PRAISE FOR BRAND STORYTELLING

Miri Rodriguez’s Brand Storytelling is an engaging and insightful must-read

for all digital marketers and storytellers. Plenty of ah-ha moments for
brand storytellers seeking to infuse their communication strategies and
tactics with empathy and vulnerability that will resonate with their
customers, but in the most authentic, emotional, and immersive way
possible. Brand Storytelling provides an essential journey for brand
storytellers that truly does put the customer at the heart of the story.
Michael Raymond, Senior Writer, The Walt Disney Company

Miri Rodriguez’s Brand Storytelling is bound to serve as an essential

practical guide for anyone seeking to harness the power of the brand
journalism movement that has revolutionized communications over the
past decade. Whether it’s benchmarking, waving the ‘magic wand of
vulnerability or amassing an army of storytellers, Rodriguez’s methods will
electrify the town square of any organization. And who better to guide us
than an influencer with an international reputation in the field of
storytelling?
Mark Ragan, Chairman and Owner, Ragan Communications and PR Daily

Miri Rodriguez’s demonstrated experience in the technology industry, with

a marketing and multicultural background, plus her personal and
professional experience, have positioned her as an authority in the
storytelling field. With this gift to the world, she inspires us to be the best,
by being story designers driven by the power of empathy, vulnerability and
authenticity. A must-read for generations to come. Having spent quality
time over the past five years, reading, researching, trying, failing, executing,
teaching and successfully creating a Visual Storytelling Studio, I can tell
you with no doubts in my mind that Rodriguez has created a masterpiece
with a profound, delicate and fascinating equilibrium. This book is for
readers of all ages, in any industry, for any role, for entrepreneurs and
readers of all ages, in any industry, for any role, for entrepreneurs and
business leaders, students and anyone interested in using a guide to
understand, value and apply the power of storytelling to awaken and
inspire emotions and transform them into meaningful actions.
Dieter Avella, General Manager, Zebra Technologies

Storytelling is the foundation of all communication, but is often

overlooked. Miri Rodriguez is not only one of the best storytellers out
there, but is also able to give practical, reliable, easy-to-implement advice
for the real world. Well worth the read.
Craig Stilwell, EVP and GM of Consumer and Small to Medium Business,
OpenText

Rodriguez’s insights and advice on brand storytelling are critically relevant

for both public and private sector organizations alike to survive, succeed,
and stand out in a crowded social media landscape of noise and
distractions.
Chris Hsiung, Deputy Police Chief and social media influencer

We know how important storytelling is – it captures the hearts and minds

of your consumer in a way that no other type of marketing can. After
seeing Rodriguez’s dynamic presentation about brand storytelling at my
conference in Sydney, I could not wait to read her book. And Rodriguez
does not disappoint. She delivers so much valuable content. Rodriguez
helps you to discover your story and provides a template to help you craft
it and share it with the world. It is a must read for every business.
Mireille Ryan, CEO of the Social Media Marketing Institute and award-
winning entrepreneur
 Brand Storytelling
Put customers at the heart of your brand story

Miri Rodriguez
For Luis, Alex and Isaiah – you are my best story.
And to all of you storytellers daring to find stories
and the courage to tell them.
CONTENTS

List of contributors
About the author
Foreword
Preface
Acknowledgements
List of figures
List of tables
Introduction: The science and art of storytelling
1 Brand storytelling: What is it?
The power of storytelling
Your brand mission and the story arc
2 Where do I start?
The Robin to Batman effect
Design thinking applied to storytelling
Finding your story’s universal truth
3 The magic (and magic tricks) in storytelling
Magic trick 1: Don’t just define your story
setting. Find it
Magic trick 2: Visual elements are not a nice-to-
have; they are a must-have
Magic trick 3: Sape your brand assets to help
you tell the story
Magic trick 4: Keep your conclusion
inconclusive
4 IMC Reimagined: Building an integrated marketing plan
with story
Incorporating brand storytelling into your IMC
 plan
Reimagining the brand message
Resetting your goals
Identifying your design (not just target)
audience
Measuring success
5 The brand story hero: Put your customers at the heart
of your brand story
Non-obvious trends in customer-centricity
Steps to unveiling your brand story hero
6 If story is magic, vulnerability is the magic wand
Vulnerability in storytelling
Waving the magic wand
7 Ethics in storytelling: When to use your secret weapon
The importance of ethics in storytelling
Ethical perspectives
8 Immersive storytelling: Exploring the story experience
What is immersive storytelling?
Immersive storytelling trends
9 Your best brand storytellers: Employees and influencers
Building a storytelling army
Designing the story persona
Employees and influencers: The good, the bad
and the ugly
10 Marketing (actually, testing) your brand story
Defining key assumptions
Story concept testing ground rules
11 Benchmarking your brand story
Main indicators for benchmarking story
 Leveraging existing metrics
12 Villains and antagonists: The bad guys who want to tear
down your brand story
Why villains and antagonists?
The bad guys archetypes
Your offensive weapon
Attack mode: training internal stakeholders
13 The future of brand storytelling: How AI, machine
learning and automation can tell only one side of the
story
Enter: the machines
The race against the machines
AI technology trends
14 Inspire your brand story: Interviews with leading
storytellers around the world
Interview with Dux Raymond Sy, CMO of
Avepoint
Interview with Luz Maria Doria, two-time
Emmy winner and Executive Producer of
Despierta America TV show Despierta America
Interview with Derek E Baird, writer, social
media expert and youth culture trend spotter
Interview with Greg L Witt, youth marketer and
public speaker
Rapid-fire questions with Cindy Coloma,
bestselling author and storyteller at Microsoft
Rapid-fire questions with Park Howell,
advertising industry veteran and owner of
Business of Story
Rapid-fire questions with Candy Rasmijn-Reino,
marketing and PR agency owner
 Rapid-fire questions with Dona Sarkar, author,
fashion designer, engineer and principal
manager of Windows Insider Program at
Microsoft
Further reading
Index
Copyright
CONTRIBUTORS

(in alphabetical order)

Candy Rasmijn-Reino marketing and PR agency owner
Cindy Coloma bestselling author and Storyteller at Microsoft
Derek E Baird author of The Gen Z Frequency: How brands tune
in and build credibility
Dona Sarkar author, fashion designer, engineer and Principal
Manager of Windows Insider Program at Microsoft
Dux Raymond Sy CMO of AvePoint
Gregg Witt author of The Gen Z Frequency: How brands tune in
and build credibility
Jose Camacho Social Media and Employee Advocacy Program
Manager for Adobe
Luz Maria Doria two-time Emmy winner and Executive
Producer of TV show Despierta America
Park Howell advertising industry veteran and owner of
Business of Story
ABOUT THE AUTHOR

Miri Rodriguez is an award-winning digital marketer and

storyteller. She has dedicated the last four years of her extensive
marketing career advocating for and evangelizing brand narrative
across many sectors and industries around the world. Rodriguez’
mission for imparting storytelling techniques entrenched in
vulnerability and empathy began when she worked as a creative
journalist in the engineering discipline at Microsoft Corporation.
There, she recognized the immediate need to help educate and
inspire engineers and colleagues across functions on designing
distinctive narratives that help define and drive immersive and
emotional customer engagement experiences, while navigating the
uncertainties of the digital age.
Basing her storytelling techniques in design thinking and user
experience (UX) principles, Rodriguez has successfully bridged the
contentious gaps between traditional business practices and
creative communication strategies, crossing the brand storytelling
boundaries from simple narrative design to a culture activation
blueprint.
Rodriguez’ thought leadership in both the digital marketing and
tech worlds, as well as her passion for leading diversity and
inclusion efforts, has made her one of the top sought-after speakers
and business consultants in the industries. Clients include Walmart,
Adobe, McKesson and Discover. Rodriguez holds a Master’s degree
from Georgetown University in Integrated Marketing
Communications and certification in Design Thinking. She is also a
NASA Social and MySkills4Afrika Programs alumnus and has served
on the board for Africa and Middle East sector social enterprise
association Trade + Impact and US marketing conference Social
Shake-up.
Shake-up.
Rodriguez was born in Caracas, Venezuela, and currently resides
in the state of Washington, US, with her husband, two sons and
American Bulldog.
FOREWORD

‘You have to meet Miri,’ my friend Jack stated, and it wasn’t a

request. Jack and I had developed a close friendship while working
on his book, and have remained so in the years since its publication.
He had been on a book tour and was in the Seattle area speaking at
Microsoft when we met for a quick lunch that turned into a half day
of catching up, and that included his Miri statement.
Jack is a former KGB spy (now US citizen and patriot), and when
someone with KGB training tells you to do something, you generally
listen. At least, I do.
Days later, Jack introduced Miri and me over email, and I dove
into the usual social media ‘research’ to find out more about her,
while we tried matching schedules to meet in person.
At that time, Miri’s title on LinkedIn stated she was a Storyteller at
Microsoft. After 25 years of writing stories, I was immediately
intrigued. What a great title. And at Microsoft? I wasn’t sure how
those two worlds – tech and art – co-existed without some major
marital issues.
Then, I met Miri.
We met in front of the Microsoft Visitor Center as designated. She
had her Bosch headphones around her neck, a chic outfit that
looked more appropriate for someone in fashion than in tech, and
her tall stiletto heels impressed me to say the least. She called my
name and rushed towards me with a huge smile on her face. I was
immediately enveloped into a heartfelt embrace and into her
energy and charisma. She’s the type of person that makes you feel
better than you felt before seeing her that day.
After a whirlwind tour of Building 92, we headed to lunch in the
Commons. I was impressed by everything I saw on campus and felt
drawn to the world of Microsoft, though mostly I was impressed by
drawn to the world of Microsoft, though mostly I was impressed by
and felt an immediate connection with Miri herself. We laughed a
lot, talked about our shared faith in God, and discussed our love for
stories and how she was bringing them to life in the corporate
world.
Over the next two years, Miri and I spent more time together, and
I was able to attend several of her Storytelling workshops and
keynotes. That’s when I was able to see exactly how she was
marrying art and tech in a way that could shape people, products
and companies if they followed her advice. I could see why she was
such a sought-after speaker in locations all around the world.
I was also excited that Miri touched on an area that I’ve long felt
passionate about, and that’s to not follow the trend of ‘platform
building’. To create a platform, you are seeking to have a product or
person, or company, stand above everyone else. Instead, Miri talked
about embracing people in a brand through storytelling to build
trust and a loyal connection. I loved how she emphasized linking
humans to products and companies through stories, and how
empathy is the core of that connection.
Now, as I’ve become part of the corporate world, I’ve discovered
how much storytelling has become a buzz word and trend. At first, I
loved this. As an author and writer, stories and storytelling have
been a core part of my world for nearly three decades. I’m always
asking how I can tell a story in the most compelling way to my
particular audience (or readers), and how to best leave them with
the most impactful takeaways. But in the corporate world, I
discovered how often the words ‘story’ and ‘storytelling’ were being
misused or misunderstood. People just weren’t getting what a story
is! While these topics are being talked about and taught in
workshops, they’re not often being used correctly or in an impactful
way.
Meanwhile, Miri has become an amazing story evangelist,
speaking around the globe and working hard to change these story
speaking around the globe and working hard to change these story
abuses and perceptions. I was thrilled when she shared that she
was writing a book to reach more people. After all, you can only
impact so many on a stage. In book form, anyone can discover what
storytelling is, its power to connect, how the craft should be used,
iterated on, and how humans should be at the centre of brand
development, always. She also provides innumerable tools to guide
in the brand storytelling process.
I have a staple of writing and storytelling books I return to over
and over again. Miri’s book will be added to that small stack, and it
should be added to yours.
So now, hear my voice as I emulate Jack’s spy tone and say to you,
‘You have to meet Miri!’
Just as I am, you will be grateful that you did.
Cindy Coloma
PREFACE

