We will be with your child from the
moment they enter our school until the moment they graduate
from college.
To deliver on this promise, Canada managed an annual budget of what

was then $35 million. In 2004, the New York Times Magazine described
HCZ as combin(ing) educational, social and medical services. It starts
at birth and follows children to college. It meshes those services into an
interlocking web, and then it drops that web over an entire neighborhood.
The objective is to create a safety net woven so tightly that children in the
neighborhood just cant slip through.(3) In 2011, HCZ broke ground for
a $42 million charter school designed to serve up to 1,300 students each
year. Funding sources are both public and private:
Funding for the school building was made possible, in part,

by a $60 million grant from the NewYork City Department of
Educations Charter Facilities Matching Grant Program, a $20
million gift from Goldman Sachs Gives and a $6 million gift from
Google, Inc. The buildings developer, Civic Builders, donated
its $5 million development fee and the law firm Shearman &
Sterling LLP provided pro bono legal services. (4)
How has Canada achieved the seemingly impossible? He tells stories

that evoke emotion and supports them with measurable data.
During a 2011 speech at Dartmouth College,(5) Canada used a
surprising comparison to help the audience see how the $5,000 academic
expense to support a child for one year in HCZ is an investment in the
future.
STORIES BRING DATA TO

LIFE, RAISE MONEY, AND
UNITE COMMUNITIES
Weve decided were not going to educate some folk, and when
those folk cant get jobs and break the law well put them in
jail.Weve created a country that is locking up more people than
any country on the face of the Earth. Incarceration of young
Americans costs the country billions of dollars. It costs $37,000
per year to keep an inmate in prison. This money would be
better invested in childrens early education.
Geoffrey Canada and other leaders like him recognize that

we must compel an audience to feel something before we can change
minds, shape beliefs, and inspire action. Perhaps equally important is
their understanding that to coax someone to act, they have to recall the
story. It must be memorable. Today, more than a decade later, Geoffrey

Canadas story continues to drive change in the form of 20 Promise
Neighborhoods across the country, modeled after HCZ and being
developed by the Obama Administration.
Scientific research(6) proves that emotion controls the strength of
a memory and the likelihood of its recall. When we hear a story about
a real person and his or her experience, the main character becomes
our emotional surrogate and his or her experiences, challenges,
triumphs and lessons learned play out like a memorable mini-movie
in our brains.
Quoting statistics and data, by contrast, does not make most of us
feel anything.
Thats a problem. Because today, according to Mashable, the worlds
information is doubling every two years.(7) Ballooning data can add
to the overwhelming information fatigueand content suffocation
people struggle with on a daily basis.(8) The parallel opportunity lies in
using story to help organize and make sense of the data. Stories give
data traction by making our audience pay attention and remember the
details.
When we begin to ask why a person would pay attention and engage
with information about our products, services and ideas, we begin to
create Story Juice. We can think of story, or even story slices (using
narrative elements such as metaphor, analogies, character, conflict and
more) as an ingredient that brings information to life and accelerates
desired outcomes. When you add Story Juice to a PowerPoint
presentation, instructions on the back of a box, a new initiative, or an
advertising message, it injects dry, potentially forgettable data with
soul, which in turn increases impact and drives tangible results.
Story Juice is often the missing ingredient when our products,
services, and ideas fall flat. Next time you need someones attention
in order for them to take action, consider adding Story Juice to:
1. Capture our attention

2. Demonstrate relevance in our lives
3. Drive emotion that makes information interesting and
therefore memorable
4. Position the information as an answer to our unfulfilled
desires
Stories shift our thinking from what is true to what is truly possible.
They innovate. They paint a picture of a finish line that we can cross
together, and they inspire us to see how we can participate in the
narrative to make it happen. Stories of women struggling with the fit
of the AquaJogger belt inspired Lisa to get her sharpie out and design
something better. Its what leaders like Al Gore (An Inconvenient
Truth), Nancy Brinker (The Susan G. Komen Fund) and the late Steve
Jobs (Apple) use to change the world. Geoffrey Canada led by setting
a simple, powerful vision (If your child comes to this school, we will
guarantee he or she goes to college) that convinced his audience with
a sense of possibility.
Stories sell and influence people to act. Lisa used the stories of
womens struggles to get her customers to offset the financial risks
of launching a new line of products for women. Geoffrey Canada used
stories to attract more than $100 million in donations to support his
cause.
Stories translate data into outcomes and arrange them in narrative
form that peoples brains are wired to remember. If we remember
something, we can pass it along. Data does not go viral. Stories do.
Remember when Ross Perot, in his bid to lead the country, pulled out
his graphs and tried to teach a nation? He was laughed off the national
stage. But the idea that theres something unexpected going on up in
Harlemmade headlines from 60 Minutes to The Oprah Winfrey Show.
Stories equip leaders to drive change in the face of the impossible.
Lisa was an entry-level employee, but her passion to create change
was driven by watching her students struggle in class. Geoffrey Canada
grew up in intractable poverty. His personal story was so powerful that it
10
inspired the award-winning documentary film Waiting for Superman.

The film opens with Canada narrating:
One of the saddest days of my life was when my mother told

me Superman did not exist. Even in the depths of the ghetto...
he always shows up and he saves all the people... (When my
mother told me he wasnt real)... she thought I was crying
because he wasnt real like Santa Claus is not real. I was
crying because there was no one coming with enough power
to save us.
Canada inspires us to believe that we, too, might overcome our

feelings of powerlessness in order to turn despair into success.
Lisas no budget stories drove 1,200 newspaper articles and 65
magazine stories. And Canadas efforts have inspired millions. After
hearing Canada speak in 2011 at the University of Tennessee in
Chatanooga, a local article quoted UTC alumni and first-grade teacher
Lindsey Rieman:
His speech was one that reminds me why I go to teach

everyday, and makes me want to be that much better to help
my students succeed.(9)
Story Juice is a book about storytelling and its application in

todays ever-expanding marketplace, where everyone from small
businesses to executives to politicians need to lead, sell and market
products, ideas and services through multiple media outlets. Cuttingedge research is providing irrefutable proof that our brains light up
when a story is told, and that narratives actually motivate the brain
to pay attention. Contrast that with the effect of data overload on our
brains and the tendency for them to shut down decision making when
they get overwhelmed.(10) Applying storytelling tools to the practices of
leadership, innovation, sales and marketing is paramount to success.
We want Story Juice not only to demonstrate WHY story matters;
we want it to teach you HOW to harness the power of story to change
minds, shape beliefs, and inspire action.
WHY S T ORY WORK S
Humans are not ideally set up to understand logic.

They are ideally set up to understand stories.
Roger C. Shank
Cognitive Scientist
12
I n t his c h a pte r :
The Brain Science Behind

Storytelling Techniques.
To learn how to use

stories to inspire people
to action, visit us at
www.reachstoryu.com
Your Brain on Story

Have you ever experienced death by PowerPoint? You know, the feeling
that creeps over you when the Research Department schedules a 3 p.m.
meeting, lures you into the conference room with a plate of cookies, and
promptly turns off the lights. What follows next is a big thud. Its the sound
of a 50-page document hitting the podium. You think, I cant stay awake
for this. Youre right!
We are not wired to pay attention to graphs, charts and bullet points.
Through neuroimaging technology, we can now see how our brains
light up and pay attention to certain stimuli. But brains do not respond
dramatically when presented with reams of data. They only light up when
they detect a story is being told, particularly if it evokes emotion.(1)
Years of evolution have hardwired our brains to think in story terms, and
we respond to them innately. A good story achieves multiple objectives
simultaneously:(2)
Organizes and simplifies content in a way that provides

context and relevance
Evokes emotion and visualization, which heightens its
memorability
Creates a sense of trust between the teller and the
listener that can inspire an action, such as buying a
product
S to r y Ju ic e WH y sto r y wo r k s
13
Using stories to motivate an audience to buy or act in a certain way is

contingent upon two things:
the story must be memorable
the audience must feel an emotional connection to the
main character, quest or storyline
In short, people act only when they feel something.
Organizing Facts and Data with Story

Now lets take a closer look at how story achieves those multiple objectives.
Our storys first job is to organize our data and rationale in a way that
enables people to remember it and to retrieve the memory. Brain research
shows that we organize new information by relating it to what we already
know through experience and prior knowledge.(3) In story language, we
call this context and relevance.
Picture your brain as a filing cabinet and stories as the folders that
contain and organize all the stored data. The listener needs a system for
filing data with similar, familiar items, and uses stories to do so. Think of
it this way: if we told you, buy three pieces of bread, some turkey, ham,
pickles, bacon, chips, mayonnaise, lettuce, and soda, youre very likely
to forget at least one or two items. But if we said, lets make ham and
turkey club sandwiches for lunch and serve them with chips and pickles,
suddenly our brains can quickly organize the long list of ingredients under
the familiar story slice, making ham and turkey clubs for lunch.
Even our language packages information in ways our brains are built
to understand. Research shows that as early as the age of 3, we develop
an innate recognition and ability to use grammar and syntax. As we grow,
the mind works behind the scenes to hear sentences as mini-stories
that guide our understanding of the world throughout our whole lives. (4)
Stories often draw on powerful analogies, or metaphors, that allow
people to learn by simplifying complex information and organizing it
against familiar knowledge and principles.
14
S i m p l e i s B e tte r
http://www.youtube.com/watch?v=lAl28d6tbko
Long before Tom Dickson asked the viral question Will it

Blend?, American Standard discovered how the power of
metaphor could save the day in a tricky conversation.
In 2005, the plumbing giant American Standard introduced
Champion toilets, an impressive, high-performance line
made with new flushing technology. A true breakthrough,
these toilets have the industrys widest 2 & 3/8 trapway,
a 4 flush valve, and will move a mass 70% larger than
the industry standard. They also achieved the highest
bulk removal rating of 1,000 grams. It was an exciting
breakthrough, but also a colossal sales and PR challenge.
Getting people excited about these stats without any
context (and an unfortunate lack of appealing visuals
available) was well you get the idea. The company solved
this communication conundrum by tapping into research
methods used in a New Jersey test facility. While creating
this high-performance potty, engineers used products
including oatmeal, rags and even golf balls to push
their flushing capacity to the limit. Using the powerful
image of a toilet bowl filled with a bucket of 18 golf balls,
American Standard created a short video that showed
the technically advanced Champion flushing the balls
with ease. Suddenly, American Standard was telling an
inspiring, visual story that had people talking instead of
squirming. Wired Magazine (5) and the New York Times
(6)
even picked up the story. American Standards golf
ball metaphor set an enduring standard for discussing
flushing performance. The story continued to attract
hundreds of thousands more viewers on YouTube and
through the long tail of online media.
The lesson? Stories draw upon our common human
experience and store information in familiar places using
familiar patterns. They allow our brains to formulate and
understand unfamiliar data in a way that makes sense.
15
Evoking Emotion & Visualization

