When we create content, we don't want it to be just that - CONTENT. We want all the pieces and bits to make a story. A one that is exciting and interesting to follow. So let's make sure it becomes that by checking if we have the right ingredients.

1. storytelling toolwhat to consider when working on a content project

2. storytelling toolwhat to consider when working on a content project
THE HOW, THE WHO AND THE WHAT

3. storytelling toolwhat to consider when working on a content project
THE HOW, THE WHO AND THE WHAT
ACTIONABLE CHECKLIST
BEFORE TO MAKE SURE
YOU THOUGTH OF
EVERYTHING

5. THE READER THE STORYTELLER
STORY TIME: who controls the story time, i. e. the time when
the story can be experienced?
CHOICE: who controls the choices within the story?
PLACE: who picks where the story is going to unfold?
LENGTH: who decides what is the length of the episode or the
whole story?
where lies the control of different story elements?

7. THE HERO
THE OPPONENT
OBJECT
is someone who tries to get
something or achieve a certain goal
the hero is most easily defined when juxtaposed to
some external forces (like time) or other character
seeking the same object
there is no conflict if there is
nothing to seek or to gain – we
need an object that holds a
specific value within the story
world and for the hero and
opponents (like the one ring to
rule them all)

9. 1st DRAMATIC ARCH
2nd DRAMATIC ARCH
drama builds when you increase the odds – every time you
increase the odds, the viewer or listener is more and more
unsure of the outcome. Doubt is a storytelling weapon.

10. 1st DRAMATIC ARCH
2nd DRAMATIC ARCH
drama builds when you increase the odds – every time you
increase the odds, the viewer or listener is more and more
unsure of the outcome. Doubt is a storytelling weapon.
build the tension gradually and
remember that a loss that occurs early
in the narrative only increases the
tension later
the rule is simple: the next conflict has
to be bigger than the previous – end
with a bang not a whimper

12. REVEAL
EXPOSE
INTERFERE
HIDE
stories are not about telling, but about hiding something till the right moment – the imbalance of
knowledge between the storyteller and the listener is what drives the story. Where are different
strategies to managing information

13. REVEAL
EXPOSE
INTERFERE
HIDE
you might hint at the fact that the
information is there, but not allow
to see it fully
you can choose to expose the
information, i. e. disclose the end
of the story
you could omit crucial information
altogether without anyone
suspecting that it exists
you would be able to show the
information indirectly, through
other story cues

15. good vs evil
effort vs inaction
known vs unknown
obscurity vs success
corruption vs purity
going from one state to another or the essential conflict between the two states
gives the backbone to the story and makes it relatable and understandable

17. remember that redundancy is a sin in a story – use the channels in such
a way that they would contribute but not duplicate each other – sort out
what information is being presented in which channel and how the
overall narrative becomes more that the sum of its parts
VS

19. THE BEGINNING OF
THE STORY
BACKWARD
FORWARD
stories don’t just move forward – they can jump back and forth.
A story unfolds in both directions, into the future as much as
into the past.

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