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Semelhante a Storytelling
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Storytelling
- 1. Club de la Innovación 4 Octubre 2013
- 5. People have been telling each other stories since they gathered around the first campfires. “People don't buy products: They buy stories.”
- 12. HISTORIAS'
- 23. What's a story?
- 24. Why a story to innovate?
- 25. A story is a map for the brain.
- 26. The cathedrals of the Mind! Co-creation and storytelling.
- 27. Cannes, Aicp Next, One Show..... 4 reasons for engaging storytelling...
- 28. ...to recruit the listeners for your mission.
- 29. Let us tell better stories.
- 30. How to tell immersive and participative stories.
- 31. How to tell immersive and participative stories.
- 32. What are your values? What change are you proposing?
- 33. Who is the enemy of your ideas?
- 34. What role you and your organization are playing in the story about innovation? Utopian (Dove) Regular Guy (Ikea) Rebel (Diesel) Magician (Smirnoff) Lover (Alfa Romeo) Expert (CNN) Jester (7Up) Explorer (Jeep) Hero (Nike) Artist (Lego) Caregiver (Volvo) Ruler (Microsoft)
- 35. What's the type of plot that better represents your idea and supports your innovation?
- 36. Overcoming the Monster ! ! The hero has to confront the monster, often armed with some kind of magic weapon. The monster controls a treasure, a prize or a “princess” Examples: The Seven Samurai The longest Day James Bond Star Wars Apple 1984 Phases: The Call Initial Success Confrontation Final Ordeal The Miraculous Escape
- 37. Quest Far away there is some priceless goal, worth any effort to achieve. The hero walks the journey to reach the prize. Examples: Lord of the Rings Odissey Raiders of the Lost Ark Finding Nemo Lexus Mastercard Phases: The call The journey, the perils, the temptations. Arrive and frustration The final ordeal The goal
- 38. Journey and Return The hero travels to an unfamiliar world, learns new values and comes back changed. Examples: The Wizard of Oz Alice in Wonderland The Time Machine Peter Pan Robinson Crusoe Expedia, Corona Phases: The anticipation The fall into another world The frustration The change process The return
- 39. Rebirth The hero falls under a dark spell which traps him for a long time. An act of redemption: A new character liberates the hero. Examples: It's a Wonderful Life Sleeping Beauty Beauty and the Beast A Christmas Carol Gatorade “Replay” Prudential “Day One” Phases: Under the shadow The threat recedes The threat returns The dark power triumphant Miraculous redemption
- 40. Rags to Riches. The hero emerges from the shadow towards the light. The hero reaches an elevate state without changing his essential character. Examples: Cinderella King Arthur Fair Lady David Copperfield Chrysler Phases: The initial stage and the call Into the world and initial success Central crisis The final test Fulfillment
- 41. Alternate Reality It answers "what if" questions and explore certain historical events did not happen or had a different outcome Examples: World without Oil Ready for the Big Chill Phases: The call The journey Frustration and learning The final ordeal The resolution
- 42. Transmedia narratives create spaces in which many storylines and characters can coexist. We call these spaces “Cathedrals of the Mind”. Can your story and the fantasies of the participants live together in this World?
- 43. Stories are facts wrapped in emotions. Define the human behaviors, desires, fears and dreams that make the World you described appealing to the recipients? Facing the unknown Epic changes Self esteem Love Safety Belonging Recognition Leadership Freedom
- 44. Define the human values that make the World you described meaningful to the recipients? Sex Status Beauty Justice Truth Creativity Generosity Vocation Innovation
- 45. Communities of members who share common values are key to develop strong transmedia narratives. What communities do you want to engage? What common interests or passions are their cohesion elements?
- 46. Transmedia stories are participative: The listener is the hero of the story! What king of hero should he or she be? The archetypes!!!! Lonely Hero Regular Guy Rebel Magician Lover Expert Pioneer Mentor Rebel Visionary Adventurer Worrier Jester Explorer Utopian Artist Caregiver Ruler
- 47. Who is the [fictional] protagonist of the story? Lonely Hero Regular Guy Rebel Magician Lover Expert Pioneer Mentor Rebel Visionary Adventurer Worrier Jester Explorer Utopian Artist Caregiver Ruler
- 48. What additional [fictional] supporting characters should surround the protagonist? Could Luke Skywalker's story have been told without Obi Wan Kenobi and Han Solo? Sidekick Lone hero Mentor Foul/Clown Friend Guru Lover Admirer Father Businessman Protector Artist King Woman's man Investigator Pessimist Joker Jester Heroine Amazon Nurturer Caregiver Mother Mystic Maiden Princess in peril Angel
- 49. What additional [fictional] antagonist characters should surround the protagonist? Could Robin Hood's story have been told without the The Sheriff of Nottingham? Dark Knight Betrayer Spy Challenger Bully Spoiler Saboteur BurglarAdd here Trickster Thief Tyrant Destroyer Outcast Vampire Seductress Stepmother Temptress Nemesis
- 50. What's the story arc? How do the characters change throughout the story? 1) Ordinary world 2) Call to adventure 3) Leaving the comfort zone 4) Meeting the Mentor 5) The irresistible change 6) Refusal of the call 7) Crossing the threshold 8) Tests 9) Allies and enemies 10) Approaching the dragon's den 11) The ordeal 12) Seizing the treasure 13) Achieving the goal 14) The road back 15) A new person 16) Share the Treasure
- 51. What additional stories or sub-plots can be added to the main one? Presequel Back story Parallel story Spin-off Flask back Flash forward Antagonist plot Secondary character plot Dream
- 52. Remember that transmedia narratives blur the line between reality and fiction. What percentage of both does comform your storyworld? 50/50 100% Fiction 100% Reality
- 53. What structure do you have in mind for your storyworld? Linear/Sequential Episodic Divergent Convergent Epistolary First-person Diary Branching Multilayered Hub Narrative Story-within-a-story Random
- 54. What type of participation is going to be embedded into your narrative? Interact with the characters Co-create the storyline Change the timeline of the narrative Change the outlook of the story Create new characters Take control on one of the characters Share ideas Help solving problems Help solving mysteries Create communities
- 55. What types of interactivity you are willing to offer the followers of your narrative? Internal The participants acts as a member of a virtual world (at times through an avatar) Exploratory The participant can move freely around the virtual world without having any impact on it. Discretional The participant can make decisions that impact the virtual world.
- 56. What participation tools are you going to create? Idea communities Story platforms Wisdom of Crowds Pages Groups LinkedIn Group Instagram Pinterest Wiki Blog
- 57. What types of mechanics that are usually applied to games can be embedded into the narrative? Challenges Help the characters Solve a mystery Find a clue Create a community Attend an event Take a photo Find a location Rewards Status Levels Social connections Leaderboards Prizes Points Badges
- 58. What types of content will be the storyline composed of? Main Content The main story or stories Para-content Promos, trailers, teasers, etc. Content that attract the participants to the main content Hyper-content Back stories, parallel stories, flask backs, etc. Content that allows the participants to dip deeper into the narrative.
- 59. Transmedia stories use ar least 3 media and everyone of them at its best. What media are you going to use? TV Radio Theater Magazines Billboards Mobile Events Publishing Comic-books Internet Social Media Facebook Twitter Pinterest Instagram Youtube Vimeo Foursquare
- 60. So?
- 61. So?
- 62. Our stories will be free to sail on their own....
- 63. ..grow in all directions...
- 64. …generate large communities of followers.
- 65. Stories we will be proud of.