There are many different types of stories: narratives, articles and scientific
reports, just to name a few. Narratives stand out for their ability to evoke
emotion. When we tell a story that causes someone to feel something, the
brain lights up in an effort to create mental associations. In fact, the onetwo punch of emotion and visualization creates stronger memories than
images alone. In short, emotional engagement drives memory.(7)
Studies show that stories are up to 22 times more memorable than
straight facts.(8) Neurologists suggest that stories may serve as the
memorys fundamental building blocks, since the brain prefers novelty,
involvement, visuals, and an emotional jolt. Because stories engage
the mind, heart, physical being and human spirit, they address these
preferences and motivate the brain to pay attention. We remember what
we feel and visualize as a result.
Stories without emotion are less interesting or relatable. Imagine
trying to convince someone to hand you $10. You might say, Please donate
$10 to the American Cancer Society. Now imagine making the request by
saying, Hi, Im Lynn. My daughter, Elizabeth, was only 5 when we lost
her to a brain tumor. Im asking you for a $10 donation to the American
Cancer Society to help other mothers and daughters like us. The second
version has intent, or motive. Suddenly, the context permits the listener to
understand why he is being asked for money, and he feels an emotional
connection in response. That feeling, in turn, sparks memory (and giving).
Studies show that stories

are up to 22 times
more memorable than
straight facts
The second story example also had greater detail than the first. We
remember things better when there is a density of sensory data(9). For
example, people remember pictures and photos better than ideas based
only in words. An image tied to colors, emotions, and other familiar events
will create even stronger memories.
Combining words and visuals is a more powerful way to help someone
remember new information or ideas. Adding emotion to this mix is the key
to being unforgettable.
16
Building Trust with Story to Inspire Action

People tend to remember (and actually trust) products when they are
woven into stories. And when others share their experiences with a person,
product, idea or service, it infuses the story with the long-revered idea
of endorsement. Thats why brands often aspire to have not only paid
celebrity endorsers, but also citizen experts or bloggers to engage with
their brands. Remixed stories increase a current or potential customers
feeling of confidence and credibility in a brand.
The desire for engagement also explains why brands now ask their
customers and clients to post, comment, vote, and re-tweet their
content. People perceive marketing messages as more credible when
they are involved in the process and not just passively reading the copy.
The message can convey someone elses story or experience, but if we
build on it, comment, vote, contribute, retweet or retell it, that sense of
participation increases our personal belief in the message or product.
When you scale trust, you gain community. Communities can work
against a common belief system to inspire action. In 1980, a woman on
her deathbed begged her sister to tell her story, so other women would not
suffer as she had. That dying woman was Susan Komen, and the woman
she begged was Nancy Brinker. While the Susan G. Komen for the Cure
Foundation is now famous for spurring a movement against breast cancer,
others can learn from their success. Like Geoffrey Canada of HCZ, the
story of one heroic person is often the most memorable. Whats more, this
narrative can spur other like-minded individuals to share their stories,
and create what the marketing community informally calls buzz.
People tend to remember

(and actually trust)
products when they are
woven into stories
Marry Emotion and Action

As weve just seen, stories evoke emotion, which build memories. But
emotion alone is not enough to inspire action or to ensure an idea gains
traction. Emotion without a plan for our brains to enact simply becomes
joy, fear, anguish, or another heightened emotion. Our brains also require
a clear path by which to channel our emotions.
Emotion motivates. Action requires the ability to see a clear path
from where we currently stand to where we could be in the future. Action
requires possibility. Story marries possibility with a clear path to action,
and wraps it in a package that our brains are innately wired to understand.
17
The Ele p han t and t he R i d e r

Using stories to persuade people into action often requires motivating
them to change their minds and head in a new direction. In their book,
Switch, Chip and Dan Heath explore how emotions can drive people to
embrace change, rather than fight it. Researchers have established
that the human brain operates like two independent systems, each
with very different personalities. The Heaths reference work done by
University of Virginia psychologist Jonathan Haidt, which describes our
emotional side as an Elephant and our rational side as its Rider:
Perched atop the Elephant, the Rider holds the reins and seems
to be the leader. But the Riders control is precarious because
the Rider is so small relative to the Elephant. Anytime the sixton Elephant and the Rider disagree about which direction to go,
the Rider is going to lose. Hes completely overmatched. Most
of us are all too familiar with situations in which our Elephant
overpowers our Rider. Youve experienced this if youve ever slept
in, overeaten, dialed up your ex at midnight, procrastinated,
tried to quit smoking and failed, skipped the gym, gotten angry
and said something you regretted, abandoned your Spanish or
piano lesson, refused to speak up in a meeting because you were
scared and so on.
The Heath brothers argue that to ensure change, you have to engage
both the emotional elephant and the rational rider:
If youre contemplating a change, the Elephant is the one who

gets things done. To make progress toward a goal requires the
energy and drive of the Elephant T he Rider tends to overanalyze
and overthink things. Chances are, you know people with Rider
problems your colleague who can brainstorm about new ideas
for hours but cant ever seem to make a decision. If you want
to change things, youve got to appeal to both a reluctant
Elephant and a wheel-spinning Rider can both ensure that
nothing changes. But when Elephants and Riders move together,
change can come easily.(10)
18
The Jungle of Jargon, Data and Options

How does the elephant and rider analogy relate to the art of storytelling?
Well, think of when we ask a customer or our boss to travel down a path
with us to greenlight a project, buy a product or service, or simply get on
board with our ideas. We may have the most compelling business results
or the analysis necessary to prove our superiority over a competitor. In
fact, todays marketers often try to justify both creative and business
decisions with hard data. Does that advertising campaign work? Will more
customers respond to this offer than the other one? When it comes time
to present the data, we rely on rationale and PowerPoint to propose or
defend our arguments.
Data and charts, however, typically speak to the rational side of our
brains. As we introduce new information with industry jargon and generate
options intended to drive our audience to the right conclusion, we run the
risk of overwhelming our listener and causing confusion. Remember, our
brains are not wired to absorb large amounts of data at one time.
In order to persuade our audience to get on board, the answer is not
to avoid the data, but to use visualization and emotion to help us plow
through the jungle of jargon, data and options to clear a path. Our
audience needs to both understand why they must go there (rationale)
and also want to go there with us (emotion). Thats where story comes
in.
Stories engage our

emotions and organize
our data with context
and relevance.
Stories engage our emotions and organize our data with context and
relevance. They provide a bridge from one data pool to the next. John
Medina, author of Brain Rules(11), points to research that suggests that
an audience has about a 10- minute attention span. Our brains dont pay
attention to boring things, and attention typically begins a serious decline
at the 10-minute mark. Medina suggests that presenters should use
emotionally relevant activities, such as telling a story, showing a video, or
doing a live presentation to reboot the audience and help make sense of the
data. With enough bridges, we can motivate an audience to cross an ocean
of data with us.
The opening story is the most important. Medina calls the first 30
seconds of any presentation, cognitive hallowed ground. In other words,
we have roughly 30 seconds to capture our audiences attention. We call
this the opening story and it should present a map that both explains
the path we will take together, while evoking enough emotion to motivate
our audience to begin the shared journey.
19
For example, if someone was to email you 100 folders and ask you to
convert them into a new hospital database without any further directions,
the results would inevitably be chaotic. The task would be overwhelming
and you would look for a reason to procrastinate or simply ignore it
all together. No organization. No emotion. No good. Instead, consider the
same task with the addition of an opening story.
In a hospital, finding accurate information quickly versus

slowly can often mean the difference between life and
death. Last week, a 10-year-old boy was given a lifesaving
blood transfusion in emergency surgery because his
medical record was instantly accessible through our
patient database. We need to convert our paper medical files
into digital database files.
All the red folders contain information about patients, so
they can be entered alphabetically under the patient tab.
The blue folders contain information about drug inventories
and should be entered by date under the tab labelled real
time inventory reports. Lastly, the yellow folders contain
information about our medical staff, so they can be filed
alphabetically by last name under the personnel tab.
Remember, a life may depend on your accuracy.
Suddenly, we have precise information about the importance of the

task and how to approach it. Used prior to a presentation, stories lay
out the path ahead and motivate us to engage with the data, choices and
presented recommendations.
Going further, we can use the power of metaphor (think American
Standards 18 golf balls) to help the listener understand the datas magnitude
or urgency in order to inject emotion into the discussion.
When emotion and visualization work together, the results are quite
powerful. Consider a story we recently heard at W.L. Gore & Associates,
makers of Gore-Tex fabric and a highly innovative company that has used
20
its proprietary fabric to revolutionize multiple industries. Adding Gore

technology to a manufacturing process, whether youre waterproofing a
jacket or coating a heart stent, increases costs, due to the testing and
quality standards. To balance that expenditure, Gore invests part of its
marketing budget to demonstrate how the technology enhances peoples
lives and supports a better experience.
However, as the company expanded into new categories, story-sharing
between operating divisions had stalled. Recently, a female Gore employee
had attended a marketing workshop while she was visiting from their
British affiliate offiice. She told the story of a husband and his wife, both
Gore associates in Europe, who had given birth to a premature baby. The
baby was in ICU and was not doing well. The distraught couple was willing
to try anything to save their child. One final surgery was their only hope,
and the doctor came in to discuss the procedure with the couple. He
explained how the team of doctors would be trying a new, experimental
procedure where they wrapped the heart in fabric. In fact, he went on to
say that the Gore technology used for this medical device was based on a
similar raw material used for Gore-Tex jackets. Stunned, the couple told
the doctor they both worked for Gore.
Many months later, the baby is healthy and thriving.
This story not only transformed our workshop audience; it suddenly
made the marketing group feel as if they were part of something bigger.
It also gave them a powerful metaphor to consider when describing the
Gore-Tex brand value and the human possibilities the companys products
represent.
Only the highest-quality ingredients can create fabric that will wrap
a babys heart
WHA T M AKE S A GOOD S T ORY
A film is or should be more like music

than like fiction. It should be a progression of
moods and feelings. The theme, whats behind the
emotion, the meaning, all that comes later.
Stanley Kubrick
Film Director
22
I n t h i s c h a pte r :
Character, Conflict, and the

Land of Desire.
To learn how to use

www.reachstoryu.com
It has been said that nothing happens until people feel something.
No products are sold, no money is given, no votes are cast, no vision
is executed and no tweets are shared. In business, we often forget
that feeling emotion is the catalyst and precursor to a person taking
action, whether the intended action is to buy a product, engage with
a service, or rally a team. Too often we spout dry, rational data about
why you should take action, rather than evoking emotion that makes
the audience feel compelled to take action. In a world where we need
our customers and colleagues to act upon our ideas and suggestions,
tapping into emotion is the simplest and surest way to inspire this
outcome. In this chapter, well examine greenlight stories the
powerful storylines most adept at evoking emotions that drive action.
The book Moneyball by Michael Lewis tells the story of Billy Beane
(general manager of the Oakland As baseball team) and inspired a
movie starring Brad Pitt. Moneyball outlines how Beane, a guy with a
deep desire to win a World Championship, loses his three best players
at the end of a season and has to rebuild the team using far less money
than the rival teams with deeper pockets. As the story progresses, not
only does Beane find a way to identify undervalued baseball talent,
but he follows up a series of losses with an unprecedented winning
streak by seasons end. He supports his unconventional recruiting
strategy with reams of data crunched by his geeky assistant general
manager, young Peter Brand. He sums up all the data into one clarion
call to action: recruit players who can get on base! Billy finds a way
to implement his intriguing hypothesis despite the obstacles many
of which come from his internal staff. The dramatic reversal of fortunes
from league losers to B-talent-fueled winners got movie audiences up
on their feet and cheering even those who have never set foot in a
baseball stadium.
Some narratives simply generate emotion better than others. The
Moneyball story is what we call a change of condition or greenlight
S to r y Ju ic e What mak es a g o o d sto r y
23
story. We borrowed the term greenlight from the movie industry, which
uses the phrase when a project gets funding and has the approval to
move forward, as in, my movie just got greenlit. It also evokes the
classic go symbol of a green traffic light. Greenlight means action.
Brand storytellers who want to provoke an action from their
customers (such as buying or recommending) often apply change
of condition narratives in marketing and advertising. A greenlight
story is the classic before-and-after scenario that evokes powerful
emotion and inspires action. In fact, research shows that greenlight
narratives are the most common content genre that motivates people
to spontaneously applaud during a presentation (and a movie!). (1)
A dramatic change in circumstances is the critical element in a
greenlight story. For example, from homeless to Harvard. From
pristine vacation destination to Tsunami-devastated pile of rubble,
or from a middle-aged woman in practical shoes to a multi-milliondollar-earning superstar. In general terms, think of the pattern as
From________ To________.
Watch what happened when Susan Boyle auditioned on the reality
television show, Britains Got Talent.
http://www.youtube.com/watch?v=RxPZh4AnWyk
a dramatic change in
circumstances IS The
critical element in a
greenlight story
While the television series on which Boyle appeared certainly provided

