s

Smart Guide to

6 Storytelling
Methods For
Leaders and
Salespeople
IMPORTANT NOTE:

You will not be able to interact with this book if you

downloaded it as a pdf. To participate in the exercises,

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CO P Y R I G H T

Copyright © 2016 Story-Lab

All Rights Reserved.
No part of this publication may be reproduced,
stored in a retrieval system, or transmitted, in any form or in any means
– by electronic, mechanical, photocopying, recording or otherwise
– without prior written permission.
“ Scratch the surface
in the boardroom, and
we are all just
cavemen with a
briefcase, hungry for
a wise man to tell us
stories. Alan Kay
CO N T E N T S

Chapter ONE
WHY STORYTELLING? 6

Chapter TWO
WHAT IS A STORY? 13

Chapter THREE
6 STORYTELLING TECHNIQUES YOU CAN USE
IN YOUR NEXT PRESENTATION. 18

FREQUENTLY ASKED QUESTIONS 27

FINAL THOUGHTS 28

For even more help on how storytelling

can help you become a more credible, trustworthy
and engagng speaker, leader or salesperson, visit
the Story-Lab.

4
1Chapter ONE

Why
Storytelling?

www.website.com
 WHY STORYTELLING?

If you were told you that storytelling can assist

managers in becoming the leaders others want to
follow, make companies a place where people like
to work and help salespeople gain the trust and
confidence of their prospects, you might wonder why
more companies aren‘t making it a standard practice.

But many companies are. Companies like

Microsoft, IBM, Boeing, Nike, Coca Cola, Bayer,
SAP and many others are training their people to
capitalize on the ways storytelling can influence,
motivate and inspire others in business settings.

See for yourself. On the following pages is a two-

part exercise. The purpose of this exercise is to show
how storytelling works. It is highly recommended that

“
you take a few minutes to go through this exercise
before reading about some of the ways you can put The story is a machine
storytelling to work right away. for empathy. In contrast
to logic or reason, a
story is about emotion
that gets staged over a
sequence of moments,
so you empathize with
the characters.

Ira Glass

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EXERCISE: PART 1

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HERE ARE THE ANSWERS

How many were you able to recall?

8
EXERCISE: PART 2

9
 1. What is the daughter’s
name? Alice
2. What did she want for
the longest time?
A pony
3. What birthday did she
just celebrate?
10th
4. What did she name
her new pet?
Whitey
5. Why did she give it that
name?
White tail and mane
6. Where was she taken
yesterday?
The Barn
7 .What was the first thing her
father noticed?
The familiar smell
8. What did he once do?
Ride competitively
9.Where was he sitting while
watching his daughter?
In his wheelchair
10. What was he
praying for ?
Alice wouldn’t
have a similar accident

How many questions did you answer correctly?

10

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 HERE’S WHAT HAPPENED

If you’re like most who have participated in this exercise, you scored higher on
Part 2 than Part 1. Here’s why:

When each word in Part 1 was shown to you, two areas of your brain lit up. These
are called the Broca and the Weincke Areas,respectively. Together, these parts of
your brain serve as your word and symbol repository.
In effect, the Broca and Weincke Areas store meanings
you have learned to associate with language and
symbols. Had you been unfamiliar with the words
and pictures shown in Part 1, they would have been
meaningless. The same is true had these two areas of
your brain been damaged.

The Broca and Weincke Areas of your brain also went

to work helping you decode the words in the story you
read in Part 2 of this exercise. However, other areas
of your brain joined in to help you understand what was taking place. Additional brain
activity was enlisted in order to help you envision what was being described. Furthermore,
what you visualized was entirely determined from meanings you have come to associate
with certain words. For you, the concept of a “white horse” might call up visions of a large
white stallion. Someone else might have seen a small white pony. This is why we say that
stories are “co-created.” They depend on what is depicted by the author and how that
depiction is interpreted by its audience.

Written and oral stories require our brains to become highly engaged with their content.
This results in greater recall. That said, some stories are more engaging than others. On
the next few pages, you‘ll see what you can do to maximize audience engagement.