There are stories. Then there are great stories. A great story is one
that reaches beyond the narrative, unsuspectingly grabbing you by
the hand and immersing you into a newfound storyworld, never to
bring you back again.
Are you a storyteller? Of course you are. We all are. At the cradle
of our humanity lies the intrinsic cognitive ability to connect with
other human beings through the most powerful medium that
successfully influences our behaviours and decisions: story.
But, are you a good storyteller? That is the real question. We
know a story is made of three basic elements: a character, plot and
conclusion. In other words, you can say that if you are able to
introduce these three elements to any type of content, it will
inevitable become a story. However, does that make it a good story,
or you a good storyteller?
We’ve all been exposed to dull, uninspiring narrative. Stories that
pass us by inconsequentially and leave us at the same place where
we started. Today’s digital age – also known as the information age –
has forged a modern path for the way we engage and connect with
one another and with content. We are savvy consumers, parents,
friends, siblings, children with access to an unprecedented plethora
of information available at our fingertips – and now, voice
command. We are driven by passion and enthusiasm to do
something significant, purposeful; to leave a mark in the world. We
have little or no time to waste on lifeless, useless content that
provides no value to our lives or business. So why should we expect
our customers to be any different?
In Brand Storytelling I want to offer practical tools to help you
become a skilled brand storyteller, both at the personal and
business levels. These narrative schemes have proven successful in
turning any content into compassionate human experiences where
stakeholders and audiences are inspired into action and where your
allegory alchemy will turn words into worlds.
ACKNOWLEDGEMENTS

I will never be able to put into words the depth of gratitude and
appreciation I have for every person who has in one way or another
influenced, supported and inspired this epitome. This book is a
result of countless hours spent not only writing, but sharing insights
with incredibly smart industry experts, acquiring wisdom from
extraordinary mentors offering guidance, celebrating small
milestones with friends and family who have seen me through the
entire process, and saying intimate prayers with my husband and
sons on the days I felt I couldn’t keep going.
I want to begin by acknowledging Jesus Christ, my Lord and
Saviour who has given me the health, endurance, capability and a
platform to share my lived experiences and knowledge with a
worldwide audience. It is He who prepared a table before me,
providing me with the ultimate direction of strengthening my
empathy soft skill to become a human-driven communicator and
servant to others.
Thank you to my husband, Luis. My eternal support and better
half, who prepared rose and camomile hot teas on demand, coffee
shots made of very specific beans at odd times in the mornings and
ensured I was taken care of mentally and physically at all times.
Thank you for keeping Team Rodriguez thriving and extending
yourself to our house and the boys while I sat perpetually in front of
the laptop. You are the cornerstone of our family. I love you.
A special thanks to my sons Alex and Isaiah for not only putting
up with Mom being ‘away’ for a while but collaborating with me on
this project. Alex, thank you for taking time to illustrate some of the
concepts. You are a gifted artist. Isaiah, thank you for always letting
me run ideas by you and offering insightful perspective. You are a
great storyteller. Most of all, thank you both for inspiring me every
great storyteller. Most of all, thank you both for inspiring me every
day to find and tell better stories.
An equal amount of thankfulness goes to my sister, Eli, who spent
countless hours letting me decompress from the day’s demands,
listening to my rants and worrying about my sleeplessness. Our
FaceTime routine and your prayers saved me.
I also want to thank my mom and dad for believing in me, for
bringing our family to the United States of America so we could
make dreams like this one a reality. Thank you for your sacrifice. I
hope you’re proud.
My dear tribe of extended family, friends and mentors, you are
my accomplices in all I do and have undoubtedly challenged,
shaped and loved me into the person I am today. Thank you for
being there for me all these years. I wouldn’t be here without you.
The list is long, but you know who you are.
I owe a deep gratitude to Microsoft Corporation. When I made the
choice to join this company many years ago, I really had no idea
how empowering and fulfilling it would be to me. Thank you to the
leaders, including my immediate managers, who not only
encouraged me to pursue my passions, but launched me on many
platforms. Thank you to my colleagues from the different
disciplines who spent time listening to, teaching and doing life with
me. You are family.
I’d also like to thank Cindy Coloma for writing the stunning
foreword as well as everyone who enthusiastically jumped in to
collaborate in the midst of their very busy schedules.
Finally, a special thanks to the Kogan Page team, and specifically
to my commissioning editors Lachean Humphreys and Charlotte
Owen for having faith in me and in this project and supporting me
to the end. Charlotte, thank you for reaching out to me and
presenting the idea. You started it all.
LIST OF FIGURES
FIGURE 1.1 The classic story arc
FIGURE 2.1 Design thinking applied to storytelling
FIGURE 2.2 Microsoft’s storytelling four pillars of
achievement
FIGURE 6.1 SCAMPER brainstorming model
FIGURE 11.1 General brand culture activation journey
LIST OF TABLES
TABLE 1.1 Storytelling mission design template
TABLE 2.1 Napkin pitch model for story concepts
TABLE 8.1 Opportunities chart
TABLE 8.2 Opportunities chart example
TABLE 9.1 Employee advocacy and influencer marketing
statistics
TABLE 9.2 Types of design affordances
TABLE 9.3 Employee storyteller role pros and cons
TABLE 10.1 Key assumptions
TABLE 11.1 Emotion metrics for stakeholders
TABLE 11.2 Reaction metrics for stakeholders
TABLE 11.3 Lasting action metrics for stakeholders
Introduction
I was in London speaking at a marketing conference about the
power of storytelling when a commissioning editor for Kogan Page
publishing house introduced herself – along with the idea of me
writing this book. I must admit, I wasn’t immediately sold on this
proposal. The opportunity couldn’t have come at a worse time in
my life. My mother was not doing too well. I had recently uprooted
my immediate family three thousand miles from our home state of
Florida to Seattle and was dedicating every ounce of personal extra
time I could afford to relocation, personal matters, a new job and
finishing my Master’s degree. However, as often happens in life and
against all logical reason, my heart stirred for a brief moment when
standing in front of this opportunity, and began to whisper softly. It
began to tell me a story about you.
My heart spoke about your struggles as a marketer and
communicator and the many moments in your career that may
have felt like wasted energy when you fervently tried to create and
relay compelling messages that could inspire your internal and
external audiences… yet you counted on minimal support or scarce
resources. It painted the grim picture of your daily frustrations
when trying to creatively incite other leaders or business partners
within the organization to speak the language of empathy for the
customer, while they brushed you away and remained focused on
the product or the bottom line.
My heart went on to unapologetically expose the ugly battle scars
I had collected over the past 20 years in the industry to poignantly
remind me of the shortcomings and failures I had experienced in
my quest to drive real human connection between my stakeholders.
It then took out a life-size mirror and discerningly planted it
It then took out a life-size mirror and discerningly planted it
between the commissioning editor and me to faithfully expose a
truth I seemed to have forgotten: the reality that I was once you.
My dear reader, if anyone can understand the arduous (and often
underappreciated) unwinding journey that communicators and
marketers have been forced to take within the past decade in
attempts to successfully keep customers engaged and the brand
thriving through the digital chaos formation; and if anyone can
recognize the slightest pain points, mundane nuances and countless
unseen hats the role of a marketer or communicator affords, it is
yours truly.
You may not know me personally, but those who do can firmly
attest that I do business with and lead with my heart. And it is that
same heart that came up with the notion of me becoming
vulnerable and empathetic – just as I lately invite others to do – to
share my stories of failures, fears and learnings so that perhaps you
will be saved from additional future heartache and feel empowered
to fast track your marketing and messaging passions and
inventions.
It is for you that I lost more sleep than I care to recount. And for
you that my family made a significant sacrifice to put my wife and
mom duties on hold for a while. Because I understand how hard it
can be to navigate this uncharted landscape. And even more so
when there is no one to guide you.
My hope is that this book will lead you beyond the practical
storytelling tools and techniques instruction and wondrously
rejuvenate your energy and passion for communication and
marketing by offering a fresh hope grounded on ingenious, low-cost
ideas birthed from your reawakened soul. Here’s what you can look
forward to.
In Chapter 1, you will begin to explore the basic elements and
structure of story and the importance of giving your brand story a
mission, so that you can purposely design it to reach a goal and
target audience.
Chapter 2 takes you right into the design thinking approach and
breaks down each of the five design thinking phases as you begin
the fun journey of prototyping stories. You will also learn to define
the brand story’s universal truth.
Chapter 3 will take you on a magic carpet ride to a new mind
palace: that of a story designer, not just a teller. You will learn some
cool magic tricks that will sprinkle some pizazz into your narrative
and elevate it a step further.
Imagination is the key in Chapter 4, where you will be able to
reimagine a traditional integrated marketing plan by incorporating
storytelling practices. Your brand story is now taking on a new
force beyond content.
Chapter 5 digs deep into today’s market trend nuances and makes
a compelling case for putting your customer at the heart of your
brand story.
Get ready to get a little uncomfortable. In Chapter 6 you will learn
the importance of practising vulnerability in order to tell authentic
stories. This might be my favourite chapter.
Chapter 7 makes an important case for drawing ethical
boundaries as you uncover just how powerful storytelling is.
In Chapter 8 you will be delighted with futuristic storytelling
ideas that will take your brand narrative to the next level.
Chapter 9 begs you to consider building a well-commissioned
army of storytellers as you get ready to launch your stories.
Then in Chapter 10 you will learn the best techniques and ground
rules to take your story to market.
In Chapter 11, you will understand how to define success when
launching your story.
But we can’t forget the story villains. We welcome them in
Chapter 12.
In Chapter 13 the machines enter, and we have a heart-to-heart
about what they will do to and for our stories.
And finally, in Chapter 14, I introduce a group of incredibly
talented storyteller colleagues from around the world who
generously share their own experiences and leave you with
invaluable wisdom that will be sure to inspire your brand story.
I’m really excited about the opportunity to take you on this
storytelling design journey and hope you will find this guide
valuable, memorable and insightful. Just as great stories should be.
1
Brand storytelling
What is it?