an environment for a few million to hear her sing, that alone does not
explain the more-than 100 million views the clip received on YouTube
just days after the show aired, and the multi-million-dollar brand Boyle
has become. After all, many great singers have been featured on this
show and many others like it. What makes Susan Boyle stand out is her
dramatic transformation during the audition and the change of condition
elements in her greenlight story.
24
W ha t M ake s i t a
Greenl i g h t St o r y?
Greenlight stories have a consistent pattern:
The main character is called the Hero. Ideally, the hero

shares similar traits and unfulfilled desires with the
audience to whom our story is directed.
Our hero encounters a Catalyst, setting her on a path
that will ultimately transform her or her situation.
Conflict ensues, and our hero navigates the challenges.
Our hero reaches the Turning Point (or finish line) of
the story where the final transformation takes place.
The last phase is the Lesson Learned, where, not only
does the Hero appear transformed, but both the hero
and the audience learn a fundamental truth about life
and what it means to be human.
When we encounter a greenlight story, we witness a change

of condition or a From/To situation. In the case of Susan Boyle,
we realize we have just watched a caterpillar transform into
a butterfly from plain Jane to gifted songstress. We also
watched a crowd of jeering critics turn into an auditorium
of raving fans. These two simultaneous transformations
captivate us, make us cheer and, in the end, teach us a lesson:
you cannot judge a book by its cover. Whats more, we learn
that if Susan can achieve her dreams, theres hope for all of
us. Stories are so powerful because they help us see life from
a big picture vantage point, and the storys hero connects us
emotionally to the journey as it unfolds. As an audience, we
personalize and internalize the lesson of the story. The more
alignment we feel with the main characters hopes, dreams
and situation, the more emotion we attach to the story and
the source it came from. This is how emotional connections
to brands form and loyalty grows.
25
Who is the Hero?

A greenlight story features a single hero rather than a group of
heroes, or society at large. A greenlight story may have multiple
characters, but the story is told from the vantage point of one hero
who acts as an audience surrogate. This is the first, most important,
and most overlooked point of difference between a greenlight story and
other stories.
Most people grew up listening to and telling stories. Yet, the
business environment often leads us to think and act differently than
whats in our nature. For the most part, we have scrubbed storytelling
out of our business day. And when we do tell a story, we often tell it in
a way thats less powerful than the casual stories we share naturally
around the dinner table. The typical business story shies away from
focusing on a single person as the main character and sharing enough
of his or her personality quirks to help us feel a connection. We are
uncomfortable disclosing people as individuals. Sometimes we worry
about confidentiality or liability. For example, if I tell Janes story and
say it was Jane, what if she gets mad at me? Yet, this is precisely what
creates a connection with our audience the fact that they are just like
Jane.
Unfortunately, audiences
do not connect with a
product or a service; They
connect with people.
Research shows that audiences connect most deeply with a

specific person someone to whom they relate and with whom they
empathize.(2) Sales and marketing executives, however, often make
one of three common mistakes. Either they tell a general story about
a group of people; they introduce a main character who is a bland,
uncompelling composite; or in their zeal to express brand superiority,
make the mistake of placing the brand or product in the role of the
hero. Unfortunately, audiences do not connect with a product or a
service; they connect with people. The first step in telling a greenlight
story is to identify the most important audience member you want to
persuade, and then to tell a (preferably true) story about a hero who
feels relatable (even loveable) and shares a similar, unfulfilled desire
with that key person you want to engage.
26
Relatable Characters
With iconic hits like The Fresh Prince of BelAir and Roseanne on her
resume, director Ellen Gittelsohn is the go-to person for a gut-bustingly
funny, 30-minute sitcom. Despite all Ellens experience, she sums up
her secret sauce with one simple ingredient: the characters or heroes
of the show. When we asked Ellen the difference between a one-season
wonder and a multi-season run, she said, You really have to spend
your first few episodes introducing the characters and getting to know
them. Success is in developing characters that you want to invite into
your living room week after week.
We engage with invite into your living room characters because
they are quirky, interesting or even kinda weird just like us. Their
perspectives (and / or situations) resonate with ours and their actions
and reactions make us consider what we would do in the same scenario.
But characters are not limited to people. In fact, some of the
most viewed online characters are animals. Take, for example, The
Ultimate Dog Tease:
http://www.youtube.com/watch?v=nGeKSiCQkPw
With a clever voice-over script, the clip shows a dog engaging in a
conversation with its owner. The owner teases the dog by describing a
series of canine fantasy treats, only to reveal he ate one himself and fed
the other to the cat. The dogs comments (youre kidding me) quickly
entered mainstream conversation as the video went viral. Personifying
animals with distinct voices and putting them in conversations is funny
enough to transport us from our desks at the 3 pm daydream juncture
and become one of the most-viewed YouTube videos of 2011. Giving
a dog a human voice and personality is a great example of one of the
most powerful tools storytellers use to make their content memorable
juxtaposition.
Essentially, juxtaposition is the unexpected combination of two
dissimilar things, and many great film characters are built around
this premise. Sometimes, the juxtapositon is fueled by a contrasting
environment, such as a country bumpkin feeling like a fish out of water
in a big city. Juxtaposition can also be expressed in the duality of the
character itself, such as a plain woman who has a crazy laugh or the
nerdy guy who is a steamy, hot lover.
27
Juxtaposition Turns up the Emotional Thermostat
Fascinating characters act not only as our surrogate for

experiencing the story, but they are often the reason we
emotionally engage in the storyline and remember it later. The
more emotion we feel, the more we remember and take action.
For example, Susan Boyles story would not have been quite so
memorable if she had been a stunning woman with a polished
style. The contrast between her humble beginnings and her
velvet voice is what we find unforgettable. Characters with high
levels of juxtaposition tend to break through the clutter they
pique our interest and create a story that is more likely to spread
on its own power.
Using Juxtaposition and Arousal

to Build Conflict (Tension)
Interesting brands must ultimately have more than fascinating

characters. Interesting brands live out conflict. Its why we remain
interested in their story and the greater the tension in the story, the
greater our interest.
Interesting brands live

out conflict. Its why we
remain interested in their
story and the greater
the tension in the story,
the greater our interest
In the Susan Boyle example, we watch the audience experience

disbelief and annoyance when this 47-year-old overweight woman
walks on the stage in sensible shoes and outdated clothing. We
share the audiences frustration at having to sit through another
boring audition. Yet the moment Susan frees her voice, we watch
the faces of the jaded judges and audience transform, enraptured
by Susans transition from plain Jane to songbird extraordinaire.
The journey is made even more significant when Simon
Cowell, the shows notoriously cynical judge, poses a few simple
questions before the audition. He asks, What is your dream,
Susan? When she answers that she wants to be a professional
singer like Elaine Page, the bar is so high that we scoff at her
audacity. Until she sings. And then we start to believe. In fact,
28
the experience taps into one of our deepest emotions to

achieve our dreams. Suddenly, we are one with the audience and
the judges as they shake their heads in disbelief and applaud
enthusiastically. This amazing transformation inspired massive
action. First, the television audience jumped to their feet and
the judges unanimously voted Susan through to the next round of
competition. Next, millions of people watched the audition on YouTube
and forwarded it to their friends. Finally, a record-breaking number of
fans from all over the world pulled out their wallets and purchased
Susans first album. Greenlight stories like Susan Boyles dont just
generate buzz and excitement; they also build brands and sell products.
A Lesson Learned that Fills

an Unfulfilled Desire
A good story generally ends when the main character learns a lesson.
The audience relates to the hero and recognizes something that creates
an emotional connection with the story. While we may not all want to
be world-class singers, we can all relate to Susan Boyles desire to
achieve the life she was born to live. A good story makes an emotional
bond with its audience when people can say thats me!
Take, for example, Anita Renfroes now timeless version of the
William Tell Overture.
http://www.youtube.com/watch?v=CXgoJ0f5EsQ
Anita has put to music what moms say in a 24-hour period and
condensed it into a little under three minutes. When moms watch, they
immediately recognize themselves in the pleas to brush your teeth
and turn off your phone. Its one reason why Kraft Foods launched
a webisode series with Anita entitled, You Gotta LOL to align their
products with her fresh content.
http://www.youtube.com/watch?v=uPrNFyRYG7U
Kraft Foods, maker of Triscuits, Jell-O, Oreos and hundreds of other
family-oriented products understands people at an emotional level. We
buy certain foods when we want to care for our family and friends.
29
Understanding the right emotional landscape for your brand

can yield great results. Likewise, pulling the wrong emotional lever
can backfire. For example, women buy food when we want to care for
our family. Women buy lingerie when we want to feel sexy or wear
make-up when we want to attract others. Mixing emotions, such as
linking a lingerie brand to the emotions associated with providing for
your children would not only elicit confusion, it would also create a
significant yuck factor.
Consider a company that got this emotional connection all wrong
Mars. In 2009, the company launched its first new chocolate bar in
20 years, calling it the Fling. Initially launched in California and online,
the company hoped women nationwide would soon be having Flings.
Yet, most of us have never heard of it, and for good reason. Aimed at
women, this pink, foil-wrapped bar was touted to be only 85 calories
and was described as a chocolate finger. The call to action and ad
copy went so far as to say, Pleasure Yourself. The packaging stated,
Naughty. But not that naughty. Visit the Mars website today. The Fling
is nowhere to be found.
What went wrong? There was no problem with the product. It was
backed by one of the largest manufacturing and distribution networks
in the world. The mistake was the emotional ground in which Mars
planted its story. The blatant use of innuendo and sexuality to appeal to
women simply flopped.
But didnt we just say that juxtaposition is good?
Juxtaposition works when the contrast lies within an emotional
pulling the wrong

emotional lever
can backfire
landscape that people find believable, relevant and positive. Despite

all the cynicism in the press today, what really engages people is
an inspiring sense of contrast and tension. A mainstream company
(best know for classic treats including Snickers and M&Ms) juxtaposing
candy with sex in an industry often associated with children was creepy,
not groundbreaking. It felt like your fun and reliable Uncle Mars just
told you a cringe-worthy dirty joke at the family BBQ. Unexpected and
icky. (3)
Learning to explicitly plan for the emotional landscape in which we
want a brand to reside is critical to the stories we tell about that brand.
We call this emotional landscape the Land of Desire.
30
THE LAND OF DE S IRE
Sto ry J u ic e W h at m ak es a g o o d sto r y
31
The need to connect with one another

(The Land of Love, Connection & Belonging)
The need to control our destiny and achieve our
full potential (The Magical Mountains of Identity)
The need to protect ourselves and our loved ones
(The Kingdom of Safety & Security)
The need to be free and independent (The
Independent Islands of Freedom,
Choice & Autonomy)
32
Sparking Emotion in the Land of Desire

Underlying emotional needs, or cravings, are peoples deepest
desires that manifest themselves as human emotions. When people
have strong cravings, they will often go to extreme measures to
fulfill them. Brand stories rooted in one of these emotional lands tap
into our innermost desires and compel us to take action.
The Homeland of Love, Connection & Belonging