11

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 THE POWER OF EMOTION

Mental pictures facilitate memory for all
the reasons previously stated. However,
memory can be further enhanced when
emotions are triggered. Specifically, stories
that cause us to feel happy, sad, mad, or
surprised have been shown to dramatically
increase recall. Without the surprise ending
of the story in Part 2, for instance, it is likely
that you would have had some difficulty
remembering many of the details.
to construct stories. In the meantime, just
be aware that producing an emotional
response from your audience is a powerful
way to get your story remembered long
after you leave the room.
Think about this the next time you start to
fill up your presentation with bullet-pointed
facts. These may help you to inform your

This is an important lesson to keep in audience. But they will do llitle to help them
mind when giving a presentation. If you remember it.
are wanting to make an important point
you want remembered, the best way to

“
accomplish this is through a story that
They will forget what you
evokes an emotional response. When
said. They will forget what
presenting research findngs, for instance,
you did. But they will never
instead of just showing the results, you
forget the way you made
might start out with a story about what you
them feel.
expected to discover. Then, conclude with
findings that will surprise your audience.
Maya Angelou
In Chapter 2, you‘ll learn more about how

12
 THE POWER OF IMPLICITY

Another benefit of storytelling is what we refer to as the power of implicity.

What words would you use to describe the father in the previous exercise?
Was he kind, protective, smart, caring, or was he someone who should know
better than to start his daughter down a dangerous path?

Stories do more than describe events. They also imply information about
the person telling the story. The choice of words, phrasing, delivery, and the
type of story being told will say volumes about the storyteller. This could
be problematic in the case of someone who rambles on or tells an off-color
joke in the company of people likely to be offended. However, if aproached
strategically, the power of implicity can work to your advantage. Stories can
allow you to leave important positive clues about who you are as a person.
In Chapter 3, you will see how you can apply this strategy using the H.I.G.H
formula.

There’s a whole lot more that neuroscience is discovering about the power
of stories, and plenty of searchable resources on the subject. At the very least,
the two exercises in which you just participated should start to explain how
certain story principles can help you communicate more effectively and in
ways that will make your messages stick.

“
Storytelling reveals meaning by not
committing the error of defining it.

Hannah Arendt
13

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2Chapter TWO

What Is A
Story?
www.website.com
 WHAT IS A STORY?

Read the paragraph below and ask yourself if this is what you would call a
story.

We had a problem with our whole purchasing

process. I was convinced that a great deal of money
was being wasted, and that it would con;nue to be
wasted – that we didn’t even know how much money
was being thrown away. I thought we had an
opportunity to drive down purchasing costs, not by 2
per cent, but by something in the order of $1 billion
over the next five years. A change this big meant a
big shiE in the process. This would not be possible,
however, unless many people, especially those in top
management, saw the opportunity, which for the
most part they did not. So nothing was happening.

If you answered “no,” you are correct. If you answered “yes,” you are not
alone. It is a common mistake. See why on the next page.

15

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 WHAT IS A STORY?

There are many different ways to define what a story is and how it differs from a statement
of fact, opinion, or assertion. However, common across most definitions is that a story
recounts some moment in time that helps us mentally see something that
happened. Based on this description, here is why the example on the previous page is not
a story:

• The moment in time is non-descript. In the line, the teller says “we had a problem.”
You are no doubt familiar with the classic story opening, “Once upon a time". We strongly
advise against using this as a way to start any story in a business setting. Nevertheless, if
what you are talking about or listening to does not recount a specific moment in time, it is
not a story. "Two years ago,“ “On December 7, 1941,“ or "When I was in grade school,“ all
provide identifiable time markers necessary to constitute a story.

• Read the paragraph on the previous page again. Were you able to visualize anything?
Stories, in order to be stories, must engage the theatre of our minds. Unless your audience
can see something happening, you are probably providing them with a statement, opinion
or fact. Recall from the exercises in Chapter 1, the reason for telling stories is to engage
multiple areas of the brain so as to engage the listener and enhance memorability.

16

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The Different Types of Stories

“
History is finite.
If you‘re looking for a book on Amazon
There's only so much
you will find stories classified by their
genres: adventure stories, science fiction, you can learn about
fantasy, mystery, horror, romance, historical a six-block historic
fiction, true stories etc. But for business district in New York
storytelling, story genres are far less city.
important than story types.

Shawn Callahan, author of Stories At Kat Georges

Work, shows how all stories can be typed
along a continuum. On one end are what
he refers to as "Little-s" stories.” At
the opposite end are "Big-S" stories.”
Turn to the next page to get a better
understanding of how these types differ
and which are more appropriate to use in
business business situations.