What is storytelling and what is not

The power of storytelling
Your brand mission and the story arc

Google ‘Storytelling’ and you’ll find a plethora of definitions, videos,

guides and how-to’s on what has become the hottest marketing
sensation since influencer marketing. I don’t know about you, but
the more hype the use of story for brand marketing seems to get
lately, the more confusion it appears to create for industry leaders
seeking to truly understand what it is. In the span of two years
working directly in this field, I’ve seen it all: someone creating a
PowerPoint presentation and calling it a story, someone else posting
‘stories’ on social media channels and calling it storytelling, and
many others adding ‘storyteller’ to their business profile on
LinkedIn but never having designed or told a business story before.
I see brands scrambling to figure out how to effectively implement
this messaging alchemy as part of their business forward strategy.
And I see a lot of miscommunication happening across business
disciplines, organizations and industries, all in the sacred name of
story. But… why?
Simple: because the machines are here. And they’re here to
disrupt everything we’ve ever known about effective marketing and
disrupt everything we’ve ever known about effective marketing and
communication in business.
I’m an 80s kid. I know. Lucky.
I walked around with a Cabbage Patch Kid doll (official certificate
included) in one hand and My First Barbie in the other. It would
take a supernatural event for me to let go of these prized treasures.
Toys of this kind only came by once in a rare moon for our humble
family of five. Plus, as the middle child, I learned very early in life to
take all I could and never take anything for granted.
As you’re probably already foreseeing, that fateful, extraordinary
event did come to pass one day. I’m not sure how or when exactly it
appeared on our tiny apartment balcony (often used as an
extension of our modest living area), but when I think back to this
instant, I distinctively see me standing next to my father and in
front of this clunky, shiny intruder, inspecting every ounce of its
peculiar metallic parts.
‘What is it?’ I casually asked my dad, making a superheroic effort
to contain my excitement and underplay my freak curiosity. ‘It’s a
computer,’ he casually responded. Recognizing that his short
answer would inevitably provoke a hundred more questions, he
went on without hesitation: ‘I’m talking to it.’
My eyes widened as far as they were physically allowed. I was
instantly filled with wonder and my brain went into overdrive to
try to make sense of this hard-to-believe piece of information. I
quickly became keenly aware that I was exhausting (or had
probably already exhausted) my child–parent pertinent questions
quota for the day, and though I did have another hundred
questions, I resorted to asking one last, very important one: ‘Does it
talk back?’
Three decades later and an MS-DOS 2.0 command has turned to
voice recognition. We have smart buildings, smart homes, smart
cars and smart customers. Customers who know what they want
and how they want it. Customers who search for online reviews and
and how they want it. Customers who search for online reviews and
request peer input before even considering a product. And
customers who continue adopting new technologies without
hesitation and expecting brands to do the same so they can have a
seamless buying experience.
A rambunctious era of connectivity with customers has been
born, and brands all over the world are not only having to take
notice but put in double time to stay afloat and meet the savvy
customer demands. Whether an organization is currently leading
the digital transformation or just getting started, this technological
journey for companies has not only forced a shift in core business
operations such as moving data from on-premises to the cloud, but
compelled a realization that, fundamentally, there is a need to begin
deconstructing and unlearning the way we have previously
communicated with stakeholders and start to ‘talk back’ to our
customers the way they faithfully expect us to.
Digital transformation undoubtedly made every brand reassess
business operational values, but most importantly, cultural and
communication ones. The birth of social media alone brought on
the perennial headache for traditional marketing strategies as
companies struggled and continue to struggle with the who, what,
when and where of effective marketing over these nuanced, ever-
changing channels.
With social media also came the deformalization of content. A
gross disintegration, if you will, of what we once knew as ‘business
talk’, which became profusely altered by new visual expressions
such as emojis and memes. Enter live streaming, photography,
video-type forms and, more recently, robots, and the world of
communication from a business perspective was inherently
revolutionized, never to be what it once was: a way for brands to
share whatever information they wanted, however they wanted,
whenever they wanted, with a little – OK, a lot of – help from PR and
the media.
the media.
And millions of marketers and communicators around the world
began to get rightly nervous.
This is where I found myself back in 2014 when I embarked on a
new adventure at Microsoft, moving from the operations discipline
to the customer service one to lead social media support channels in
global English, Spanish and Portuguese languages. This was also
around the same time that Microsoft’s current chief executive
officer, Satya Nadella, was appointed. Having joined Microsoft a
couple of years before that, I was an alumna of the ‘Ballmer Days’
(when Steve Ballmer was CEO) and was able to detect a
recognizable change in the atmosphere the day Nadella took charge,
but at the time couldn’t tell you exactly what it was.
On this historic day, employees all over the world tuned in to the
live webcast if they weren’t fortunate enough to be able to attend in
person. On that fateful day, on the third floor of the Microsoft Latin
America headquarters in Fort Lauderdale, Florida, a small group of
friends and I organically gathered around a colleague’s desk and,
with much anticipation, we glued our eyes to the screen as Bill
Gates, Microsoft’s founder and Member of the Board of Directors,
standing next to Steve Ballmer and Satya Nadella, spoke and shared
the reason Nadella had been selected: it was because of his
‘engineering skills, business vision, and the ability to bring people
together’. Unstoppable cheering and luminous smiles often
interrupted the ceremony as Softies (the nickname given to
Microsoft employees) around the world, new and old, cheerfully
celebrated what seemed to constitute a cathartic milestone for the
company. Thinking back now, and with a few years spent in the
craft of storytelling, I can pinpoint the distinctive smell that
saturated the air that day. It was the sweet smell of empathy.
It wasn’t much longer after taking charge before Nadella set out
to rewrite the company mission. ‘To empower every person and
organization on the planet to achieve more’ became the new
organization on the planet to achieve more’ became the new
Microsoft mantra and for every employee in the company, this
became an immediate mandate to rethink how the evolution of the
brand’s mission would catapult across every single geographical
sector, business discipline, partner, customer and employee of the
brand. Although, at its core, the Microsoft brand story theme had
always been the same (empowerment), their savvy, connected
customers wanted more than to see themselves as the enabler of the
brand’s success story. They wanted to become a central part of it.
Nadella knew this. And he also knew that evolving the mission
unquestionably meant an evolution for the entire company. It is
story, after all, that conjures emotion. And emotion induces action.

The power of storytelling

Before storytelling became an actual profession for me, I too was
puzzled about the use of narrative as a tool for business impact. As
a mother of teenagers and public speaker, I habitually used stories
to capture and keep my very particular audience’s attention. What’s
more, I had known of its magical elements way before I could even
articulate why story worked so well with stakeholders. Its sorcery
had infiltrated my fledgling brain long before I could consciously
recall specific moments of it. My mother was – and to this day
remains – one of the best storytellers in the Chronicle realm and her
enchanting oratories transcended time and space so swiftly that the
ones I can still recollect to this day vividly make me cry or laugh
with the same force they had on me over 35 years ago.
I was fascinated with my mother’s stories. Her imaginary
accounts were invisible time machines that unsuspectedly
transported me to fantastical and forbidden lands of giant creatures
and warriors. A devout religious woman, my mother ensured my
sisters and I memorized an astronomical amount of biblical
scripture on a weekly basis. And so, we did. Because of story.
Research confirms that stories can be up to 22 times more
 Research confirms that stories can be up to 22 times more
memorable than other types of information. And this is but one of
the many infallible benefits of narrative. Neurological studies have
also shown that when we’re exposed to stories the brain produces
the following transmitters or hormones:
dopamine, which contributes to feelings of pleasure and
satisfaction as part of the reward system;
cortisol, also known as the ‘stress hormone’, which creates an
effect that predisposes the person to act (fight or flight);
endorphins, which are responsible for our feelings of
pleasure;
oxytocin, known as the ‘love hormone’, a hormone and a
neurotransmitter that is associated with empathy, trust, sexual
activity and relationship-building.
Not only that, but our auditory, olfactory, visual, sensory and motor
cortices are also activated the minute we evoke a once upon a time.
This means that, if told well, a story can make the whole human
brain wake up and immerse the audience in it, making them feel as
if they were the actual protagonist or any other active character in
the story.
As marketers, we know that consumers do not make rational
decisions when they buy. They make emotional decisions and then
rationalize them with logic. Storytelling allows us to digest and
remember content more easily because it helps connect
information with emotions in a way no other form of
communication can.
Another alluring power of story is attention-keeping. Stories
unleash neurochemicals, such as oxytocin and cortisol, which
create physical tension, and help in keeping the audience’s
attention. Even when presenting dry or boring content such as
numbers and data, if you strategically introduce a character, plot
and conclusion to the content, you have a much better chance to
and conclusion to the content, you have a much better chance to
entice your audience.
Stories are also great at influencing and transferring values. We
see it in all respects of history and since the dawn of time. Stories
have been used from the genesis of mankind to teach guiding
principles and shape behaviours that irrefutably enabled our
survival as a race.
These are all assurances about storytelling you probably already
know. And even if you didn’t, you can still personally attest that
story just works for some reason. You know it does because you use
it every day when organically communicating with your family
members, friends, acquaintances and colleagues… but only outside
business hours! As social creatures, story has been embedded in us
as a cognitive communication tool and, instinctively, we leverage it
to connect and engage with others. So then, why is it so hard to
bring this efficacious mechanism onto the business side? Why
doesn’t it feel natural to deliver a business presentation in story
form instead of through charts and graphs?
Here’s where this book can help. Storytelling for branding takes
you beyond the coherence of the why for ‘once upon a time’ and
meticulously spells out the how through poignant storytelling
design thinking principles and growth mindset techniques that will
enable you to pierce though ancient traditional marketing ideals
and fast track you to emerge as an innovation leader in your own
space.
In this book, you will find methodology, illustrative lessons and
pertinent examples that will warmly take your hand and walk you
through the first steps of story prototyping all the way to
implementation of storytelling as a foundation to your business
approach. Be it for corporate or personal branding success, this
epitome will serve as a practical manual to help you become a
skilled storyteller and tell your story in a compelling way.
And I promise you’ll have fun while at it, too. So let’s begin.
 And I promise you’ll have fun while at it, too. So let’s begin.

Your brand mission and the story arc

Because stories are a natural component of the human experience,
it makes perfect sense that we consider integrating them as part of
the entire costumer journey. This simply means that we must cease
thinking of brand storytelling merely as a process of crafting and
delivering a set of brand narratives and begin to recognize it as an
influential source that can be harnessed to diligently map out the
end-to-end customer journey, both internally and externally.
Today’s connected customer is inadvertently weaving together
every aspect of your brand as a rich tapestry of the brand story. An
ad, an email, a meeting with a salesperson or a customer service
representative. These are all part of the brand story in the
customer’s mind and if not designed intentionally to be cohesive,
there’s a great chance that you may lose the customer somewhere
along their brand interaction trip.
To begin building the basic arc for your brand story, we ought to
first take a look at its conventional opening: your brand mission.
Your brand mission statement is the exposition piece of the basic
story arc (Figure 1.1) and what sets in motion the rest of the story
(the rising action, climax and conclusion).
 Figure 1.1 The classic story arc

Figure 1.1 details

The classic story arc shown includes exposition, problem, rising action, climax,
falling action, solution, and resolution. The parts are divided into Beginning,
Middle and End.

As you know well, every brand’s mission statement serves to

manifest the purpose and intention of why the brand exists, and
though from a design perspective it may seem logical to begin the
brand storytelling adventure here, I’m often perplexed to find the
number of individual and corporate brands nonchalantly choosing
to bypass this crucial and foundational piece of the puzzle.
How can brands set out to write their story without incorporating
their brand mission as part of it, or better yet, at the very outset?
When I began teaching storytelling for branding, both at the
corporate and the individual level, I realized that this is because
people don’t understand how the brand mission is the overarching
theme of the story. You see, every story needs to have a goal, an
intended reason for why the story is being told. Specifically, when it
comes to brand storytelling, the main goal is to showcase to your
audience why the brand exists (in essence, to elevate the brand
statement of purpose). So as a first step, it is imperative you take a
look at your company’s brand mission statement and begin to
decipher if and how it can be turned into the once upon a time.
As I said before, in my research and as a consultant it baffles me
to learn how many brands, corporate and personal, big and small,
do not even bother to align their brand mission to their storytelling.
They treat them as separate entities without realizing the confusion
this causes to their audiences.
The following is a prime example of a brand mission statement
belonging to a world-renowned company which appears to be
severely disconnected from their brand story. The brand name has
been removed to properly illustrate the point.

The mission of ....................................................... is to be one of the world’s leading producers and

providers of entertainment and information. Using our portfolio of brands to differentiate our
content, services, and consumer products, we seek to develop the most creative, innovative
and profitable entertainment experiences and related products in the world.