Our need to feel loved, valued and understood often leads us to seek
out people who are similar to us. People with whom we share values
and who affirm our feelings represent our tribes. Brands and
companies that win by connecting people to one another often reside
here. Consider the diaper business, where celebrating a mothers love
for her child is the basis of a lifetime connection. Food brands are also
often found here, as they fulfill our craving to care for our families and
friends with healthy, delicious food. Other brands, like De Beers (A
Diamond is Forever) evoke the timeless value of creating lasting bonds
with romantic partners.
The Kingdom of Stability

People at many different times or stages in their lives depend on brands
that live in the Kingdom of Stability. In this land, people desire safety
and security and will often go to great lengths to protect themselves
and those they love from real or perceived threats. Brands including
OnStar, Allstate and Norton leverage our fears of being stranded on
a dark road, flooded, or pillaged by identity thieves to drive enormous
brand loyalty. They protect and fortify their customers by providing
products and services that help them sleep better at night.
33
The Magical Mountains of Purpose and Identity

We all crave recognition and often equate our self-worth with our
achievements. The desire to fulfill our true destiny and to create a legacy
that will leave a lasting contribution is universal at certain life stages.
In the Mountains of Purpose and Identity, companies often leverage
inspirational stories, people and journeys to demonstrate how their
brands have helped people like you and me to achieve the seemingly
impossible. Brands like Nike (Just Do It) and beauty brands aim to
inspire with aspirational messages and imagery that show how we can
lead a better life with products designed to help us look and feel great.
LOreals memorable campaign, Because Im worth it epitomizes this
emotional high ground.
The Independent Islands of Freedom, Autonomy and Choice

No brand epitomizes the Islands of Freedom better than HarleyDavidson. Whether were biker babes or suits, we recognize our inner
renegade and celebrate our love of the anti-establishment when
engaging with brands from the Independent Islands. Often when
David brands fight Goliath, they choose to live in the Islands the
same way 7UP chose to be the Uncola and Volkswagen appealed to
people living their lives with abandon in the Drivers Wanted campaign.
The little guy against the big establishment resonates across all ages
and stages.
To find a brands emotional high ground and effectively plant our stories,
we must first understand the unfulfilled desire the brand serves. We
must ask ourselves:
1. In which land does our brand genuinely spark the
most emotional response?
2. Where does our competition live and should we
live in the same land or a different land?
3. What would it look like to gain more emotional
territory in our native land?
34
WHA T M AKE S A GOOD S T ORY T HE

RIGH T BRAND S T ORY ?
I realized the importance of having a story today is

what really separates companies. People dont just
wear our shoes, they tell our story.
Blake Mycoskie
CEO, Toms Shoes
36
I n t hi s c h a pte r:
Creating a Brand Story, the

Role your Brand Plays and
Considering your Competition.
To learn how to use

www.reachstoryu.com
Water covers nearly three-quarters of the Earths surface. In the

Land of Desire, the world of products and services is dominated by
the Sea of Sameness. Many brands struggle to stay afloat in the Sea,
failing to connect emotionally with their audiences. They may offer
benefits, but they are not memorable and fall out of our consideration
set before were ready to make a decision. Picture the sea of brands
swirling before a tired mom, standing in the drugstore cold remedy
aisle at 10 p.m. as she tries to find the right cough syrup for a sleepless
child. Or imagine an entrepreneur weighing which printer features will
best serve the needs and budget of his start-up business. We know
were searching in the Sea of Sameness when we shake our heads and
think, It shouldnt be this hard.
Brands connect emotionally with their audience through story
in order to establish long-term relationships. Yet, even established
brands often have to craft a compelling story to offset some heavy
baggage whether that refers to brand equity (IBM), a founders
legacy (Walt Disney), or even a past tragedy (Tylenol). Unlike
immigrants, brands cannot choose to move to a different territory to
escape economic conditions, competitive threats or even the weather.
Brands are born in a territory, and will always be native to that territory.
If a brand loses its way and falls into the Sea of Sameness, they can rise
out of the water by returning to the emotional ground that supported
their initial success. Its why a brand must excavate its own story.
Take Meredith Corporation, for example.
For years, Meredith published some of Americas best-loved
magazines titles including Better Homes and Gardens and Parents.
Magazine publishers typically make money by selling more subscriptions
and keeping their readers engaged with meaningful content. Merediths
lucrative business model always meant selling advertising to brands
that wanted to reach the 75 million American women the magazines
S to r y Ju ic e what mak es a g o o d sto r y t he righ t brand story
37
served with helpful recipes, tips and ideas for their homes and families.
Meredith was a longtime citizen in the Homeland of Love, Connection
and Belonging.
However, as many magazine readers migrated to the computer
screen, it became clear that the Meredith story was no longer the right
story for many advertisers. New digital brands, such as Google, began
to eat into Merediths bread and butter (home and food advertising
dollars), as those women started using new forms of online technology.
Marketers began demanding further price concessions to keep placing
pages in the print magazines, instead of online. Looking for new ways
to generate revenue, Meredith focused on finding new advertisers.
While the company boasted the largest audience of women in the
industry, many companies that did not currently advertise in Meredith
magazines were image advertisers top-dollar beauty and fashion
brands. Most beauty and fashion brands (think Dior, Vera Wang, even
Maybelline) inhabit the Magical Mountains of Identity. Their businesses
have always relied on womens aspirations to be all they can be.
Magazines with influential editors, such as Vogues Anna Wintour,
and celebrity buzz-machines like People magazine were natural fits
for these advertisers. In this category, the company you keep is an
important consideration.
Unfortunately for Meredith, the content that was so appealing to their
readers (that practical, how-to, homey approach to food and family)
was unappealing to brands that wanted to rub elbows with beauty and
fashion influencers. Brands aimed to be seen among Vogues editorial
the company you keep is an

important consideration.
spreads and Peoples celebrities, not next to a recipe for cheesecake.

One influential media buyer, when approached by Meredith to put her
brand in the pages of the magazines, politely declined, explaining that
Meredith magazines were slightly dusty.
How do you convince big, sexy, fashion and beauty companies that
worry about their image to advertise in magazines featuring regular
people, not just the rich and famous? The term dusty became a
rallying cry for the team at Meredith.
But Meredith had a conundrum. They could not move to the Magical
Mountains and abandon the Homeland of Love, Connection and
Belonging. Brands like Better Homes & Gardens and Family Circle were
highly influential in the home and family category and still earned the
lionshare of revenue from this positioning. However, that influence did
38
not extend to fashion and beauty products. Worse yet, media buyers
would demand data showing large numbers of women valued Meredith
brands for advice on beauty and fashion if they were ever going to
advertise in magazines that were not traditionally fashion- and beautyoriented.
So, the Meredith team began to mine their data and the research
showed a startling shift. Accompanying the rise of the web was a shift
in the patterns of influence for a large number of women. These women
were not reading traditional beauty magazines. They were too busy,
often in the midst of raising families and juggling home life with active
careers. They were reading Meredith magazines for help in raising
those families. Yet, they still were purchasing clothing and lipstick and
other beauty products they just did it in a context that fit their lives.
These women had turned to different sources for their information; they
turned to other women just like themselves. Suddenly, those exclusive
experts at other magazines were being joined in the digital world by
citizen experts. The rise of bloggers and online conversations among
ordinary women was exponential and Meredith could authentically
claim to hold more of those women among their reading audience
and website visitors than any other publishing house. In fact, Meredith
magazines were influencing the new influencers the citizen experts.
Digging a bit deeper, the team unearthed more information that
would ultimately form the basis of their story. Not only did a lot of
women read Meredith magazines, there was a certain type of woman
who was more inclined than others to engage, participate and influence
in this new digital universe. The press had already identified and named
her in previous news stories the gamma girl. Whereas the alpha
girl had ruled for decades in the sphere of fashion and beauty, her
influence was now being matched by ordinary women who were willing
to share their tips and ideas, unafraid of voicing an opinion alongside
these alphas. In this new world of online communities and fastpaced mobile channels, the gamma girl was the it girl when it came
to influencing spending choices. She was the one who blogged, try this
delicious drink or quick: grab this amazing new shoe before theyre
sold out! And she was the one a large number of women were listening
to most attentively.
Meredith crafted a story using this influential data for support. The
main character, the gamma girl, was a study in juxtaposition. Even
39
though she was ordinary, she was influential because she used digital
tools to instantly spread her stories. The influence that a few exclusive
alpha women used to drive had shifted to a gamma-style influence,
where many ordinary women were discussing and collaborating to set
trends and share tips. They werent replacing the alpha influencers, but
they were joining the conversation and expanding the web of influence.
In other words, if you were a big-spending beauty and fashion advertiser,
you needed to pay attention to these ordinary women Meredith
reached because they were quickly shifting consumer patterns of
influence. What was most interesting was that when told about gamma
girls, many of the women charged with managing these businesses
saw themselves as gammas, making the Meredith brands relatable
and even more desirable.
Going to market with their gamma girl story, Meredith stayed firmly
planted in the Land of Love, Connection and Belonging by talking
about the new power of connection as it related to the their traditional
customer, mom, and her continuing need for beauty and fashion. They
connected emotionally with the women who controlled the marketing
budgets for these brands. And for the first time in decades, their beauty
and fashion ad revenues grew exponentially. The gamma positioning
turned a good story into the right story to help Meredith grow.
Determining a brands native land is sometimes quite simple, and
you often see industries cluster in the same territory. For example, the
financial services industry often clusters in the Kingdom of Stability,
because the idea of losing all your money is definitely the stuff of
nightmares. Some brands, however, settle in foreign territory and
achieve greatness by bringing unexpected delight to an unsuspecting
category. For example, many technology businesses live in the
Independent Islands of Freedom, Independence and Choice. Technology
provides access to people who previously had none, untethers workers
from their offices, and provides a long tail of choice that opens markets
to sellers that previously couldnt afford or find their marketplace.
Unlike most tech companies, Apple never chose to reside in the
Islands. Apple, an outgrowth of Steve Jobs ego, intellect and vision,
owns the premier property at the top of the Magical Mountains of
Identity. It proclaims this loudly in its advertising (Im a Mac). It
lives this out in its desire to teach (its long-held strategy of equipping
40
schools), and it is constantly delivering and developing new products

that allow people to personalize the technology and enhance their own
identity (from personalized playlists to content apps), through to its
contentious and public refusal to deliver flash on the IOS platform,
because the company believes it is not a superior user experience.
Considering the Company You Keep