“Li$le -s” Stories “Big-S” Stories

Anecdotes Legends
Examples Epics
Recounts Novels
Fairytales

17
 BIG-S VS. LITTLE-s STORIES

Big-S stories are usually stories

we attend to voluntarily. We‘ll even
pay admission to hear or see them
performed. In return, we expect them to
provide some form of entertainment.
"Big-S" storytellers apply plot
On the other hand, Little-s stories are structure, character development,
not sought for enjoyment. Instead they beats, scene design and myriad
they are provided, often unexpectedly, by other storytelling principles and
a speaker who uses them to exemplify or practices like those discussed in
elucidate a point being made.
Robert McKee’s fabulous book
Story: Substance, Structure, Style,
This is a very important distinction
to be aware of when considering the and the Principles of Screenwriting.
use of stories in a business context. However, businesspeople don’t need
We can learn a great deal about to be screenwriters or novelists.
storytelling from the way Big-S stories In fact, applying too much craft in
are structured and delivered. However, communicating with stories can lead
in a business presentation or meeting, you into a big trap.”
the closer we come to telling a Big-S
story, the more likely we fall prey to losing
or turning off our audience. Simply put, Shawn Callahan, Putting Stories To
there is a place for Big-S storytelling but
Work
it's not in a business meeting. Once you
are seen as someone trying too hard to
entertain your audience, credibility will be
lost and very difficult to regain.

18

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3 Chapter THREE

6 Ways To Use
Storytelling In
Your Next
Presentation
www.website.com
6 Ways To Use Storytelling In Your Next Presentation
In this chapter, you will be introduced to just some of the ways Little-s stories can
be used to accomplish various objectives in a business setting. This is just a small
sampling of tips, techniques and patterns that can turn any presentation from
Blah to Bravo. If you can apply what is outlined here, you will immediately start
benefiting from the communicative powers of storytelling.

Don't Use The "Then, Humorous

The "S" Word Now and Dialogue
How"
Formula

Start The 2+2 Metaphors

H.I.G.H. Formula

20

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 Avoid The "S" Word*
1
You‘ll find that there
aren‘t many so-called
"rules" when it comes
to storytelling. However,
there is one that is very
important and should be
followed religiously: Don‘t
use the "S" word.
Don‘t use the "S" word
is short-hand for don‘t
start any story by
announcing you‘re
going to tell a story.
In business settings,
people will resist being
pushed into hearing
anything you want them
to hear. Instead, they
have to be pulled in.
So, instead of forcing a
story on your audience,
start with an opening that
promises a benefit for
listening.
Here are just 2 suggestions
for how to do just that:
1. Start with a question,
"Have you ever....?", "Do
you have....?" or "When
was the last time you...?"
are also good starter
questions that can set up
a story you‘d like to tell.
Right away, questions
can hook your audience
into wondering what
you‘re going to say next.
For example,“Have you
ever read your entire
homeowner‘s insurance
policy? If you haven’t, I
suggest you
do. A month ago, our
basement was flooded and
....”
At this point, your audience
will want to know what
happened.
21
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2. Start by specifying an
exact moment in time
For example,"Ten years
ago, my company learned
a very valuable lesson
about customer service,"
or "October 10,1999 is a
day I will never forget."
Much like starting with
a question, beginning
with a time marker
intrigues your audience
into wondering,"What
happened next?"
Simply remember to give
your audience a reason
they’ll want to listen to
your story before launching
into one. You’ll get a much
more favorable reaction
pulling people into what
you’re going to tell them
than you will by suggesting
they should listen.
*Source: Shawn Callahan,
Stories At Work
 The "Then,Now, And How"
Formula
2
The Then, Now and How
Formula is a way to put the
“Wow!” in case histories that
simply tell prospects how a
given problem was solved.
Here’s how to use it:
First, describe the problem
that you were faced with.
Really emphasize the
challenges that were present
- the more challenges, the
better. Then, instead of
immediately telling your
audience how you solved
this problem, cut to the
happy ending. Describe all
the wonderful things that
occured as a result of finally
solving the problem. This
will create tension as your
audience begins to wonder
how you did what you did.
Once Set
Set your story up this way
and all eyes will be upon you
as you explain what you did
to turn things around.
For example, let‘s say you
are trying to show your
prospect how you can solve
their employee turnover
problem. Here’s how to
apply the Then, Now and
How Formula:
Then: "Like you, Acme Inc.
was having an employee
turnover problem. They
were losing employees
almost twice as fast as
their nearest competitor. In
fact, they had the highest
employee turnover rate in
their category. As I’m sure
you know from your own
experience with employee
turnover, this problem
can cost a great deal of
money in recruiting fees
and downtime. It can also
negatively affect employee
morale.
22
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(Note: The more your
prospect can identify with a
similar problem, the better).
Now: When we started
working wth Acme, they
were turning over their
30-person staff 1 1/2 times
a year. Last year, they lost
only 3 people. And they
were nominated by Crain’s
as one of the best places to
work in Chicago.
How: This is how we helped
Acme achieve this result.
(Here is where you outline
how you implemented your
program).
Follow this formula and
you’re bound to see changes
in the way your audience
reacts to your case histories.
 Humorous Dialogue
3
Too often, speakers try
to get audiences laughing
by telling canned jokes or
delivering overly rehearsed
one-liners. Unless the
speaker is a trained
comedian, the results can be
disastrous. As a general rule,
audiences become annoyed
by speakers who try too hard
to be funny.
If you watched any of the
Presidential debates, you
might have seen Senator
Rubio hold up a bottle of
water while saying “I made
sure to bring water this time.”
Rubio was referring back to
the time he embarrassed
himself by reaching off
camera for a bottle of
water in the middle of a
nationally televised rebuttal
to President Obama‘s State
of the Union address. This
could have been funny had it
been seen as a spontaneous
crack. However, it was plain
to see this was staged and
overly rehearsed. I’m not
sure what was harder to
watch, Rubio’s cumbersome
reach for water or his joke
that didn’t get a laugh.
If you‘re looking for
humor, the best place to
find it is within the stories
you tell. More specifically,
it can usually be found
within the dialogue of a true
personal anecdote. Consider
this example,for instance:
“I started out working fo
a pretty tough boss. He
watched over everything
I did and was quick to
criticize. One day, he
told me that he’d like to
stop correcting me. "Go
ahead! You have my full
permission," I said.
This may not generate a
guffaw, but it’s easier to
deliver and will be far more
23
welcomed than a canned
joke, especially in a business
setting.
Furthermore, when it comes
to getting a laugh, finding
humor in dialogue is relatively
risk-free. Everybody knows
jokes or one-liners are told
to make people laugh. But
nobody knows whether a line
delivered through dialogue
is told to make people laugh
or because it is integral to
the story. If your audience
laughs, great.
If they don‘t, nothing is lost.
“
If you try to be funny,
you are not being
funny.
John Gordon Sincliar