Can you guess what brand this is? Before I shock you with the
answer, it’s fitting to recognize that by simply swapping a few
words here and there, this statement could really fit any brand. The
mission statement is so broad and scattered that it’s truly hard to
deduce anything about why the brand exists, other than that it lives
in the entertainment industry somewhere and wants to make
money from its products and services. Admittedly, that is the
ultimate goal for every brand. But as industry leads pioneering
across the disruptive landscape of digital, we must recognize that
mission statements (or brand stories’ themes) like these are no
longer effective when trying to reach internal and external
audiences.
The mission statement above belongs to the The Walt Disney
Company. (It was recently changed to something a bit more
compelling but, nonetheless, equally non-spellbinding.) Many
people erroneously attribute the statement ‘to make people happy’
to the Disney brand mission. However, this was never its official
mission statement but a derivative of a quote from Walt Disney
himself, who once said: ‘My business is making people happy,
especially children.’
It would make a lot of sense for ‘to make people happy’ to become
Disney’s mission statement. I presented Disney’s actual mission
statement, along with the ‘happy’ one, to my teenage son and asked
him, if he had a choice, which company would he likely work for?
There was no hesitation in his choosing of the ‘make people happy’
one because it immediately resonated in his heart. That is, his brain
lit up at the sound of the word ‘happy’. The statement spoke to a
human emotion, which we can all understand. That is what I like to
call a universal truth. A truth that we can all connect with, no
matter our background, lived experiences, age or geographic
location.
You may ask, why is this so important to consider? Especially for
a brand like Disney which is an already-established leader in the
market? The same reason why every brand should consider re-
evaluating and ever-evolving their mission statement today:
Millennials, Gen Z and the next generation after, plus robots.
With the rise of hyper-techy, always-connected and digital-
 With the rise of hyper-techy, always-connected and digital-
friending consumer demographics comes a new set of challenges
for brands: being meaningful to consumers. We keep hearing and
reading all about it: in order to keep relevant today, brands can no
longer afford to present only their products, services and who they
are as a company. They must intend to connect and stay connected
with their customers at the deep human level. What most brands
fail to recognize is that this connection effort starts from within. It
starts with reassessing why the company exists and how this
reasoning permeates across the organization, igniting hearts and
souls to continue driving it. It starts with the brand story.
Happiness. Empowerment. Inspiration. Embarrassment. Sadness.
Loss. These are feelings we can all relate to as humans, and if a
brand story can strategically drive these themes across its business
functions, it will succeed in connecting and staying connected with
its audiences.
Of course, in the case of Disney, there is no argument that the
brand has been able to succeed in the market without a more
emotionally driven mission statement. But the reality is that unlike
most brands, Disney has thrived for over 90 years because it has
been built on nostalgia, so its consumers are less prone to delve into
the nuances of an impassive mission statement and the newer
generations intuitively appreciate what the brand stands for at the
organic level. In other words, my teenage boys are not googling
Disney before deciding whether they want to go to a Disney park.
They were introduced to the parks (and the brand) long before they
had the opportunity to do what they do today: extensive research
and peer feedback request prior to interaction.
Unless your brand has accomplished what Disney has, it’s time to
reassess the weight of your brand story against the demands of the
market. Newer generations see brands as a potential extension of
themselves. Whether for work or play, Millennials and Gen Z
approach brands as ‘individuals’ and seek first to understand the
approach brands as ‘individuals’ and seek first to understand the
‘why’ before they make a choice to befriend and invest time and
money in them. This is where brand storytelling can help.
Say you’ve taken that first step and looked at your brand mission
statement or realized you don’t even have one yet. What next? How
can you get started without your ‘once upon a time’?
Having helped a number of clients at different levels and types of
organization, I realize there is a real struggle in taking that first step
of developing the brand mission statement into a story theme. So, I
developed a quick story mission brief that has proven helpful to me
and I believe you too may find it useful.
The template in Table 1.1 on page 14 works for both personal and
corporate brand storytelling and serves to gather the groundwork
materials for your story arc. In other words, before you even begin
to craft the story, this template will help you define the what and
why that will become the main fabric in the narrative. We will delve
deeper into each of these concepts in later chapters; but for now,
the brief will provide a general visual of what brand storytelling
looks like at the structural level, as long as you have a basic idea of
what your brand stands for).
 Table 1.1 Storytelling mission design template
Skip table

Story topics
Who and what is this story about? Hint: this is where your brand mission statement goes.
If you don’t have one yet or the current one is outdated, simply write down why your
brand products and services exist.

Story mission
What do you hope to accomplish by telling this story? Aside from your brand mission, the
brand story also has a purpose. Similar to a marketing plan, here you explain the ultimate
purpose of your brand story (ie, gain market share, brand recognition, rebranding
purposes).

Brand attributes
List your brand guidelines (personality, archetype, tone, voice, slogan).

Key audiences
Who is this story for? You may have more than one audience.

Feelings
What feelings are you hoping to evoke from your audience with this story? Think briefly
about how you want your audience to feel when they come in contact.

How can you make it believable?

Key points in the story to support your story message.

Tone and manner

The manner in which your story will conveyed.

As you will note from this simple exercise, brand storytelling begins
with your brand mission. This is the overarching theme of your
story and any brand narrative told in any form should always tie
back to this central theme. While we can’t expect, or should hope,
that every business discipline tells the same type of brand story (a
marketer will tell a potential customer a different story from the
one a salesperson will tell an established customer), if both the
salesperson and marketer are embodying an unchanging story
theme, the customer will always be able to recognize what the story
is about, even if it’s not explicitly revealed.
is about, even if it’s not explicitly revealed.
Let’s dive a little deeper into the story mission brief to help you
build the raw collateral you will need for your brand story.

Story topics
Your brand mission statement should be able to define why your
brand exists as well as its core principles and values. These are the
topics your story is going to highlight, especially the why, because
the why gives your brand purpose beyond the product or service.
Spend time listing the topics in your brand mission statement and
this will help you map out storylines for the near future, when
you’re ready to start designing the narrative.

Story mission
Not to be confused with the brand mission, the story mission is the
goal you want to give your story. Every story should have a mission
of who you hope to reach with it and why. Are you hoping to inspire
your audience to visit your website and learn more about your
products? Are you looking to evangelize your product? As you learn
more about story design, you will find that while there will be a
main brand narrative, inevitably other mini-stories will be designed
by your company’s internal stakeholders who wish to serve their
audiences. However, every story related to your brand should
always tie back to the brand mission and the overall objective you
have given the brand story.

Brand attributes
It’s important to list existing brand attributes in the brief to make
sure you ‘stay on brand’ as you set out to design the brand story.
Granted, you may also be leveraging this opportunity to complete a
full rebrand of your brand. Either way, by listing your current
full rebrand of your brand. Either way, by listing your current
brand’s personality and other attributes on the brief, you can keep
aligned to the brand identity and guarantee it is reflected in the
narrative.

Key audiences
In the story mission, you will likely list who the story is for. But this
section is meant to get a little more specific about any and all
audiences your brand has so that as you begin to design the
narrative, you are mindful of these audiences. Don’t spend too
much time here, as we will do so in later chapters. Simply record
what audiences come to your top-of-mind right at the moment.

Feelings
Notice the next story mission brief’s record is feelings. What feeling
are you looking to evoke in your audience? Again, we will spend
more time learning about each of these notions further into the
book and how to build them into the story design, but I believe it’s
noteworthy at this moment to begin thinking about the feelings you
want your audience to feel because this will always be the key piece
in good storytelling.

Make it believable
The rest of the book will provide a detailed account of the very
elements that make your story believable. However, just like
feelings, it’s good to take a few moments to ponder what assets,
resources, elements you may already have in hand to support your
story. Do you have customer testimonials at your disposal? Are
there any case studies that speak to the feelings your brand story
gives customers? These are great examples of copy points that can
back up the narrative.
back up the narrative.

Tone and manner

This is a very preliminary wish list of how you envision your brand
story being delivered. Again, we will take a much deeper look into
how to dress the story for launch once the fundamental structure
has been designed. Nevertheless, listing initial ideas on the brief
helps you visualize the direction you’re seeking to take earlier in
the process.
Taking but a few minutes to fill out the story mission brief can
certainly get you thinking about what it takes to design a brand
story and the intentionality behind it. And perhaps, help you avoid
some of the challenges and bruises I experienced along the way,
when this didn’t exist for me.
My first three months as a Storyteller in Core Services
Engineering and Operations at Microsoft were painfully terrible.
With no engineering background, I was tasked to craft deeply
technical stories about digital transformation for our IT
professional, business decision makers and developer audiences
that also needed to be personal and emotional in their essence so
that we could reach a wider community. I failed miserably during
my first few attempts.
Desperate, I decided to seek guidance from experts of all sorts,
backgrounds and industries in the storytelling field (from CMOs to
published authors, screenwriters and distinguished public
speakers) associated with brands such as Microsoft, Hilton, Coca-
Cola, Columbia University, Google and Disney.
In my quest to obtain a more profound assertion of story, I asked
them all the same question: in your experience, what is and what is
not storytelling?
As you will imagine, I received many different answers. Some
were sort of expected, and others truly took me by surprise. I spent
weeks mulling over these answers and categorizing them under
weeks mulling over these answers and categorizing them under
three key areas: functionality, strategy and the human heart.
Storytelling serves all three of these areas distinctively and it’s
important to recognize how it does this, so it can be effectively
applied to brand marketing. After working through categorization, I
managed to summarize their answers in one statement.

Storytelling is the emotional transfer of information (opinions, assertions, facts, data, ideas
and arguments) through the introduction of a character, plot and conclusion.

I want to pause here for a moment and highlight once again that a
good story serves to evoke emotion. Yes, technically we can write a
story with just a character, a plot and a conclusion, and it will be
constituted as such. But we’re clearly on a quest to deliver
compelling and memorable content. In order to make it such, the
goal of your brand storytelling needs to always be driven by the
emotions it can spark from your audience.
Now let’s break down the three categories.

Functionality
We’ve established that a good story makes you feel something.
Therefore, the primary purpose of story is to evoke emotion. As
noted earlier, it is scientifically proven that introducing a character,
plot and conclusion to any type of information will immediately
activate parts of the brain that the information alone could never
do. But taking it a step further, if you strategically focus on the
feelings these elements can induce as the narrative unfolds, you
will have a winning story in hand.
This is why it’s crucial to nail down your brand story theme (the
brand mission) from the get-go. If your current brand mission does
not speak of a feeling that is universal, or that speaks to your
audience in an all-inclusive way, it’s time to revisit and change it. (I
will explain what I mean by this in Chapter 2.)
Many of today’s leading brands have already rewritten their
mission statements in recognition of their need to adapt to the ever-
evolving digital landscape – or the imminent Robopocalypse, as
some are starting to call it. Here are a few good examples:
Nike: To bring inspiration and innovation to every athlete. (If
you have a body, you are an athlete.)
Coca-Cola: To refresh the world in mind, body, and spirit. To
inspire moments of optimism and happiness through our
brands and actions.
Nestlé today: Good Food, Good Life.
Newer brands have had the chance to introduce their clever
brand missions from the very beginning:
Life is Good: To spread the power of optimism.
TED: Spread ideas.
Starbucks: To inspire and nurture the human spirit –
one person, one cup and one neighborhood at a time.
Notice that each of these statements holds within it a keyword, or
what I like to call an underlying universal truth, which all of us can
understand and feel. The functionality of storytelling is at work
here because the theme of the story has been clearly defined.

Strategy
If we agree that storytelling is the emotional transfer of
information, then we obviously need to understand how it can do
this. In my definition of storytelling, I’m careful to mention that this
is done via the basic elements of a story: character, plot and
conclusion. Simply put: if it doesn’t have all three of these, it is not
considered a story. When thinking about how you are going to
considered a story. When thinking about how you are going to
incorporate storytelling into your brand marketing, you must
strategically define who the characters will be, what will happen to
them as the story develops and what the conclusion, or end result,
of the story will become. Just as the story theme (your brand
mission), these three elements must be defined before even
beginning to construct the story. This is why filling out the
exposition brief can be very helpful.

Heart
As mentioned earlier, I was amazed to hear some of the
unconventional answers I received from leaders in the storytelling
craft. One of the most eye-opening responses was ‘storytelling is not
manipulation’. As the seasoned interviewee went on to explain: ‘It is
exactly because of its incredible power to persuade, that storytelling
can be used to manipulate people.’
But wait, isn’t that essentially what we want to do? The whole
point of introducing storytelling into our brand marketing and
communication strategy is so that we can showcase our brand as
human, relevant, memorable and significant to stakeholders and
ultimately persuade them to buy our products and services. Right?
Sort of. Remember that the new generations are looking to attach
themselves to a brand well beyond the product or service. At its
core, storytelling intentionally displays the heart of the company
(why it exists). Brands must be careful not to abuse this tool to
confuse or deceive their constituents and should be able to back up
their story with their actions. If the brand story speaks of
empowerment, the brand’s culture, products, services and customer
experience must provide empowerment at all levels.
Therefore, storytelling for branding is much more than creating
narratives that talk about the brand. It’s carefully designing every
aspect of the story to match it with the brand’s core values and
aspirations with deliberate intent to spark responsiveness.
But where to begin? Glad you asked. Come with me to Chapter 2
and I will explain.
2
Where do I start?