Should we always position a brand amongst its industry tribe? Or
are there times when it behooves a business to break new emotional
ground, like Apple did? How far can we go without making mistakes
like the Fling? Sometimes, its easier to determine where a brand
naturally lives by first considering the role the brand plays in the lives
of the people it serves.
The Role Your Brand Plays
Some brands, however,

settle in foreign
territory and achieve
greatness by bringing
unexpected delight to an
unsuspecting category
Certain roles tend to naturally thrive in certain lands. Determining

which role a brand plays in meeting peoples unfulfilled desire is often
a good first indicator of a brands natural territory. These roles can
be determined by product characteristics, benefits and capabilities,
or they can be determined by competitive positioning. There are four
main roles brands tend to play.
Brand as Mentor: A brand that mentors often provides products and

services for self improvement, such as Nike (Just Do It) and Home
Depot (You Can Do It. We Can Help). This is also rich territory for
professional services: advertising agencies, accounting agencies or
law firms with specific, disciplinary expertise often mentor clients.
Brand as Sherpa: These brands tend to do the work that no one
else wants to do, and they carve out a point of difference by making
the difficult (perceived or real) seem easy. Verizons Can you hear
me now campaign personifies what was a very real industry problem
with dropped calls, and attaches a man to the solution as the face
41
of the brand. This is a similar strategy Maytag owned years ago with
the iconic lonely repairman character. Both put human faces to a
problem, and position the brand as the sherpa willing to do the heavy
lifting. Ingredient brands often take on this role by communicating
that their product has made things work better even if you cant
see it happening (Intel Inside and Gore-Tex, for example). Brands that
differentiate themselves through service commonly fill this role as
FedEx does, when it absolutely, positively has to be there.
Brand as Peer: Aspirational, lifestyle and premium-priced brands

land here. These brands thrive by showing that they share a common
worldview with their audience and describe a life that we all long (and
often lust) for. For example, fashion and beauty brands often espouse
lifestyles that justify spending exorbitant amounts of money on vanity
items that could otherwise feel like guilty purchases. Infamous
taglines, including LOreals Because Im worth it, position the brand
as an encouraging peer. Apple, too, plays here, with its famous Im
a Mac campaign that juxtaposes a cool, hip young guy (Mac) with an
overweight, frumpy and outdated man (PC).
Brand as Guardian Angel: Fear is one of our strongest emotions.
Carrying the silver bullet of protection is a powerful brand position.
Brands like Allstate (Youre in good hands with Allstate) take the
protector role. These brands provide assurance in times of trouble or
danger and compel people to pay a premium to sleep well at night,
knowing their guardian angel is working hard to protect them.
Brands that successfully establish themselves in the Land of Desire
do several things other brands do not: they delight, they deliver and
they develop.
42
Delight
Land of Desire brands go beyond common expectations to delight
their customers. Theyre not satisfied with simply doing a good job and
delivering the expected 1-5 requirements on a customers list. Instead,
they work hard to go over the top in unexpected categories, teaching
their customer to forevermore crave what they never imagined they
could have. This is a powerful and proven formula for delivering
pleasure. Think of the intuitive brilliance of Apples iPad or Zappos vast
shoe selection and unexpected shipping upgrades. Authentic delight
cannot be created simply by telling a story; a customer must also
experience the story. We call these items that go beyond a customers
basic list the 6-10.
Brands that successfully

establish themselves in
the Land of Desire do several
things other brands do
not: they delight, they
deliver and they DEVELOP
43
The Si x t o T e n L i s t
Every category has a list of benefits that products must deliver
to be viable competitors. In the automotive industry, attributes
like reliability, fuel efficiency, and safety are the top benefits
every competitor must deliver to some extent. People can be
persuaded that a certain car outperforms the others on one or
more of these attributes, but these benefits do not explain why
people fall in love with a brand. They do not spark emotion like a
brand that delivers on the 6-10. These upper-level attributes
go above and beyond what a car must do to deliver what a car
could do. For example, several years ago the industry began
innovating with technologies that could deliver these 6-10
benefits. Suddenly, cars could call the police without your help
when you were injured (OnStar) or ensure you never got lost
(GPS systems). Today, technology continues to drive innovation
in this category. Yelp recently announced its integration with
BMW systems in order to provide drivers with location-specific
information and recommendations for shopping, restaurants
and other services.
Contrast the word delight with the word satisfaction. The
definition of delight is something that gives great pleasure.
There is also an element of surprise in delight that is absent in
satisfaction. Brands that delight us have found ways to live
out the 6-10. In other words, there are certain 1-5 benefits
every brand must deliver in a category. Car manufacturers
must deliver safety, fuel efficiency, reliability, comfort and
affordability in order to compete. The brands that first delivered
GPS and integrated media systems, however, delighted their
customers with these unexpected benefits.
44
Deliver
Brands often talk about the brand promise. Powerful brand stories
are not just told, they are lived out by employees, by the company
the brand keeps, by the products a brand develops and by investment
choices in its marketing mix.
Develop
Brands that are long-term residents in the Land of Desire must
continually develop new ways to delight their customers. They
expand their territory within a land and increase their market share
and they do this by creating new ways for their brands to deliver on an
unfulfilled desire, continuously reinventing products that delight and
inspire.
45
Better T han Nake d
Elite, long distance runners will train up to 100 miles

at a time to prepare for races that can last from
four hours up to four days. Between mile 20 and 40,
often the most common race derailer is not fatigue
or injury, but chafing or choosing the wrong gear.
Clothing that rubs and causes irritation can cripple a
long distance runner, forcing an early end to months
of training. Out of this insight and countless hours
spent with athletes, The North Face developed the
performance-oriented Better than Naked line of
high-tech running apparel. These products are not
simply made, they are engineered with the lightest
possible materials, utilize runners physiological
make-up, and ensure the garment includes only
whats absolutely necessary. The runners benefit
and ironically, it wasnt success but failure that
fueled the development of this innovative line.
In 2010 Kami Semick, an elite ultra-marathoner,
ran the Courmayeur Champex, Chamonix (CCC)
after failing to complete the Ultra Tour de Mont Blanc
(UTMB) in 2008 due to high altitude complications.
As a member of The North Face global athletic team,
the companys marketing team also travelled to

support her. Two races are run at the same time, the
UMTB and the CCC. The CCC is 98 km and probably
the most competitive 100K(ish) trail race in Europe.
These courses are carved through the Alp range
mountain passes, requiring runners to navigate
rugged terrain and high altitudes while traveling
between 60 and 100 miles with elevation gains of
up to 10,000 meters. In 2009, months prior to the
UMTB and on the same course, conditions became
so bad that three runners were blown off the side
of the mountain. The day before the race had been
beautiful, but as race time approached, the weather
took a rapid turn for the worse, eventually causing
officials to cancel the full UMTB and restart a shorter
race the following day. The CCC, however, continued
on since runners were competing at lower altitudes.
The North Face team was on hand in Chamonix to
support their runners and cheer them on as they
crossed the finish line.
Kami had prepared for the race, strategizing that
if she could carry little gear and keep moving, she
46
would be lighter and faster than other racers. Her

strategy initially paid off and she quickly took the
lead. But slowly, she kept getting colder and colder as
the weather turned worse. With little gear for backup, she couldnt remove wet layers and replace them
with dry ones. As she entered the final mountain
passes, conditions turned blizzard-like.
Meanwhile, down in the town, The North Face
team knew her targeted completion time and eagerly
awaited her arrival. Expected at midnight, Kami
failed to appear. By 1 a.m. Kami had not crossed
the finish line and the group began to consider
sending a rescue team. Finally, around 1:30 a.m.,
Kami crossed the finish line as the third female
instead of the first, and she was in terrible condition.
Kami was hypothermic, suffering not only from the
weather conditions, but also from a lack of adquate
equipment. She had chosen to travel light and in
doing so, had deprived herself of the win she so
deserved. She wasnt even wearing a womens jacket,
having chosen a high performance mens jacket that
didnt suit her needs. The fact that she had to make
the tradeoff between being warm and traveling fast

and light bothered the North Face team and they
dedicated themselves to finding a solution.
Thus was born the cold weather version of
the Better than Naked running line (an apparel
collection that has gained great market traction
by choosing a vivid and surprising metaphor for its
name.) The line considers how the body naturally
heats and cools itself, especially in extreme
conditions, such as the CCC. It incorporates
physiologic technology (the science behind how our
bodies function), and uses whisper-light fabrics
and strategic venting to regulate the bodys hot and
cold zones. Thanks to Kami, the line also includes
garments specifically designed to keep womens
bodies comfortable in extreme weather conditions.
47
Connecting a brand story to emotional territory is the surest

way to accelerate buzz. In a world with an endless number of media
channels and where anyone can be a publisher, earning attention means
telling a story that is memorable and emotionally relevant. Creating
meaningful brand differentiation requires authentic endorsements
from others who help us consider what to buy. Many online retailers
employ this strategy. Think about shopping for toys on Amazon and
seeing other people who purchased this also bought Technology
that puts alternatives in front of people demands that brands work extra
hard to drive preference. To drive preference, people must remember
the right story for a brand it must be associated with emotion
to earn their attention and ultimately gain their endorsement. In
other words, our brand stories feed peoples emotional elephants,
incenting them down the path to preference and purchase.
48
WHA T T HE RIGH T S T ORY CAN

DO FOR A BRAND
Disneyland is a work of love. We didnt go into

Disneyland just with the idea of making money.
Walt Disney
Cartoonist
50
The Root of your Story,

Story Spark, and
Story as Strategy.
To learn how to use

www.reachstoryu.com
The best brand stories solve business problems and create brand value
by opening up new markets and new opportunities planting the
seeds of growth. Compelling stories inspire us to think about brands in
new and meaningful ways. They spark emotion in audiences and are
quickly remembered, retold and desired, which is why the smartest
brand investors hunt for story when theyre hungry for a strong
return on their investment.
Uncommon threads
Pauline Brown has a resume that stands out. With years of experience
developing strategies for companies including Este Lauder and Avon,
she never planned on leaving the beauty industry; but when the Carlyle
Group (one of the largest private equity groups in the world) came
calling, thats exactly the choice she made.
The best brand stories

solve business problems
and create brand
value by opening up
new markets and new
opportunities planting
the seeds of growth
Her perspective changed overnight. In the beauty business, she

spent her time determining how to leverage brand opportunities. At
the Carlyle Group, her role was to think about what opportunities were
worth leveraging. She knew the basics of the business the hurdles
that had to be surpassed to create a viable brand. But to an investor,
the difference between viability and vibrancy is the difference between
an ordinary proposition and an extraordinary return. Suddenly, Pauline
found herself evaluating hundreds of brands in search of the secret
sauce that would take a brand from viable to vibrant. She describes her
approach in the following way:
S to r y Ju ic e what t he r ig ht sto r y can do for a brand
51
As a financial investor, I always look at the health of the

financial statements but, the financial statements are a
measure, not a driver, of success. By far, the biggest driver
of a brands success is the quality and fit of its leadership
team. High-performance leaders not only have the right
training, experience and aptitude to run a particular
business, but they are also in synch with the values and
culture of the company. They have the ability to connect
with and inspire others whether they be employees,
suppliers, partners, investors or customers.
When Pauline met Cristina Carlino, the owner of Philosophy

cosmetics, she knew she had found a compelling story worthy of
investment, with an authentic leader capable of telling it. She described
the brands genius as a true rule-breaker, referring to the tendency
of beauty companies to be either rule-makers (market leaders), ruletakers (those that follow the leaders and rise with the tide of the
industry) or rule-breakers (the innovators). Carlinos brand was the
real deal a bona fide rule-breaker. Pauline shared her story.
52
Confident and well spoken, Cristina Carlino is, by all

standards, a beautiful woman. But as she tells it, she
struggled with bad skin and weight problems throughout
her teens and twenties. She spent her early career
developing skincare treatments for medical offices,
based on cutting-edge science. But something was
missing from that first venture her philosophy. She
described the situation to People magazine like this:
My problems had nothing to do with my looks. There
didnt need to be one more diet, one more hairstyle.
There needed to be a contribution from me.
While the industrys rule-makers were setting
unattainable standards of beauty, featuring flawless
models in glamourous settings, this once-aspiring
songwriter began to marry her personal story with
the science she had developed. She married simple
packaging that featured nostalgic shots from Cristinas
(and others) childhood with amusing product names
like Hope in a Jar, When Hope is not Enough, and
Miracle Worker. Unconventional scents (e.g., raspberry
sorbet and cinnamon buns) and poetic messages on
the packages were designed to remind every woman
that we are beautiful when we feel beautiful.
(From People magazine) Carlino sees no contradiction in
hyping inner beauty while selling the outer kind. Our
lives are not just about how we look, she maintains,
BILLION DOLLAR STORY
but cosmetics are a way to help you feel better. To

spread the good feelings around, Carlino donates the
entire proceeds from several Philosophy products
to homeless shelters and other charities.(1)
Pauline was sold. The Carlyle Group took a majority stake

in the company and spent the next four years helping
Carlino and her team develop a brand that ultimately was
sold to Coty for a reported $1 billion. Stories sell.
53
The P h i lo s o p h y St o r y
The Philosophy brand exemplified smart story strategy right
from the beginning:
It had a character that resonated with its audience in the
person of Cristina Carlino. Her authentic ability to express
herself from advertising to packaging to charitable giving
created a way for consumers to look at the brand and say,
thats me.
It had conflict. Something was going on. While most of the
beauty industry was focused on creating an aspirational
fantasy image, Philosophy mirrored womens values of
authenticity, self-expression, and creativity. Philosophy
beautifully captured the dual tension women feel between
self-confidence (I am proud and accepting of who I am) and
self-improvement (I am always trying to be the best version
of myself).
The juxtaposition of a brand with cutting-edge science
rigorous enough for dematologists offices, yet packaged
simply with unusual scents and inspiring sayings, stood out
from the crowd. The brand had science and soul a pair of
unexpected traits that created the story spark in the beauty
category.
In order to develop an authentic, powerful Greenlight story

for a company or a brand, we need to be mindful and respectful
of its history and the people who lead and represent the brand,
both today and historically. Its why we say that strategy should
excavate the root story.
54
Excavating the Root of Your Story