4
When leaders and
salespeople introduce
themselves to a new
audience, they typically
provide their background
credentials. The “How I
Got Here" (H.IG.H.) story
method will allow you to
do the same thing, but in
a way that provides your
audience with a reward for
listening. Use the H.I.G.H.
story method and you
will quickly establish the
credibility you want. In
addition, you’ll also build
the trust you need.
Instead of providing a
chronological summary
of your background, the
H.I.G.H. story method
presents your audience
with a story that reveals
something important about
you as a person.
Start H.I.G.H.
When I introduce myself It’s been said that the
at our Storyteling For closest distance between
Leaders workshops, for two people is a story.
instance, I might interject Telling your audience about
something that reveals a your education and your
personal vulnerability or a career achievements might
disappointment. raise your stature. But
raise it too high and you’ll
For instance, while telling become unreachable.
my audience about the
awards my book has won, The H.I.G.H approach
I’ll also tell them that I was to explaining your
once a hare’s breadth background helps people
away from flunking out of identify with you as a
college. As a freshman, person beyond your
I couldn’t string two credentials. Additionally,
sentences together to your story just might inspire
create a coherent thought. someone.
Needless to say, I would
go into full panic mode
whenever I would hear
the words,“essay test.”
I then explain that had it
not been for a dear friend
who voluntarily tutored me
every night for two months,
I wouldn’t be where I am
today. Many years later, I
still consider this person
to be one of my very best
friends.
24