The Robin to Batman effect in story

Design thinking principles applied to storytelling
Finding your story’s universal truth
Building the story structure

OK. You get it. Brand storytelling goes beyond ‘telling stories’. It’s
the intentional design of a character, plot and conclusion coming
together under your company’s manifesto as the central theme to
drive an emotional experience for your audience. By now you have
probably completed the exposition brief to help you map out how
these elements are going to come together, but that’s just the story
spine. The real work of dressing the story up with bells and whistles
to successfully convey these ideas starts now.
To make a story exciting, you must employ narrative techniques
that can help bring the brand story to life. At this point, you should
have a good idea about who will be the characters in your story,
what will happen to them (plot) and how the story will end to
achieve its ultimate goal (conclusion).
A quick clarification point before we get into techniques: the story
structure shouldn’t be confused with storytelling techniques.
Storytelling techniques are the methods that can be used to design a
story, including details of how the story should look (ie how you
might use visual elements such as a specific type form) and how it
might use visual elements such as a specific type form) and how it
should go to market. Techniques can and should vary from time to
time to adapt to your audience’s needs. Example: if a new social
media channel emerges, and your audience suddenly moves there,
you will have to use a new storytelling technique to deliver the
story to your audience in that particular channel.
The story structure is the foundation of the story, cemented in the
elements we’ve been discussing so far (character, plot, conclusion,
emotion, universal truth). These elements are non-negotiable when
it comes to building your story, and while you might consider
changing a character or twisting the plot, you should never remove
character or plot as an element, as it will cease to be a story.

The Robin to Batman effect

Speaking of characters, I should point out that today’s successful
brands always seem to place their customer as the central character
in the story. Going back to the Microsoft example, though
empowerment had always been the brand’s central theme, by
switching the main character of the story from ‘a PC’ to ‘every
person and organization on the planet’, Microsoft forced itself to
live out that mission by diligently driving a customer-centric
approach from the inside out. The result was inevitable: in 2018, the
brand formerly known as ‘a tech giant’ in the industry earned the
coveted title of Most Valuable Company in the World.
I like to call this the Robin to Batman effect. The brand takes on
the role of sidekick in its own story, commissioning the customer to
prosper with its help (product and services). The psychology behind
making your customer the main character (and hero) in your story
is simple: when the customer understands that your brand exists to
make them better in one way or another and that you are
positioning them to win, they become especially interested in
winning. And when they win, you win.
 I have dedicated a full chapter to making your customer the hero
in your story, but before I go all DC Comics on you, I’d like to share
the practical storytelling model that proverbially helped me break
my first technical but emotional business story at Microsoft – and
possibly helped saved my storytelling career.
Side note: I foretold this approach in Chapter 1 in the hope your
storyteller skills picked up on it – did they?
I was completing my Master’s degree for integrated marketing
and communication when I took the role of storyteller. As luck
would have it, the design thinking course was part of the
curriculum and it required me to use a real-life challenge and
design a solution for it.
‘Could I prototype stories?’ I asked my professor, secretly hoping
for an affirmative response. ‘You can prototype anything,’ he
responded matter-of-factly. And so I did.
I am sure many of you are familiar with the design thinking
process. It’s one that centres on empathy, seeks to understand the
consumer, challenges assumptions and redefines problems to
identify strategies and alternative solutions that may not be evident
at first. As I delved deeper into the design thinking stages with my
storytelling project, I was happy to find that it’s not only possible to
apply the design thinking concepts to storytelling, but that this is a
great way to build the structure of a brand story.

Design thinking applied to storytelling

With this in mind, I’d like to walk you through each phase of design
thinking for storytelling so you can begin your brand story design
adventure (Figure 2.1). If you have it handy, the exposition brief
will serve as a guiding tool.
 Figure 2.1 Design thinking applied to storytelling

Figure 2.1 details

Phase 1 is Empathize, which is defined as “What emotions are you seeing to
evoke?” The second phase is Define, which is defined as “Who are your story
characters and what happens to them?” Phase 3 is Ideate, which is defined as “How
many story design concepts can we get?” The fourth phase is Prototype, which is
defined as “Which story concepts will work best for your audience?” Lastly, the
Test phase defines “What emotions did the story evoke?”

Here we go!

Phase 1 Empathize
The old adage by storytelling queen Maya Angelou couldn’t be any
truer: ‘People will forget what you said, people will forget what you
did, but people will never forget how you made them feel.’
The first stage in storytelling with design thinking principles is all
about gaining an empathic understanding of your target audience
in order to deliver a story that will make them have ‘all the feels’.
in order to deliver a story that will make them have ‘all the feels’.
In design thinking, this process begins by conducting research at
many levels and in many forms with all stakeholders, including the
design or target audience. The more research the better. Things like
ethnographic observations, social media listening and pulse surveys
are all great ways help gauge where the audience is and what type
of narrative you should be telling them. Any research done with
your stakeholders takes you one step closer to becoming more
empathetic in your brand story, and empathy is the key that will
unlock the human emotions you want to awaken in your audience.
Finding empathy in storytelling means understanding which
needs the brand fulfils for the customer and, as a result, what
feelings the brand story evokes. Think back to a wondrous moment
when you first encountered a really good story. In your estimation,
why was it so ‘good’? Do you still consider it to be good today?
Because of the master storyteller that my mother is, her stories
continue to transcend space and time, no matter how old or cynical
I get, because every one of her stories intentionally spoke to a
universal truth, meaning they resonated with a feeling that
reflected a core human need in me. As a young girl, I could never
pinpoint or even articulate the foundations of this storytelling
strategy; however, I knew very well how her stories made me feel,
and that feeling is what I sought every single time I begged my mom
to tell that story again. And again.

Finding your story’s universal truth

American psychologist Abraham Maslow developed a theory based
on fulfilling innate human needs. In his hierarchy of needs theory,
we learn that humans have certain physiological, psychological and
biological needs that seek to be fulfilled. When those needs are
satisfied, we experience positive feelings. When the human needs
are not met or satisfied, we experience negative ones.
 Maslow explains that ideally, as an individual naturally grows
and evolves, they will work their way up the needs pyramid.
Chances are, however, that many of us have probably got stuck in
one or two of the pyramid levels at one point or another in our life
journey, and this means we have all experienced both positive and
negative feelings. This makes us extremely capable of sympathizing,
but better yet, empathizing with another person who has
experienced the same feelings, even if the circumstances
surrounding the events are completely different.
When I speak to live audiences about this notion, I often share old
personal stories of embarrassment. It’s very satisfying to see the
crowd grimace with evident pain as a response to the mortification
I’ve been subjected to at unfortunate times in my life. As soon as I’m
done with the story, I bring them back to ‘reality’ where they have
practically understood how to drive empathy through story.
This process is what I call ‘finding the universal truth’. I
introduced the term universal truth in Chapter 1 as a truth we can
all connect with, regardless of background, age, gender, religious or
political affiliation. In other words, a universal truth is an inclusive
feeling that makes the story individually relatable to every person
in your audience.
When I share my stories of embarrassment, I know there is a high
probability that my entire audience will also experience feelings of
embarrassment, because even though they may never have been
through the exact same situation, they have presumably been
through an embarrassing situation themselves at some time in their
life and they inherently understand what it means to feel
embarrassed. That makes embarrassment a universal truth.

In this fiercely ambivalent digital era, only those brands that spend a considerable amount of
time researching to truly understand which universal truth appeals best to their audience will
remain competitive.
 remain competitive.

Please take the time to understand how your customers feel when
they come in contact with your product or service and whether
your brand story theme (mission statement) speaks to those
feelings. Let’s use an example to better understand how this process
works, using the Prada brand.
As part of a group of luxury brands, Prada does not have a
specific mission statement but does have a webpage dedicated to
the brand history and identity, which provides certain keywords
that help us identify why they exist as a brand, as highlighted
below.
Since 1913, Prada has been synonymous with cutting-edge style.
Its intellectual universe combines concept, structure and image
through codes that go beyond trends. Its fashion transcends
products, translating conceptuality into a universe that has become
a benchmark to those who dare to challenge conventions, focusing
on experimentation.
If we were to design the Prada brand story based on these key
topics, we would first conduct extensive research to better
understand how current Prada customers feel when they use their
products. After gathering the research, we would then categorize
these insights into human feelings in order to find the brand story’s
universal truth.
Let’s hypothetically say research showed that satisfied Prada
customers overall felt:
‘classy’
‘exclusive’
‘powerful’
‘happy’
‘fashionable’
while unsatisfied customers felt the opposite:
‘inelegant’
‘inferior’
‘unimportant’
‘disappointed’
‘unstylish’
These feelings help us understand what Prada customers are
seeking to feel – and what they’re not.
We learned earlier from the overall brand statement that Prada is
committed to ‘cutting-edge style, going beyond trends and
transcending products’ and that its target audience is ‘those who
dare to challenge conventions, focusing on experimentation’. We
can agree that Prada’s mission aligns well with the feelings their
customers seek to have when they encounter the brand (ie cutting-
edge style makes people feel ‘fashionable’ and transcending
products make them feel ‘powerful’), so the next step is to bring all
these feelings into one universal truth which can be tested in the
process.
When carefully analysing each of these feelings plus the mission
of the brand and its target audience, several universal truths keeps
resonating throughout, such as confidence, fearlessness and
timelessness. One of these words should then be considered as the
theme for the Prada story.
I realize this example showcases a well-established brand. If your
brand has existed for a while, you probably already have some of
this research in hand and can use it to determine your brand’s
universal truth. But don’t skip this step and do take time to define
your brand’s universal truth as the foundation of the brand story.
Without this empathetic approach, it will become much more
difficult to design a successful narrative.
If your brand is just starting, this is a great time to conduct
empathetic research and understand what your customers are
empathetic research and understand what your customers are
feeling when you present them with your product or service.
After understanding and defining what feelings you want to
evoke with your brand story, the next step is to define the
characters and plot that will unfold them.

Phase 2 Define
This second phase focuses on defining the characters and plot of
your brand story. By now you should have a good idea of what your
brand story theme (brand mission statement), owing to the
extensive research conducted in the empathy phase, the feelings
you are looking to spark with your brand story.
During this phase, it is important to take time to draw up a list of
characters for your brand story. There are main, secondary,
stationary, dynamic, flat, static, observing, round and many other
character possibilities in a story. Earnestly mapping out who or
what moves the story along and how, where and when will bring
much needed intention to how the plot develops.
When Microsoft decided to make their customer (every person
and organization on the planet) the main character and hero of
their brand story, they also set out to determine what that would
mean to the character. Their brand character would be empowered
through the brand’s products and services to `achieve more’.
Because achievement can be subjective, four pillars of
achievements were established, as shown in Figure 2.2.
Chief Storyteller Steve Clayton and his team also crafted and
shared a little red book called Once Upon a Time to guide internal
stakeholders on key elements to use when developing the brand
story plot. For Microsoft, the brand story theme and universal truth
is empowerment. It is the brand’s mission `to empower every
person and organization on the planet to achieve more’ and the
feeling of empowerment can be universally felt and understood by
everyone, no matter their demographic cohort or background. This
little red book showcases the Microsoft brand story but also key
pillars (or what they call the 5 Ps) that the brand wishes internal
storytellers align to when telling the brand story. The five Ps are:
people, place, pictures, personal, platform. Notice the first pillar is
people. The brand is centring the story on the characters and
reminding us that stories are about `humans doing human things’.
Because achievement can be subjective, four pillars of
achievements were established, as shown in Figure 2.2.
Figure 2.2 Microsoft’s storytelling four pillars of
achievement

Figure 2.2 details

The first quadrant is Heroic described as achievement is inspiration, superlative,
and quantifiably impressive; examples are record-breaking, champion, inspiring,
boundary-breaking. The second quadrant is Movement described as achievement is
a significant change of influence that reflects a collective vision; examples are
ground-breaking, significant, influence, collective consensus and effort. The third
quadrant is Betterment described as achievement is simply living life better,
iteratively improving on the status quo; examples are nurturing foundations for
achievement, getting by, goodness, lifestyle. The fourth quadrant is Destination
described as achievement is marked by a result or occasion. The culmination of a
pathway, commitment and resolution. Examples are biographical, winning,
deserving, pride.
Thus, the plot of the Microsoft brand story became customers on a
quest to achieve something great under any one of these categories
with the help of Microsoft products.
Notice that the brand story plot is not necessarily stating the
problem your product or service solves in the market, but the
conflict the character is experiencing in the story and how this
storyline is going to awaken those feelings we want our audience to
connect to. Once again, empathy must be at play at every phase of
brand storytelling design. And this phase is no exception. By
spending time thinking about how your stakeholders want the story
to unfold based on the feelings they want to feel, you gain better
insights into how to best develop the plot.
Notwithstanding, designing the story plot is never easy, so to
make this process a bit less challenging, I want to share with you
another design template that has helped me strategically map out
the story plot. As we have already been talking about Microsoft and
you are now familiar with its brand story, I want to use it as an
example, filling in the blanks with Microsoft’s brand story
information to illustrate how the template brings together the story
plot.