The typical vineyard has a life expectancy of about 20-25 years before
the plants become woody and overgrown. If you do not routinely invest
in your plants and graft new varietals on a regular basis, you will need
to replant the entire vineyard after about 25 years. Clearly, in the world
of brand-building, it would be disastrous to throw out those parallel
root elements, including manufacturing lines, packaging, product
inventories and essentially recreate the product on a regular basis.
In fact, given todays pace of technology and innovation, its fair to
say the average industry lifecycle is far shorter than the 20-25 years
of a vineyard. Brands need to constantly reinvent and reinvigorate
themselves in todays marketplace. But like a vineyard, they need to
protect their rootstock and make sure new varietals continue to graft
on the original plants, absorbing the soil and nutrients that make them
unique to that vineyard.
Understanding your companys core make-up means excavating the
root. When a company needs to reinvigorate its brand whether it
has a track record of success or is struggling to stay afloat story
architecture can help anchor the brand to its past, while paving the way
for growth through new products, services and markets. This process
mirrors the way in which vineyards grow. As companies develop new
technologies, tools, capabilities, products and services, each unfolding
story must be grafted on to the original rootstock. If this is not done
correctly, suddenly a Cabernet Franc vine will bear either no fruit or a
varietal that is not congruent with its rootstock. It will not survive for
very long.
story architecture can

help anchor the brand
to its past while paving
the way for growth in the
form of new products,
services and markets
In Philosophy, we see a company with a great rootstock embodied

by its founder. And we can also see how its technically-advanced
formulation never achieved its full potential until it found its soul
its story. However, Philosophy is unique not only that it spread and
authentically lived out its story, but also that its story used a unique
root pair (science and soul) to spark attention in an otherwise soulless industry.
55
Igniting Your Story Spark

According to David Altschul and Jim Hardison, two of the brilliant
principals at the Portland, Oregon-based firm Character, companies
and brands that are deeply rooted in story structure and strategy often
have two characteristics that spark off one another from friction, or
tension. In the case of Susan Boyle, the juxtaposition of her awkward
practical shoe look with the richness of her voice cued our brains
to pay attention from the moment she started singing. This pair of
characteristics works to create tension in the brand story and keeps
an audience hooked. Brands without tension are flat and uninteresting.
But brands, like people, that embody juxtaposition by pairing two
positive but unexpected traits create tension and conflict that capture
our attention.
Many brand stories are rooted in company history and associated
with the founders. Ben and Jerrys drove a memorable culture of nonconformity while still embracing community. Apple is inextricably tied
to the innate tension evident in the late Steve Jobs the energetic
spark between design and technology. While characteristics are often
positive and worthy on their own, the natural tension between two
positives drives conflict, interest, excellence and ultimately captivates
an audience with its story.
56
Creating a Narrative that Serves your Brands

Purpose
Understanding the roots of our brand stories is the first critical step
to inspiring a rapid response capability. Tapping the story at the root
of your brand means creating consistent narratives for many different
environments. Just like the roots of a healthy apple tree grow branches
that bear apples, not pears, narratives that grow out from a strong root
bear high-quality fruit. Understanding your brand story is the first and
most important step in using story as a strategic weapon.
Story is like a tree. What you see above the ground is only part of the
story, because there is a vital root framework below the surface. Story
strategy looks at the whole tree, including the invisible root system.
For an organization, these roots include innovations (products and
services), culture, and leadership that define the core of the brand. The
visible tree is what our customers can see of our brand story. Brand
stories are expressed above ground through innovations (new products
or services), visible leadership, customer service, and marketing
narratives. Story strategy operates as a compass, setting a course for
the brand and equipping the entire company to tell narratives that are
rooted in the right story. Every company and every brand already owns
the roots of its story story strategy is what excavates that root.
Weve seen how story can launch and accelerate a brand like
Philosophy, separating it from a sea of other brands. Story principles,
when applied strategically, can also be used to maintain and accelerate
momentum for a brand when things are going well.
57
The Ca r e and Fe e di ng
of You r St o r y
In 1959, a new girl hit the streets of New York to a cool
reception. She was blonde, curvy and very well dressed.
Her name was Barbie, and despite the New York Toy Shows
lukewarm response, the public soon loved this new fashion doll
and just 10 years later, Mattel, her parent company, had sold
over $500 million Barbie-branded products.
Like other famous blondes known by a single name (think
Marilyn and Madonna), Barbie became a style icon, reflecting
the ever-changing whims of the fashion world. She was elevenand-a- half inches of inspiration and aspiration for millions of
little girls through the mini-skirts of the 60s, the platform shoes
of the 70s, and into the next Millennium. In 2009, she turned
50, celebrating with designers, celebrities and the whos who
of pop culture. But to write her off as a pop culture goddess is
to misunderstand the power of her story and its ability to keep
growing even as she hits the half-century mark.
Imagine how daunting it was, then, when Mattel was faced
with creating growth as she turned 51. A fashion icon hitting
50 is newsworthy; 51 is tougher. In fact, Mattel launched a
new line that year the I Can Be series, hoping to capture
the aspirations of a new generation that faced a very different
world than the little girls of the 1960s.
In celebration of her 51st year, Barbie was reincarnated
as a Computer Engineer, conquering Silicon Valley, making
headlines such as Revenge of the Nerds: How Barbie Got Her
Geek On (Wall Street Journal) and Meet Barbie the Computer
Engineer (Wired). And in 2012, she entered uncharted territory
in the Middle East as an ambassador for a new generation of
women struggling to find their voice in a rapidly evolving culture.
58
As discussed in a 2012 article from USA Today(2), Barbie is on

the leading edge of cultural change in the markets of Tehran,
despite the systems desire to suppress Western influence.
Whether you agree with Barbies persona or not, her story is
obviously one that crosses cultures, geographies and decades.
Barbie lives in the Mountains of Identity and her desire to
explore uncharted territory (Astronaut Barbie), reach her full
potential (Presidential Candidate Barbie) and even surprise
people (Nascar Driver Barbie) resonates with women of all
ages.
What Barbies parent company, Mattel, does brilliantly
is to create conflict inherent in the dueling ideas of brains
and beauty. Outwardly, Barbie is a well-coiffed, fashionablydressed character. While that attracts little girls, what elevates
her to iconic status is the symbolism that her story has never
been all about clothes. Its always been about WHAT she was
getting dressed to do or accomplish.
Mattel is a brand that knows how to create a story. Their
iconic character has a rich history and a vibrant future because
Barbies story is kept alive not only by the company, but also by
the community of women she has inspired throughout several
generations.
Mattels continuous evolution and celebration of the female
spirit is what gives Barbie a never-ending brand story.
59
S T ORIE S T HA T S P READ
Storytelling may be what distinguishes social

movements from interest groups.
Marshall Ganz
Professor, Harvard Kennedy School
of Government, via @StoryRoute
60
Creating Narratives,
Social Media Stabilizers,
Social Media Accelerators,
and Characteristics that
Cause Stories to Spread
To learn how to use

www.reachstoryu.com
A couple years ago, American Airlines could have used a good chemist.
On December 6th, 2011, actor and comedian Alec Baldwin boarded
an American Airlines flight bound for New York. Alec, like many of us,
was trying to keep himself distracted as he began his long journey.
He pulled out his iPhone and started playing Words with Friends the
techies answer to Scrabble. Unfortunately, American Airlines had a
policy (as most airlines do) about turning off electronic devices once
the doors are closed. Alec, however,was not ready to stop playing. What
ensued was a volatile argument between Alec and a flight attendant.
Alec tweeted:
Flight attendant on American reamed me out 4 playing
WORDS W FRIENDS while we sat at the gate, not
moving. #nowonderamericanairisbankrupt
Ultimately, Alec was removed from the plane, the passengers were
inconvenienced and the flight was delayed. But the story didnt stop
there. Alec made an appearance the following night on TVs Saturday
Night Live, playing the role of the American Airlines pilot to Seth Myers
news anchor, and issued an apology to himself in a video that went viral
almost immediately:
http://www.youtube.com/watch?v=xNH2tOuuZvA
Had American Airlines understood chemistry, they might have
responded differently.
S to r y Ju ic e STORIE S TH AT SPREAD
61
Why American Airlines Needed a Chemist

In this age of digital immediacy, brands are like molecules. American
Airlines spent millions of dollars over many years, working to convince
customers to choose their company over the Friendly Skies of United,
or airlines like Southwest, where bags fly free. What happened when
Alec Baldwin tweeted, however, was what chemists call a reaction. In
short, the molecule is put into a new environment, filled with new
properties (a celebrity passionate about his game, traffic delays, and
devices that make information available to millions in a blink) and
either destabilizes or accelerates.
When brands enter these new environments, there will be those
that win and those that lose. Those that win know to add a narrative
to the environment that acts as either a catalyst or a stabilizer. Those
that lose either add the wrong narrative or they remain mute. In other
words, they de-stabilize their own brand.
The Social Catalyst. In social media, great narratives are gold.