5
This is a formula gleaned
from a Ted Talk, entitled
The Clues To A Great Story
given by Pixar’s Andrew
Stanton, the creator of
Finding Nemo and Wall-E.
Look it up on YouTube
when you get a chance.
The basic concept, as
Stanton explains it, is
that audiences don’t like
to be told the answer
to 2+2. Rather, he said,
"They like to discover the
answer themselves." In
other words, don’t go
overboard trying to explain
the meaning behind your
story. Leave it up to your
audience to figure it out.
The 2+2 Formula
The 2+2 Formula really
underscores one of the
fundamental reasons why
stories are more interesting
than factual explanations.
People prefer to draw their
own conclusions rather
than have them explicitly
revealed. Consider the
person who explains the
punch-line of a joke.
This formula runs contrary
to the presentation
maxim,"Tell them what
you‘re going to tell them,
tell them, then tell them
what you told them.“ A
more engaging way to
involve your audience is to
"Show them and then shut
up.“ Give your audience
the paint, the brush and
the canvas and let them
do the painting.
25
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6
Included here are
metaphors, similes
and analogies. For our
purposes, it is not as
important to know the
structural difference
between these three
figures of speech as it is to
know that they all make an
abstract concept easier to
comprehend. I lump them
together under the heading
“Metaphors,” but whatever
the form, they will draw on
what your listeners already
know to help them better
understand what they
don’t.
Consider the following
comparison used to
describe a company: “We
started out as the Toyota of
our industry. We
Metaphors
have since evolved into a
Lexus.” This comparison
provides a quick
description of the person‘s
company while begging
the question, "How?“
Need a way to explain
quality control? You might
say you‘re like the guy who
looks for the penny in a
pile of dimes. Looking for
a simple way to explain
your work in R&D? Maybe
you‘re like the company’s
taste tester. What’s more
explanatory? “I‘m in
marketing,“ or "I‘m like a
GPS that helps my clients
find a better route to
gaining market share.“
Once, I asked an
accountant how likely it
would be for a certain
deduction to trigger an
IRS audit. He could have
answered by telling me
that the risk was high. But
instead he said, "Let me
put it this way. Taking that
deduction would be like
26
walking into a lion‘s den
wearing a pork chop suit.“
There was no missing his
point!
Story purists argue that
since comparisons do
not describe something
that happened in time
and space, they really
aren‘t stories.True, but like
stories, they conjure up
mental images, simplify the
complex and wrap facts in
something that generates
an emotional reaction. In
this way, metaphors are
like quasi-stories. For this
reason alone, they ought
to be included in anyone‘s
storytelling repertoire.
Coming up with the
right comparison can be
challenging, however.
On the next page is
one method you can
use to arrive at a good
comparision when you’re
stuck.
The This = That method for crea-ng comparisons
1.  Create two columns on a sheet of paper.
2. In the le; column write down all the things you do or
your product does.
3 In the right column, write down people, places or things
that do something similar.
4. Don’t edit anything in the right column. Merely free-
associate as many comparisons as you can with specific
ac-ons that you or your product performs.
5. Sooner or later you are bound to find a comparison that
is original and visually describes who you are or what you
do.

27

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 Frequently Asked Questions

I‘m not really a storyteller. Doesn‘t it take a special

Q kind of talent?
No. We are hardwired to organize our thoughts in terms of stories.
Furthermore, storytelling is a very natural way of speaking. The only thing you need to
be a storyteller is a birth certificate. Unfortunately, however,when it comes to business
presentations, we avoid telling stories. Instead, we often rely solely on facts and ard
data. That said, there are specialized storytelling techniques that are most appropriate
for business settings and these must be learned and practiced over time.

My audience usually consists of people that make

Q decisions on the basis of facts and hard data. How is
storytelling going to improve my presentations?
One of the biggest benefits of storytelling is that it wraps facts in a context that
generates an emotional response. Not every fact should be presented through a story.
However, knowing how and when to use stories can enhance any presentation, even
those that are given to data-oriented audiences.

Where can I learn more about how to use storytelling

Q in business settings?
We highly recommend the book, Putting Stories To Work, written by Shawn
Callahan, the CEO of Anecdote,the world‘s largest busines storytelling organization,
with headquarters in Melbourne,Austrailia. If your team would like to participate in a
workshop designed around the principles in this book, visit www.story-lab.net Story-Lab is
a U.S. affliate of Anecdote

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 FINAL WORDS
This e-book provides a small sample of what we teach
during Story-Lab Workshops.

THREE COURSES ARE AVAILABLE:

Contact Us Now (click on appropriate heading for more info)
Story-Lab
Chicago, Illinois
STORYTELLING FOR LEADERS
Storytelling For Leaders is a communications workshop for
management teams. At Story-Lab, using specific storytelling
techniques, managers learn how to better influence, inspire
312-545-4903 and motivate others.
jims@story-lab.net

www.story-lab.net
STORYTELLING FOR SALES
Storytelling for Sales is an intensive program for sales teams.
During this workshop, sales teams are given hands-on
practice using storytelling techniques that engage prospects
from first call to close.
Connect With Us
STORYBRANDIING
https://www.facebook. StoryBranding workshops help management teams create
com/jimsig/
their brand’s most compelling story. Business Storytelling
@jimsignorelli Workshops are developed and implemented by Jim Signorelli,
internationally acclaimed author and originator of the
StoryBranding Model.
https://www.linkedin.com/
in/jimsignorelli

Not sure?
Sign up for a trial workshop to
see if any of these workshops
are right for your team. Visit:
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Hire Jim Signorelli To Speak At Your Next Event

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and techniques, sign up for
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S
Smart Guide to

Storytelling
For Leaders
And
Salespeople
www.story-lab.net