Microsoft wants to tell a story that showcases how Microsoft products make people feel
empowered (design goal), can be told from a real person’s perspective so it shows up authentic
(physical attributes) and meets the customer need to: feel accomplished.

You can now see how the brand story is beginning to take shape,
and this gives you a better idea of what the story will be about and
the direction it’s going. For Microsoft, the story is headed in this
direction:
 The story plot will showcase how Microsoft products make
people feel.
The story will not focus on the actual product or its features,
but the feeling it brings to Microsoft customers.
The story characters will be real people – not actors or
influencers.
The story characters will share their authentic stories of
achievement and how they reached their goals because they
were empowered by Microsoft products and services.
Great! We have a plot outline. But how does the plot actually
develop within the narrative? What is the best way to reveal these
characters, their journey of losses and ultimate wins in the brand
story? Well, that will always depend on Microsoft’s audience. And
the same applies to you and your brand story.
It’s important to recognize that there are many ways to tell a story
and none of them are wrong – just different. Let’s take a look at
eight basic story structures, and as you get acquainted with them,
think back to the exposition brief and the audience you listed there.
Which story structure would resonate best with them?

Remember, you want to take your audience through an unforgettable journey, so taking the
time to assess what the journey will look like is a critical part of building the brand story.

There are many structures storytellers use to create different types

of stories, but here are eight of the most common ones.
1 Monomyth

Also referred to as the Hero’s Journey, this story model is probably the most popular because we
simply love heroes and their remarkable journeys. Many of our favourite childhood stories as well as
religious accounts have been built around this structure. This story archetype introduces the
character as someone who lives an ordinary life but then through some unforeseen circumstance or
conflict, they undergo a deep personal transformation that brings a fresh perspective to them and
those around them.
In brand storytelling, this structure is often used to showcase the customer as the hero as they
share testimonials on how they were ‘transformed’ by the brand’s product or service. We are also
seeing that brands are leveraging this approach internally to drive employee advocacy by turning
employees into the heroes in their brand story and giving them an open platform to share the
‘transformation’ they’ve experienced while being part of the company.
At any rate, this model is very effective in inspiring audiences.
2 The Mountain

This story structure centres on building up the narrative conflict or tension to its high climatic point.
Just as a mountain visually escalates in nature and then descends after reaching the summit, the plot
in this story model exposes one challenge after the other, leading to a dramatic point and then to an
equally sensational conclusion. In the Mountain structure, the ending of the story is not necessarily a
happy one. Many people confuse this structure with the basic story arc because visually they look
relatively the same. But the story arc, as shown in Chapter 1, is a general guidance on how stories
should be crafted end-to-end. The Mountain structure, on the other hand, is an actual plot design
that strategically and deliberately takes the audience through an intense experience immediately
after the story begins.
This structure can be used to capture and keep your audience’s attention in a very emotional way.
Because it is intense in nature, it’s important to measure how the story might land with your
audience in the testing phase and be extra analytical of the responses you get when landing it to
ensure it is successful as a technique.
3 Nested loops

In this storytelling technique, you build a number of narratives (loops) to finally arrive at the central
story. This technique is practical for large corporations that have hybrid audiences because they can
‘layer up’ the brand narrative to eventually reach general audiences. At Microsoft, my team was able
to use this model to accomplish the task of creating a technical story and matching it with one
showcasing a personal angle in order to expand our audience base. In this case, we knew that our
core audience (IT professionals, business decision makers and developers) wanted their content to
be specific and not ‘watered down’. They enjoyed reading technical white papers and case studies
because this content delineated specific steps they were looking to employ within their own
corporations. Clearly, we couldn’t reach a general consumer audience with a white paper or case
study, and of course, we did not want to take content away from our main audience. So we set out to
create other narratives (or loops) that pointed to that main content. These other narratives were
people-focused stories – stories about those engineers or team members who contributed to that
specific task or project mentioned in the case study. But the narratives also served as stand-alone
stories that highlighted a person or team and could be marketed all by themselves as feel-good
stories. This proved to be a very successful tactic for us, directly contributing to significant increase
in content consumption year over year.
4 Sparklines

In this narrative, the audience is presented with a contrasting view of reality and utopian world and
taken through a journey of ‘what is’ and ‘what could be’ to inspire the audience into action, often to
help improve a specific situation. This structure is creative, dynamic and emotional in its essence and
often used to draw attention to social activism, which we will speak about in later chapters.
5 In medias res

From the Latin for ‘into the middle of things’. This narrative begins in the middle of the action, often
the climax of the story, to invoke a shocked reaction from the audience, and then loops around to
give context to the story. This technique is very successful in capturing your audience’s attention
from the beginning, but you must be diligent in keeping their attention through the rest of the story
by creatively bringing the beginning and conclusion together.
6 Converging ideas

Just as the name indicates, converging ideas is an amalgamation of different angles of a story that
together unearth the story’s main message. Similar to nested loops, converging ideas tells many
stories (which may even seem disconnected if standing by themselves) that eventually come
together cohesively. This technique is great for building stories from different areas or disciplines of
a company. As we can’t expect a finance lead to tell the same story as an operations analyst, both can
build the brand story from their own angle, centred in the brand theme (mission) and showcasing the
same universal truth. This allows for bigger and more diverse audience reach while at the same time
keeping the story inclusive. In coming chapters, we will learn more about how to do this effectively
with an integrated marketing plan… reimagined.
7 False start

This story technique is primarily used to show a flexible approach to a story and keep the audience
wondering what’s next. In this narrative, you begin by telling a story that can be easily foreshadowed
(it’s predictable in nature), giving the audience a false sense of control, before abruptly starting over
with another narrative. This surprise element forces the audience to ‘stay tuned’ and pay close
attention to the rest of the story.
8 Petals

Similar to converging ideas, this structure brings together other stories, but differs in that the
stories are all connected by a central narrative. In this technique, each individual ‘petal’ culminates
in the main or centre story. This technique is good for showing your audience how many
interconnected stories can be told from one main narrative.

Thinking back to the stories that have had the most impact on you,
can you identify which structures were used to tell them? A
meaningful story lands well because it considers the audience’s
needs. While anyone can tell a story by introducing the basic
elements of character, plot and conclusion, building an effective
brand story structure intentionally contemplates how the
storytelling will be received by the audience. Does your audience
enjoy a sudden and explicit beginning? Do they rather see the
whole story unfold first?
How can we tell what will work best? We don’t really know, so
 How can we tell what will work best? We don’t really know, so
the best way to move forward is by ideating story concepts (Phase 3
in the design thinking process).

Phase 3 Ideate
This is my favourite phase in storytelling design because it’s the
most creative. Now that you have a better idea of what storytelling
is and what are the basic steps to begin building an effective brand
story, and after you have done some research and defined the
central theme, character and plot, you can have a lot of fun coming
up with story concepts through brainstorming sessions that will
help build the next steps in the story structure.
There are many creative ways to generate ideas for storytelling
through activities such as sketching, mind-mapping, journey
mapping and SWOT analysis, to name a few, but to ensure you
conduct a truly dynamic and productive session every time, the
following steps should be considered:
Establish and keep the goal for each session. During
brainstorming, it’s very important not to deviate from the final
goal: to find stories that resonate with your audience. Each
brainstorming activity should be dynamic and creative, but if
you fail to maintain controls around them, you may not reach
the main goal and the sessions will become obsolete.
Establish the rules of the game. To have a productive
session, it’s also critical that everyone understands the
expectations and rules to play by during each brainstorming
session. Whether there is a specific time to complete an
activity or everyone is expected to share ideas without
judgements at the end of an activity, game rules should be
shared clearly every time.
Be diverse and inclusive. The success of brainstorming comes
from gathering groups of people with different lived
 experiences, personalities and talents who can contribute
diverse opinions and skill sets during the sessions. Make sure
that in every session you have a balanced and diverse team of
contributors.
Inspire the team. It’s no secret: an inspired team generates
more innovative ideas. Before engaging them in a
brainstorming session, think about how you can inspire a
creative environment through the introduction of games,
foods, colours, art or activities that build an immersive and
inspiring experience.
Choose your brainstorming tool. As mentioned earlier, there
are several brainstorming techniques you can choose from.
My suggestion is that you conduct at least two separate
sessions to get a good number of story ideas or concepts.
Remember that every story should tie back to the brand
mission (story theme). While every idea should be
considered when designing the brand story, always keep in
mind that the central theme is your brand mission and if a
story idea does not reflect the mission statement and universal
truth of your brand, it should be explored a little further until
it does.
There is no limit to how many brainstorming sessions you should
have or how many story concepts should come out of each session,
but the more concepts to explore the better, as you will begin to see
some patterns that will guide the next step.

Phase 4 Prototyping
After conducting your brainstorming sessions, you should have a lot
of innovative ideas to enable you to get started in prototyping your
story concepts. Some of those ideas may even include the structures
mentioned in the ideation phase, or various forms of story such as
video, writing, drawings and even visual elements such as colour
video, writing, drawings and even visual elements such as colour
and typography, but this is not necessary at this stage as we’re only
looking to finalize the story structure. We already know that your
brand mission is the theme of your brand story and that it must
hold a universal truth that your audience can connect with.
Through the prototyping process, you can begin to deduce what
works, what doesn’t, and why. The best part of this stage in story
designing is that a prototype, by definition, is a low-cost, low-
resolution idea coming to life and there is great flexibility in
shaping stories this way, without spending too much time and too
many resources.
A great way to prototype your story concepts is by using the
‘napkin pitch’ model. The idea of napkin pitch is simple: write the
story concepts generated from brainstorming sessions on a napkin-
sized, four-quadrant table that answers the questions in Table 2.1 to
help determine if the story is viable.
 Table 2.1 Napkin pitch model for story concepts
Skip table
1. What is the central theme of 2. What are the benefits to the stakeholders and what
this story? needs does it cover?
3. How can this story be 4. What are the business reasons for telling this story?
executed?