They are quickly created from a root brand story and they capitalize on
change, working to help their brand benefit from the new conditions in
the environment. Witness how Zynga responded shortly after hearing
about the incident:
Zynga, maker of Words with Friends, created a campaign to Let Alec
Play.
Baldwin also tweeted out the photo to his nearly 600,000 followers,
along with the hash tag #theresalwaysunited.
The halo effect Zynga received immediately preceding their IPO was
quite positive.
62

Zynga, which plans to sell shares in an initial public
offering, is the biggest maker of games on Facebook Inc.
Still, its less well understood by many of the investors
targeted by its IPO marketing effort, currently underway,
said Michael Pachter, an analyst at Wedbush Securities.
Baldwins American Airlines flap may raise Zyngas profile,
he said.
This is phenomenal for Zynga, said Pachter, whos based in
Los Angeles. The problem for Zynga with investors has been
that the average portfolio manager doesnt relate to their
games. This definitely helps change their perception.(1)
The Social Stabilizer. In social media, great narratives are also

stabilizers. American Airlines was already operating in a difficult
environment; they were in bankruptcy battling rising costs, a declining
economy, and an overall lack of customer satisfaction across the entire
industry. After the incident occurred, American Airlines posted the
following message on Facebook:
(American Airlines dealt with an) extremely vocal customer

(who) slammed the lavatory door so hard, the cockpit crew
heard it and became alarmed, even with the cockpit door
closed and locked (and was) extremely rude to the crew,
calling them inappropriate names.
For American Airlines, the incident acted as a match in a dry forest,

setting off a chain reaction that further destabilized the brand. What
trended in the 48 hours after the incident? #theresalwaysunited.
63
Alec Bald w i ns H o li da y G i ft
In late 2011, Alec Baldwin gave American Airlines a
holiday gift: the seeds of a great story. Every story needs
three things: a character (Alec), a conflict (angry flight
attendant vs. bad-boy comedian armed with Twitter),
and resolution. This last element was up to American
Airlines. How they concluded their story and whether
they chose to zig instead of zag was their decision.
Here are three ways that this widely-publicized
incident could have inspired a compelling narrative:
1. Hire Alec Baldwin as a consultant to oversee the

passenger experience on American Airlines and make
him a spokesperson for the airline. In other words,
convert him into a brand evangelist.
2. Offer free gaming apps for one day in honor of the
passion passengers show for their electronic devices
and as an apology for removing them (for safety
reasons) during flights.
3. License Words with Friends and develop an inflight version that can be played on airline screens.
Let Alec promote it with his Twitter account.
The key to any of these unrealized scenarios, however,

was to act quickly. These windows of opportunity arise
rarely and American Airlines had a unique chance to
squeeze Story Juice from the lemons it created.
64
The rise of social media means that brands enter thousands of new
environments at a lightning-fast pace every day. The key to leveraging
these environments for growth is knowing how to quickly create
a narrative that not only acts as a catalyst or a stabilizer, but also
reinforces the root of a brands story and accelerates brand growth,
loyalty and audience engagement.
Creating narratives that stabilize a situation is as much about finding
opportunities as it is about managing risks. American Airlines could
have launched a powerful narrative in response to Alec Baldwin that
stabilized the environment, while taking advantage of the awareness
the incident created. Done well, the narrative could have built buzz and
renewed loyalty for the brand.
Creating Narratives Built to Spread

Equipping brand stories to spread on their own power is paramount
to growth in todays market. The proliferation of media channels and
platforms makes it nearly impossible for a brand to purchase enough
advertising to successfully pinpoint their consumers. Instead, brands
must strategically plant the seeds of a good story that will quickly
be shared and distributed, either through online communities or in
person.
Creating narratives that

stabilize a situation is
as much about finding
opportunities as
it is about managing risks
The social media landscape has forever changed the way in

which brands must tell narratives and the speed at which they must
be prepared to tell them. We used to push our narratives through a
communication structure that catapulted our messages into the
marketplace like music from a horn. We now live in a world where our
brand narratives have to travel and thrive in a communication structure
that looks like a beehive.
The interconnected nature of the digital landscape creates a hive
where people can work together to bring bits and pieces of stories
and information back to a common area to discuss, share and feed on
others comments. We refer to the stories brought back to the hive as
Story Slices. They are pieces of the larger brand story that, through
65
the use of story principles, forge emotional connections with their

audiences to ensure they remember the stories and pass them along.
Well-crafted Story Slices that spread rapidly through communities
build brand buzz, loyalty and affinity.
While stories are passed along in all forms (writing, speech, drawings,
photographs, etc.) the web is perhaps the most powerful tool for spreading
stories. The web enables people to find others and form connections
based on shared interest, rather than proximity, timing or social status.
People with shared interests can now exchange opinions, ideas and stories
even if they dont know each other and have never met. This creates a
warp-speed distribution scale that marketers budgets could not otherwise
afford. And while this might seem like a blinding glimpse of the obvious,
few marketers understand how to create a story strategy that supports
their social media efforts. Jane Tiltons story demonstrates how a great
narrative can be built to spread. It also shows how entering an ongoing
conversation, whether knowingly or not, can ignite content.
Well-crafted Story Slices

that spread rapidly through
communities build brand
buzz, loyalty and affinity.
66
Jane Tilton takes the

bus to work every day
in Hartford, CT where she works for a large insurance
company. Her bus route never varies, and over the
years, shes gotten to know her fellow bus riders
well. About a year ago, Jane noticed an unusual
sight at her bus stop downtown. She noticed a
young man wearing headphones who was dancing,
joyously oblivious to widespread observation. In fact,
some days he got so caught up in the music that
the bus would depart and leave him engrossed in
his own world. You couldnt hear his music, but he
was so absorbed by it that you could almost hum the
song to yourself. At the very least, it caught Janes
attention and made her smile. Each day at the bus
stop, Jane and her fellow bus riders commented on
the young college student dancing away. And each
day, inevitably, one of the bus riders would comment,
Someone should really film that guy and put it on
YouTube.
Last spring, Jane did just that. She pulled out her
camera and started filming.
Heres what she shot.
http://www.youtube.com/watch?v=qHbzvIvNgTo
For a while, Jane only shared the raw footage with a
few friends. Everyone thought it was interesting, but
they didnt get the same joy from the video that Jane
and her fellow bus passengers had experienced. In
fact, most thought she had simply filmed a street
performer. That got Jane thinking. The beauty of the
story was that this kid was simply a college student
waiting for the bus. He had no intention of being a
performer. He danced to experience the sheer joy of
moving.
Sitting down at her computer, Jane realized that she

needed to put the video in context if it was to speak to
others in the saw way the young man had captivated
her and her fellow passengers:
You know, I guess we (the bus riders) all thought it
so funny partially because there we all were, in suits
and skirts and heels while this kid was dancin away.
Jane set about making her video her first ever
attempt at putting one together. She used titles to put
the film in context, and found music that seemed to
match the movements. While she didnt know if it was
the right music, it synched beautifully. She uploaded
the video to YouTube her first ever upload. She
also showed her husband. His immediate comment
was, You should put it on Reddit. Reddit.com is one
of the many online communities where people share
and comment on videos, images and other content.
Jane was initially doubtful about posting her video to
Reddit but went ahead with the suggestion.
Much to her surprise, Jane watched as her video
began garnering comments and a lively discussion.
The hottest topic, however, focused on one element
of the video the music. Many commenters felt
that clearly Jane had made a huge mistake. Her
music selection was wrong. In fact, they recognized
the dance as part of a Japanese anime sub-culture
comic called Haruhi Suzumiya, which included a
choreographed dance with specific music. Other
viewers, however, defended Janes choice, suggesting
that her selection actually went better than the
original pick. A lively dialogue ensued, some people
were even compelled to make response videos with
the right music, and views climbed.
Within two weeks, not only had www.jest.com and
www.9gag.com picked up the video, but so had
CBS and ABC online affiliates. This little camerashot video garnered nearly a half- million views in
two week. Jane was thrilled that she had joined the
YouTube phenomenon.
67
Janes story demonstrates some of the basic

principles of both Greenlight stories and how to build
a narrative that spreads in the fast-moving social
media channels.
The Bit That Doesnt Fit. Story slices almost always
feature a character. Characters that catch our
attention and capture our emotions typically have
a bit that doesnt fit. In Jane Tiltons example,
Dancin Boy found a way to entertain himself and
bring a bit of joy into an otherwise boring, everyday
activity commuting.
Heightened Juxtaposition. While conflict is essential
to a story, a story slice can be achieved by simply
turning up the juxtaposition. Take, for example, the
viral videos that command millions of views, such as
T-Mobiles Royal Wedding (http://www.youtube.com/
watch?v=Kav0FEhtLug) and eTrades talking baby
(http://www.youtube.com/watch?v=lEXZ2hfD3bU).
The exaggeration or juxtaposition present in both
campaigns not only grabs our attention, but prompts
us to remember the story slice.
Incompleteness. The web is a tool intended to
create interaction. Stories that are produced and
wrapped up in neat packages, like a 30-second
television spot, are a square peg in a round hole on
the web. The internet begs for open doors through
which people can walk, interact and share. In the
dancing boy example above, what generated the
most interest (albeit by a mistake) was the fact that
this was a known dance with prescribed music and
the content producer got it wrong. This sparked a
lively conversation. Doors can be opened with the
opportunity to collaborate, to participate and to help
(think of all the videos which implore viewers to vote
or share for a cause).
Janes story also demonstrates a missed

opportunity, because her story stopped growing
at about 500,000 views. Why? Her simple narrative
entered a foreign environment. Though the video was
shot in Connecticut, it bisected a global phenomenon.
In other words, her story compound entered a foreign
environment the Japanese anime culture. Video
views were driven by the ongoing conversation around
the video, its music and its dance choreography. If
Janes goal had been to generate millions of views,
following the conversation and adding new story
slices through dialogue would have stabilized her
story and helped her brand to grow.
While Janes video is clearly not a brand, it is a
good example of how placing a narrative into the
social media sphere the beehive can often
create opportunities to generate tremendous buzz.
But, we have to understand the environment in
which our story finds itself. American Airlines made
the same mistake when it failed to understand the
new territory into which Alec Baldwin could take the
incident, leaving the company vulnerable to further
damage and misinterpretation.
68
Summary
A brand is like a molecule. It is designed to do something. It is often
thrust into new environments as people carry it throughout the beehive
of social media buzzing about and sharing it with one another. At
some point, the brand story will find itself in an environment that
is either hostile or that represents an opportunity for growth (and
sometimes one that is both).
Understanding how your brand story is constructed through story
strategy equips you to respond to the different and ever-changing
environments your brand story might enter.
Strategic thinking also helps us to create agents, or narratives, that
we can add to an environment and use to get our story back on track,
while preserving our brand equity. In other words, strategy can stabilize
our brand story and help it to grow.
The key to success is continually putting your brand story forward,
finding new environments, and listening to those environments so
you know how and when to add new narratives to the story. Its the
best way to keep a brand alive and spreading throughout the hive. When
a story arose unexpectedly, both Jane Tilton and American Airlines
faced new opportunities. Both stories spread.
Stories today that both spread and drive business results are
firmly planted in the Land of Desire and leverage our emotions. They
are constructed with a strong core story and allow branch narratives to
be created that keep the story alive and growing. Understanding how
that story is constructed is what allows us to continuously feed our
brand and spread our stories.
The key to success is continually putting your brand story forward,
finding new environments, and listening to those environments so you
know how and when to add new narratives to the story.
69
Final Thoughts
As story strategists, we often face quizzical looks and politely delivered
questions like, Why Story? Isnt story kind of a light premise around
which to build a business? Do companies really build an entire
foundation around story?
We get it. Initially, we were intrigued but not convinced. It wasnt
until brain research shed light on the science behind many of the
quantum changes in the marketplace that we came to some powerful
new conclusions.
Brains are hardwired for story structures which means
game-changing results come more quickly.
Stories evoke the emotions necessary to proactively
engage people, spur purchases, activate giving, shape
opinions and form the basis for global movements.
Telling a story forms the basis of most social interactions
which means story slices are the building blocks of
social media currency.
Most importantly for many of our readers, brands built on story

strategy are vibrant, memorable and long lasting, regardless of the
ever-evolving environment.
In todays highly competitive marketplace Brands need Story
Juice to thrive.
GREENLIGH T YOUR BRAND
The future belongs to the storytellers.

Lisa Johnson
Reach Group
72
Story Juice is the missing

ingredient in brand growth.
Got Juice?
1. The brand is on fire. People are buzzing about it,
remixing, telling our story and driving the
momentum in the marketplace.
Yep we got juice.
Nope feeling a bit dry.
2. O
ur leadership is in demand. When our leaders talk about
our brand and company in front of a crowd, people look
forward to hearing us talk. We are sought out by the
press and customers alike to share our successes.
You bet our dancecard is full.
Ummmm..
3. O
ur visibility isnt due to big budgets. Two or three
initiatives are top of mind that best express how the brand
is living out its story. Theyre innovative and groundbreaking
expressions of our deeper story.
Absolutely everybody wants to work
on these projects.
Cant think of any at the moment.
A nsw ered YE S to all of these q uestions? Contact

u s at he llo @re achstoryu.com and sha re yo ur
s to rie s! We re always looking to d rink the juic e.
S to r y Ju ic e Gr eenlig ht yo ur br and
73
Answered NO to one or more of these

questions? Here are 7 ways to cultivate some
juice right now:
1. Excavate the root story and build

story structure into the brand
Excavate the brands DNA and build a story framework on which all
brand actions and narratives will be built. (Remember the loudest
and most authentic way to tell a brand story is through the products
and services offered, visible leadership, and investments in future
projects.)
2. Gather narratives from colleagues and customers that

tell the brand story
Utilizing a consistently-formatted Greenlight story can be a powerful
and simple way to quickly transfer knowledge and build confidence
among colleagues. Memorialize narratives that demonstrate and
visualize the brands DNA and create a library. Use video to capture
the best stories.
3. Greenlight all internal and external communication

Build interactive components to stories that are pushed across
the organization in order to socialize them. For example, if the
platform is digital, have a like button or star rating system and
comment section so employees can add information, ask questions
and interact with these stories.
4. Move from charts and graphs to story-wrapped data

Transforming data, numbers, and bullet points into vivid story-driven
visuals and easy-to-repeat metaphors makes data meaningful and
actionable.
74
5. Train leaders to Greenlight their presentations

Train leaders to be master storytellers that inspire and enroll people
in a common vision. Equip rising stars to use story and metaphor to
create memorable introductions and leave lasting impressions.
6. Greenlight the innovation process with story-driven tools

Work with senior leaders and cross-functional teams to equip them
with tools and techniques designed to accelerate the flow of ideas,
money and results across functions and silos. Use story to socialize
a new idea, align disparate groups and create a consistent brand
vision across the company.
7. Elevate the art of storytelling to a core

skillset in your organization
Relying on teams to create and socialize new products and services
requires storytelling expertise. Investing in training and growing
skillsets is paramount to a story-driven culture.
75
76
77
78
OPENING Story
A story used at the beginning and end
of a presentation that helps prepare the
audience for the material and then brings it
full circle in the closing. The best opening
stories help people to understand the big
picture and connect with a main character
who has faced similar challenges.
79
ENDNO T E S
Chapter 1: The Power of Story
1.
60 Minutes interview with Sean Seale: http://www.

cbsnews.com/video/watch/?id=5914292n
2.
Jessica Hopper, Geoffrey Canada Lifts Up Harlems Students One Block

At A Time, ABC World News with Diane Sawyer, September 24, 2010.
3. Paul Tough, The Harlem Project, The New York Times, June 20, 2004.
4.
Mayor Bloomburg Breaks Ground on the New Promise Academy

Charter School Building and Community Center at the St. Nicholas
Houses, NYC Dept. of Education website: April 6, 2011.
5. Emily Baer, Canada Stresses Value of Education, The Dartmouth, April 26, 2011.
6A. Damasio, A. Descartes Error: Emotion, Reason and the
Human Brain. New York: G. Putnams Sons, 1994.
6B. Greenspan, S., and B. Benderly. The Growth of the Mind and the
Endangered Origins of Intelligence, New York: Addison-Wesley, 1997.
6C. Newquist, H. The Great Brain Book. New York: Scholastic Reference, 2004.
7.

Josh Catone. How Much Data Will Humans Create & Store This
Year (INFOGRAPHIC), Mashable Website: June 27, 2011.
Mashable link: http://mashable.com/2011/06/28/data-infographic/
8. IDC iView. IDC Digital Universe Study Extracting Value from

Chaos, June 2011. Sponsored by EMC Corporation.
The multimedia content can be viewed at: http://www.emc.com/digital_universe.
S to r y Ju ic e EN DNOTES
9.
Geoffrey Canada speaks on education reform, accountability, The

University of Tennessee Chattanooga website, February 18, 2011.
10.
Jonathan B. Spira, Overload! How Too Much Information is

Hazardous to your Organization, New York: Wiley, May 2011.
ENDNO T E S
Chapter 2: Why Story Works
1. Wray Herbert, The Narrative in the Neurons, We Are Only Human Blog, www.
psychologicalscience.org. July 14, 2009.
2. Kendall Haven, Story Proof: The Science Behind the Startling Power of Story, pp. 4,
Westport, CT, 2007.
3. Bransford, J. and A. Brown, eds. The Ideal Problem Solver (2nd ed.) New York: Freeman,
1993.
4.
Pinker, S., The Language Instinct, New York: Perenial Classic, 2000.
5. Daniel McGinn, The King of Thrones: The turbo-flush, hands-free toilet is here! (Wipe
that smile off your face) Wired Magazine, March 2005.
6. Claudia H. Deutsch, American Standard Flushes 24 Golf Balls to Test New Kind of
Toilet, The New York T imes, April 19, 2005.
7.
Pinker, S., How the Mind Works, New York: W.W. Norton, 1997.
8. Bruner, J., Actual Minds, Possible Worlds. Cambridge, MA: Harvard University Press,
1986.
9. Kendall Haven, Story Proof: The Science Behind the Startling Power of Story, pp. 71,
Westport, CT, 2007.
10. Chip and Dan Heath, Switch: How to Change Things When Change is Hard, pp. 7, New
York: Broadway Books, 2010.
11. John Medina, www.brainrules.net Attention, Rule #4: The 10-minute Attention Span.
Chapt er 3 : What Makes a Good Story
1. Heritage, John and David Greatbatch, Generating Applause: A Study of Rhetoric and
Response at Party Political Conferences, American Journal of Sociology, 1986.
2. Chip Heath & Dan Heath, Made to Stick: Why Some Ideas Survive and Others Die, pp.
165-167, New York: Random House, 2008.
3.
Candy Bar From Mars Aims for Women From Venus, NPR: All Things Considered,
May 17, 2009.
http://www.npr.org/templates/story/story.php?storyId=104213954
ENDNO T E S
Chapter 4: What Makes a Good Story

the Right Story for a Brand?
No endnotes
Chapter 5: What the Right Story Can Do for a Brand
1.
Julie K.L. Dam, Cristina Carlinos Philosophy Cosmetics and Creams Seek to Treat
the Surfaceand the Soul, People Magazine, October 18, 1999.
Chapter 6: Stories that Spread
1. Andy Fixmer and Douglas Macmillan, Zynga Gets Publicity Lift From Word GameEngrossed 30 Rock Star Baldwin, Bloomberg, December 07, 2011.
Chapter 7: Greenlight Your Brand
No endnotes
ACKNOWLEDGE M EN T S
We are grateful to David Altschul and Jim

Hardison, two of the brilliant principals
at Portland-OR based Character (www.
characterweb.com) whose insights about
brand story framework and strategy
informed our path. It was from David and
Jim that we first understood the value of
keeping a brands story alive by identifying
the two positive traits that have an inherent
energetic relationship and tension.
We are also thankful for all the stories
and guidance provided by so many friends,
colleagues and clients Dale Bornstein,
Kelley Skoloda, and Robert Burnside at
Ketchum, Liz Braund at The North Face,
Cynthia Amon at W.L. Gore, Nancy Weber at
Meredith, Jodi Sittig, Joey Lekse-LaMotte
S to r y Ju ic e ACKNOW L EDGEMENTS
and Kim Stewart at Nike, Christina Cranley

at Martha Stewart Living Omnimedia,
Pierre Schaeffer at Marketect, Jared Siegel
and Dave Delap at Delap Accounting, Jane
Tilton Kelly, and Pauline Brown at Neo
Capital Private Equity, and of course, Anne
Devereux at LLNS for getting us started.
To Cassie Huck, we are indebted to your
creative vision behind the Land of Desire.
You captured our words in vibrant color
and painted our thoughts brilliantly.
With heartfelt appreciation to
Terry Andrews who has managed
to spin gold out of hay.
To Matt Stevenson (the scientist behind
the molecule) and Cassie Woods,
our own digital natives, many thanks

for your constant encouragement
to push to the cutting edge.
Special thanks to our editors, Cheri
Hanson and Kathleen ONeill two
masterful writers themselves who
understand the power of story and how
to use it. Thank you for your generosity in
advising, revising and editing our work.
And to Peter Caruso II at Prince Lobel
and Amber Carter, many thanks for
keeping the wheels on the machine!
ABOU T REACH GROU P
Reach Group teaches leaders and brand builders

how to harness the power of story to shape beliefs,
change minds and inspire people to action.
Story U is Reach Groups training division.
Our lively, interactive training sessions are
grounded in powerful brain science and equip
you with strategies and practical story-building
tools. We teach story skills through full and
half-day workshops, executive coaching,
and keynotes. Our curriculum is tailored
for business people, including executives
and their teams, sales staff, entrepreneurs,
fundraisers, and change agents of all kinds.
C o n tact us at :
hello@reachstoryu.com
V i s i t us at :
www.reachstoryu.com
S to r y Ju ic e ABOUT REACH GROUP

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Writte n by

Lisa Johnson & Julie Fuoti

Sto ry Juice |'stre joos| (noun)

Storytellers know how to accelerate brand

The Story of Aqua Jogger

(Lisa) Good Morning, AquaJogger. How can I help you?

STORIES MOTIVATE PEOPLE

While the president agreed with Lisas assessment, there was

STORIES SHAPE BELIEFS

Stories dont just work for sm all companies

STORIES ARE MEMORABLE,

What do you see yourself doing after high school?

High school right now. To tell you the

So when you are 21 where will you be?

I dont know if I will be here when I am 21.

Where would you be?

Is that ok with you?

Fast forward to 2009. Anderson Cooper is doing a follow-up interview

When you look back at the way you were back

This is one of hundreds of stories that recount how the Harlem

If your child comes to this school, we will guarantee that we

To deliver on this promise, Canada managed an annual budget of what

Funding for the school building was made possible, in part,

How has Canada achieved the seemingly impossible? He tells stories

STORIES BRING DATA TO

Geoffrey Canada and other leaders like him recognize that

story. It must be memorable. Today, more than a decade later, Geoffrey

1. Capture our attention

inspired the award-winning documentary film Waiting for Superman.

One of the saddest days of my life was when my mother told

Canada inspires us to believe that we, too, might overcome our

His speech was one that reminds me why I go to teach

Story Juice is a book about storytelling and its application in

WHY S T ORY WORK S

Humans are not ideally set up to understand logic.

The Brain Science Behind

To learn how to use

Your Brain on Story

Organizes and simplifies content in a way that provides

Using stories to motivate an audience to buy or act in a certain way is

In short, people act only when they feel something.

Organizing Facts and Data with Story

Long before Tom Dickson asked the viral question Will it

Evoking Emotion & Visualization

Studies show that stories

Building Trust with Story to Inspire Action

People tend to remember

Marry Emotion and Action

The Ele p han t and t he R i d e r

If youre contemplating a change, the Elephant is the one who

The Jungle of Jargon, Data and Options

Stories engage our

In a hospital, finding accurate information quickly versus

Suddenly, we have precise information about the importance of the

its proprietary fabric to revolutionize multiple industries. Adding Gore

WHA T M AKE S A GOOD S T ORY

A film is or should be more like music

Character, Conflict, and the

To learn how to use

S to r y Ju ic e What mak es a g o o d sto r y

While the television series on which Boyle appeared certainly provided

S to r y Ju ic e What mak es a g o o d sto r y

The main character is called the Hero. Ideally, the hero

When we encounter a greenlight story, we witness a change

(Lisa) Good Morning, AquaJogger. How can I help you?

Humans are not ideally set up to understand logic.

Organizes and simplifies content in a way that provides

The main character is called the Hero. Ideally, the hero

The need to connect with one another

I realized the importance of having a story today is

As a financial investor, I always look at the health of the