After submitting each story idea to this process, you will have a
better set of story concepts in your portfolio and should share them
with your stakeholders (internal editorial team, partners, agencies
and, if you can, current customers). When you present these story
ideas to your stakeholders, listen intently to the feedback and, if
available, observe closely their nonverbal cues. Are any of the story
concepts being presented evoking the right type of feelings from
your audience? Are the different stakeholders reacting the same
way to the stories? Are any story concepts showing more promise
than others? I once used this story-building technique for a
millennial audience and was surprised to find that the story concept
I thought would be least impactful turned out to be the one of
greatest impact to the audience, and ultimately became the winning
story.
Because storytelling is rooted in empathy, every part of the story
creation process requires raw and unfiltered feedback from your
stakeholders, especially during this phase. This enables you as
content creator to design tailored narratives before spending large
amounts of money on production and marketing. But most
importantly, it serves as a North Star for your brand story to land
best in the market.

Phase 5 Test
In the final stage of story designing, you get to test the story
concepts that best resonated with your stakeholders. While you
may have had the chance to include some customers in a feedback
loop during the previous phase, at this stage you are now
presenting the entire brand story to your entire audience, not just a
few. Think of it as a soft launch project where you will get to
evaluate what rings true with your audience at a larger scale. Just
like in the prototyping phase, tools must be in place to capture and
observe your audience’s feedback and reaction. If you are planning
for the story to launch on social media channels, be sure to have
listening tools in place to gather metrics and sentiment. Remember
that this is not a formal launch or rebrand, by any means, of your
story. It is a test to see if you’re on the right path to connecting with
your audience in the best way possible. The beauty of this stage is
that if the story does not land well, you can certainly go back to
your other concepts, or even to holding new brainstorming sessions
to generate more ideas. Chapter 10 will be dedicated to this phase
and show you how to best launch your prototyped stories in the
market.
Storytelling with design thinking principles is an art as much as a
science and a good storyteller will diligently continue to iterate the
brand story, recognizing that the act of perfecting it never really
ends. Even when you think you may have arrived at a thrilling,
meaningful and impactful brand narrative that speaks to a
universal truth and excites your audience, given today’s ever-
changing digital world, you can’t be sure this specific narrative will
work years – or even months – from now. Always be ready to evolve
your brand story, just as your customers do.
Now that you understand the principles of design thinking and
how you can apply them to storytelling, let’s take a deeper look at
how you can sprinkle some magic on these story prototypes.
3
The magic (and magic tricks) in
storytelling

The story designer mindset

Sprinkling elements and assets to enchant the story

I hope that, by now, you’ve started to put the design thinking

principles for storytelling into practice and begun to build your
brand story spine. It’s now time to sprinkle a little magic on your
narrative. While the design thinking approach is faithfully a tried-
and-true methodology to help build a memorable brand story,
there’s always an open space to add a little more sparkle and make
the story truly magical.
Earlier we learned that a story is not a story if it does not have a
character, plot and conclusion as basic elements. We also learned
that the story theme (brand mission) and its universal truth
(relatable feeling it can evoke) are essential parts of a great story.
But going from great to magical is another level of designing a
narrative. It’s the difference between becoming a storyteller and
becoming a master storyteller. And it’s also the difference between
delivering a short-lived or a long-lived action-provoking narrative
good enough to bait the audience.
Predictions about narrowing attentions spans continue, and by
the time you’ve finished reading this book, we will probably have a
ghastly new statistic in hand about people’s inability to retain
ghastly new statistic in hand about people’s inability to retain
concentration for an adequate period of time.
This is why prototyping stories is a better storytelling strategy
than the traditional prolonged, big-budget undertaking. If you
spend too much time (and money) crafting a big production story,
your most opportune moment to land the story, or worse yet, your
most interested potential customer, may ‘scroll by’ long before the
narrative is even ready to be shared.
Prototyping stories enables a quick, efficient and consistent way
to produce and deliver content. However, most people legitimately
fear their brand story may not be ‘baked enough’ when taking it to
the market. And while this can be a reasonable concern, you must
remember that brand storytelling is never-ending. The cycle of
building your brand narrative at every customer touchpoint and
through each transformative moment of the brand is arduous and
continuous. You must get into the habit of designing for good. You
must not think like a communicator but instead, like a designer.
And you must act like one too.

‘Design… is simply magic. It is an utter enigma, a mysterious no-man’s-land where only the
brave (and the brilliant) dare tread.’

In their book Designing for Growth: A design thinking tool kit for
managers, authors Jeanne Liedtka, Tim Ogilvie and Rachel
Brozenske democratize design from an exclusive innovative
solutions plan reserved primarily and historically for creatives by
proposing the idea that while many of us may not have
extraordinary capability for aesthetics and visualization when
building a product, all of us can learn to think like designers to
deliver a better product than originally intended.
For a time at Microsoft, I was part of the Shared Service
 For a time at Microsoft, I was part of the Shared Service
Engineering (SSE) Studio team which combined UX designers and
storytellers as part of a broader group. This put me in close
proximity to these often shy, enigmatic creatures we call designers.
And I couldn’t have been any happier.
I was elated about the idea of eventually getting to know these
savants of user experience a little bit better and already had set a
plan in motion not to miss this life opportunity. Every day, I would
get up and walk past their visually chaotic – yet fascinating – mood
boards, randomized sticky notes and mobile whiteboards filled with
wondrous and complicated sketches. And each day, my curious
mind would go into overdrive at the sheer sight of these concepts.
I will not confirm or deny that my relentless inquisitiveness about
these designers and their designs may have been the very reason I
pretended to crave a cookie or two from the snack bar that stood
conveniently next to their workspace. But I will affirm that the
advantageous adjacency inevitably and eventually invited
conversation between us, and this is how, in due course of time, I
met Gregory.
Gregory was your typical UX designer: a great communicator and
storyteller, while at the same time highly analytical and endowed
with engineering logic. Visual and strategic but also driven by
empathy and creativity, he was veritably a sensei of his art.
On the outside, Gregory seemed like one of the most collected
individuals I had ever met. He possessed a Yoda-like demeanour
that made my daily meditation approach look frazzled and out of
control. I later learned that my assumption was far from the truth.
And it was the very essence of UX design that made him maniacal
and somewhat obsessed with everything around him.
‘It’s how you look at things,’ he once commented during one of
our early unofficial morning meetups. ‘As a designer, you’re never
satisfied because you’re constantly looking at ways to improve
something, anything, you come in contact with. So, your mind never
something, anything, you come in contact with. So, your mind never
rests. Most people will walk into a meeting room and simply find a
chair to sit on. Designers will walk into the same room, look at the
chair and the mind automatically begins to sketch ways in which
the chair can be upgraded to provide a better experience to the
user. Can it be made bigger? Softer? More usable in any way?’
Sounds impossibly wearisome, if you ask me. But also, absolutely
necessary in our quest to put the customer at the heart of our
stories.
The magic in brand story begins with getting maniacal, like Greg,
about how the story can consistently provide an optimal experience
to those who come in contact with it, but especially your audience.
And this can only be done by applying the four core components of
user experience, namely: usability, usefulness, emotional impact
and meaningfulness.
I know what you may be thinking. Isn’t this what we’ve already
been doing so far with design thinking principles? To some extent,
yes. But there is so much more that can be done with a story to
elevate it in a way that it gets past being good to become
exceptionally enchanting. There are colour and typography. There
are pictures and space and texture. There are so many ways that we
can sprinkle this magic to ensure our brand story is easy to
consume, easy to apply and hard to forget.
A UX-designed story is filled with anticipation on how the user
will interact with it in order to bring the structure elements (story
mission, character, plot, conclusion, universal truth) to life in a
meaningful way. The digital age has changed the landscape for
everything marketing, enabling platforms, solutions and customer
demands for something beyond words penned as a narrative. Latest
trends in digital marketing lean towards artificial intelligence,
chatbots, video and mixed reality integration. This tells us that
customers are not just seeking, but insisting on, immersive
experiences as they come in contact with the brand and on every
touchpoint of the customer journey. As consumers, we know very
well what this looks like.
I travel a lot for both business and leisure and find this to be a
fertile breeding ground for all types of brand stories. As mentioned
before, as consumers, everywhere we go, we’re subconsciously
weaving a narrative of the brands we come in contact with, based
on the experiences they provide intentionally or unintentionally. I
once took a ridiculously early morning flight from Seattle to Dallas
on one of my favourite airlines: Alaska Airlines. Compared to other
carriers, I have come to appreciate Alaska’s devotion to their
commitment of keeping a caring spirit with customers. On this
particular morning, we departed from Sea-Tac airport shortly after
5 am and, like many other passengers, I quickly rested my head and
closed my eyes in hopes of finishing my interrupted sleep from the
short-lived evening before. But it wasn’t too soon after I began to
doze off that the captain came on the public address system to
disrupt my slumber. ‘I know it’s very early, folks, and I’m truly
sorry to interrupt your nap, but I would be remiss if I don’t share
with you the majestic sight of Mount Rainier as the sun rises above
it. If you’re seated on the left side of the Airbus, I highly recommend
you open your window to take in this moment.’
Sure enough, I was seated on the left side and wasted no time in
popping open the small aperture to display the certainly
monumental sight. And there it was. Glistening with overloads of
fresh snow flurries, all 14,000 feet of stratovolcanic eminence came
at me in 3D like a pointed missile, surrounded by remarkable
blended luminosity of purples, blues and pinks. The vision was so
clear from my vantage point that I could contemplate every ridge,
big and small, surrounding this giant pyramid, and I was stunned at
the grandeur of it all. I’ve been lucky to see beautiful sunrises and
sunsets in some dazzling places, from Swaziland and Israel to
Iceland. But this, this was something I had never experienced
Iceland. But this, this was something I had never experienced
before. Hanging 30,000 feet in the air, the sun had not yet caught up
with our altitude and with every passing nanosecond, I observed
the fast rotation of our blue planet as the sun raced to meet to us.
I was as thankful for as I was stupefied by the experience. Beyond
that, I appreciated being woken up in the name of not missing this
exclusive moment because an Alaska Airlines pilot cared enough to
make sure I didn’t. He obviously could have taken in the sights all
by himself, but was mindful about the rarity of this occasion and
generous enough to share it. My gratefulness immediately showed
when I posted one of the dozens of photos I captured on social
media, tagging it, of course, with Alaska Airlines’ hashtag
#iFlyAlaska. It’s also valid to mention that the only audible
expressions coming from all of us on that aeroplane were gasps, not
sighs (not one person complained at having been nudged to attest
such experience).
This is brand storytelling at its finest. It is clear that Alaska
Airlines has set rules to turn their mission (‘caring for our
customers, our communities, our environment, and each other’)
into an immersive user experience, giving their content meaning
and leveraging practical, not theoretical, considerations to make the
story come alive.
With this in mind, I’d like to share four magic effects (or tricks)
that can rev up your brand story into action and make it as
enchanting and unforgettable as my Mount Rainier twinkle.

Magic trick 1: Don’t just define your story setting.

Find it
While character, plot and conclusion are necessary to building a
basic story, a magical element in storytelling is defining the time
and place where the story takes place. However, most storytelling
guidance will tell you that setting is only the geographic location
guidance will tell you that setting is only the geographic location
and instance that influences the narrative, without considering the
remarkable potential that exists in deliberately finding moments
and locations that drive user interaction far and wide through
every part of the customer journey, where the story can come alive
like my Mount Rainier moment.
Finding the setting in the story is all about exploring the many
landscapes and ways the story can unfold, based on the changing
market, evolving customer and emerging technologies. It’s what Rex
Hartson and Pardha Pyla in The UX Book like to call ‘the changing
concept of interaction’ or the acknowledgement that to users,
interaction with a product (in this case, the brand story) is
purposeful and they get to decide what that purpose might be after
all.
In the context of storytelling, the story is the product and while
we may spend time crafting the narrative based on what we believe
will land best with our audiences, at the time of delivery the
audience will be the one to determine how they want to interact
with it and the purpose it has in their individual user experience.
Therefore, it behoves the storyteller to find as many backdrops and
moods as possible where the story can land.
In business, this can best be done by exploring internal
disciplines, culture activation efforts, product or services launches
and any other business growth endeavours where customers
organically find themselves and the story can be told from. Finding
the story setting is having a deep and empathetic understanding
about where the customer is, where they are going and when, and
crafting the setting around them instead of begging them to meet
your story in an established setting they may not be able to relate
to. It’s what makes the story useful in the user experience approach
or what makes it click in the customer’s mind once they’ve learned
the theory behind it.
Remember, the usefulness of a product is determined by the user.
 Remember, the usefulness of a product is determined by the user.
Therefore, the more places you are able to deliver the story, the
better chance your story has to magically make its way into your
customer’s heart.
Let’s take my Alaska Airlines experience as an example of how
this particular brand not only defines but finds the setting to deliver
a spellbinding narrative. At a high level and based on their brand
mission, we know that their brand story centres on customers and
the environment (these are the main characters) and that caring is
their universal truth. By default, we understand that their story
takes place within the air transportation industry during a time
when air travel is internationally accepted as a standard means of
commuting (market setting). But their commitment to make their
mission and story come alive compels them to carefully map out
every clock time, calendar time, seasonal time and geographical
location in which their brand story has a chance to develop. In
other words, they don’t just institute a ‘once upon a time’ for their
brand story but everything is calculated to live out the brand story
given every opportunity they get. The call from one of its narrators
(the pilot) to ‘look at the mountain’ at a specific moment in time
while the audience was physically within reach served as the
perfect reminder of what the brand stands for: caring for people
and the environment.
Can you see how defining and finding the setting differ? Finding
the setting is a continuous approach to making your brand story
come alive in as many places and moments as it has the chance to.
It is a business strategy to tell the story over and over to multiple
audiences in many places and on every occasion possible.
Aside from external environments, I called out internal
disciplines as another dynamic setting where the story can and
should take place.
Earlier in the book, I mentioned that the brand story won’t be told
the same way from a salesperson’s perspective and from a
customer service representative’s perspective. And it shouldn’t.
Each ‘narrator’ is telling the story from their own space and
perception, and the audience is experiencing the brand story from
many angles throughout their journey and touchpoints with the
brand. This should be considered as part of the delivery strategy by
using the converging ideas techniques listed in Chapter 2 and also
intentionally mapping out the different settings within the business
where the story is going to be told from.
In the next chapter, we will dive deeper into this concept by
learning how to use storytelling as the blueprint of an integrated
marketing plan. But for now, I just want you to recognize that
internal disciplines are one of the best places to find a story setting.

Magic trick 2: Visual elements are not a nice-to-

have; they are a must-have
Now more than ever, the visual identity of a brand story, such as
logo, colour, typography, photography and symbols, is critical to
how audiences holistically interpret the brand story. Gone are the
days when a brand logo or slogan could tell a separate story from
its mission and overall business approach without confusing the
audience. Digital technologies and platforms have spawned the
unification of brand storytelling and customers expect stories to be
congruent and consolidated on and offline. No, the customer will
never stop methodically weaving every part of the brand story
every time they come in contact with it, be it through an email, the
product or a person who works for the brand. Considering the
cognitive processes (or how our individual brains process visual
communication) is another enthralling way that brands can design
a powerful story. Therefore, take time to explore each of these
elements and ask yourself: do they individually and holistically tell
my brand story? If a customer comes in contact with my brand logo,
my brand story? If a customer comes in contact with my brand logo,
symbol, tweet, are they able to identify the story’s underlying
universal truth? If the answer is no or you are not sure, it’s time to
re-evaluate each of these elements and strategically incorporate
them as part of your story.
Consider the psychological and physiological effects of colour. We
live in a world of colour and can appreciate how colour impacts our
experiences and influences thoughts. Studies reveal that certain
colours can help us remember information, while others can
increase our blood pressure. Both of these are simple examples of
the undeniable effects this visual element can have.
Match it with a compelling narrative, and you have a powerful
storytelling force in your hands.
I had the pleasure of sitting through a storytelling session hosted
at Microsoft and led by Disney Animation Studios film producer
Don Hahn, who is credited with Beauty And The Beast and The Lion
King. While there were many takeaways from his talk, the one that I
found most compelling and also practical was how Disney uses
colour to guide the audience through the storytelling experience to
evoke emotion. They are so deliberate in integrating this magic
ingredient as part of their story deliverable that every one of their
films is displayed frame by frame to showcase the colour schemes
and relationship between them. ‘…Throughout most of the
narrative we use cool colours, but look here,’ Hahn explained, and
during his talk he pointed to the scene in The Lion King where
Simba the Lion King fights Scar (his uncle and usurper of the
throne). Warm colours are consistently shown in these frames to
arouse the audience’s mood and stimulate emotion.
If our goal as storytellers is to evoke the right emotions from our
audience and we understand that the user experience is subjective,
it makes sense to deliberately take as much control of the
experience as possible by integrating these visual elements of story
that are sure to drive a psychological effect.
that are sure to drive a psychological effect.
Typography is another story element most people tend to take for
granted. But as a visual representation of language, type form and
anatomy are also an integral part of how the brand story is told.
Everything from the type size to the case can impact the effects of
the brand story. Just like colour and the rest of the visual elements,
typography should be strategically interspersed as part of the story
architecture.
In brand storytelling, you will choose which form is best to
deliver your stories based on the research you’ve conducted in the
empathy phase of design thinking, always thinking about how these
elements will best land with your intended audience. Will your
story be a video, a blog, an article? That will completely depend on
what your audience wants, but in every case, if it is in written form,
you should consider typography as an important element of the
story.

Typography is the detail and the presentation of a story. It represents the voice of an atmosphere, or
historical setting of some kind. It can do a lot of things.
Cyrus Highsmith

For written-form narrative, typography is the ‘first impression’ the

story makes and the consequence of this, just as with any first
impression, is that it defines the success of keeping the audience’s
attention through the rest of the story.
Another important effect that typography will have on your
readers will be comprehension. The Gestalt theory, introduced in
the 1920s by a group of psychologists, is a theory that concentrates
on human senses and proposes that the mind perceives objects not
individually but as part of a bigger idea. Gestalt is a German word
for ‘shape’ or ‘form’ and the theory believes that the human brain is
holistic, therefore it tends to group objects (in the case of written
storytelling, shapes and words) to draw a clearer conclusion of the
whole story. This means that even before your audience has
finished reading the story, how you choose to display it in written
form will guide their decision on whether they want to continue
reading it or not.
Once again, this goes back to the components of user experience.
Visual elements like colour, typography and photography help
generate the emotional responses you seek in order to make the
story meaningful to the user.
When I was designing stories about digital transformation, we
learned that our audience still found value and expected us to
deliver written technical stories (particularly white papers and case
studies) because to them, this content was fundamentally used as a
how-to manual within their own space.
However, through testing, we also learned that our design
audience wanted and enjoyed personal stories (blogs) about
engineers in the company who were exposed to the daunting task,
tension and challenges driving the digital transformation for
Microsoft. Through even more empathetic research, we also found
that these personal accounts were most compelling and relatable to
the audience when told from a first-person point of view.
This new way of telling stories was something we had not done
before (in the engineering space), and as we began experimenting
with these new designs, we resorted to the traditional branded
stock photos to complement our initial stories, soon realizing that
these general images were anything but complementary and
actually served as counter-effective when visually served.
It wasn’t much longer after some of these written stories flopped
that we went back to the drawing board and decided to take photos
of those actual people to dress up the story. I know this sounds like
a logical thing to do from a storytelling standpoint, but for an
a logical thing to do from a storytelling standpoint, but for an
engineering organization where developers typically don’t tell
stories and are anything but willing to be showcased as main
characters of them, it didn’t initially seem sensible.
I share this story with you because when it comes to brand
storytelling, you have to get past the established business norms
and perhaps do something that may seem counterintuitive in order
to effectively integrate the visual elements the story deserves. Make
it a rule to explore every creative avenue of visual components in
your storytelling and watch your brand narrative spark with magic!

Magic trick 3: Shape your brand assets to help you

tell the story
The set of unique elements that make up your brand, such as its
logo, typeface, slogans, voice and tone, is undoubtedly another
crucial way your customers come to know your brand story. It’s
important to evaluate the current perception these assets have in
the market and whether there is any opportunity to modernize how
the brand shows up to tell the story in the most compelling way. It is
not enough to revamp a brand mission, define the brand universal
truth, craft the story structure, map out the settings and apply
visual elements to it. If the brand identity itself is not ‘living out’ the
story in the market, you will have a hard time landing the story
with your audiences. To shape your brand assets means to
strategically frame these elements so that, aligned to the story, the
customer will feel an emotional association to your brand. Many
organizations may want to call this a ‘rebrand’. I wouldn’t
necessarily think of it this way. Shaping your brand assets does not
constitute a fundamental change of brand elements, but instead, it
is a thoughtful shift of how already-existing assets can be
successfully integrated as part of your new narrative.
A good example of this is the how MasterCard leveraged their
 A good example of this is the how MasterCard leveraged their
emotive ‘Priceless’ marketing tagline that has served them
successfully for the past 20 years. This brand asset eventually
became the theme of their brand story. In recognition of the
changing markets, MasterCard chose to shape their long-standing
slogan by taking their Priceless tagline from a storytelling theme
into a call to action that they recently called ‘storymaking’.
The new MasterCard campaigns are now focused on how the
brand is turning Priceless into categories such as ‘priceless
surprises’, which gives customers unexpected experiences, and
‘priceless causes’, which generate donations to chosen charities.
Essentially, this original marketing catch phrase evolved into the
brand mission to create a new set of customer immersive
experiences – and stories.
Think about existing assets your brand has today and how well
they may align to the brand and brand story mission you’re
designing. If you look intently, you might find a vault of
immeasurably enchanting treasures that you might be able to
sprinkle from different places onto your brand narrative to help
elevate the story in the market.
There are plenty of ways to think about how existing brand
elements can complement the brand story. Or even the other way
around. Remember the exposition brief in Chapter 1? There’s a
reason you listed the brand attributes that early into the process. A
magical story will take what already exists and seek to naturally
blend the personality of the brand into the narrative. If the story
feels too far away from established brand assets, it may not be
reflective of the brand. Keep in mind that the brand story serves to
showcase the brand’s mission, values and behaviours, so it should
never feel disconnected from the brand’s core assets.
A good way to ensure you’re keeping honest and staying aligned
to your brand assets as you develop the story is by asking yourself
at many points during the design process: ‘Does this storyline look
and feel like the brand?’ In other words, if you were to test that
story concept in the market without manifesting the brand name,
would your stakeholders still be able to recognize it and link it back
to your brand?
I consider myself a foodie… of the worst kind. My husband is a
private chef and so I have the privilege of feasting on glorious
organic and delectable seasonal dishes – almost on a daily basis.
Yes, it’s OK to be jealous.
This is both a blessing and a curse, because it has become almost
impossible for me to find outside eateries that can even aspire to
match my husband’s culinary gift to satisfy my very entitled palette.
On occasion, we will find a great restaurant that offers the
gastronomic experience we’re looking for and, as a result, we
become very loyal customers.
A trendy new restaurant opened up on the east side of Kirkland,
Washington, a quaint little town located a few miles north of
Seattle. Sure enough, we made it a point to go and try it out. As we
entered the venue, my husband quickly noticed that there was a
familiar feel to the place. As we were seated to our table and the
server came to take our drink orders, my husband couldn’t help
himself and asked if this restaurant had any connection to another
one we tend to frequent on the west side. Neither the restaurant
name nor even the menu had any resemblance to the other eatery,
but sure enough, the server confirmed that it was the same owners
and even the server himself took turns to work at the other
restaurant. What gave it away was the way the tables were set, the
bakery stand in the corner, the visual clues that we could have been
‘there’ once before.
What a flawless example of how brand assets evoke feelings, just
as the story does. And in their own way, tell the brand story. If you
take time to creatively blend these elements, you will see your
brand story thrive.

Magic trick 4: Keep your conclusion inconclusive

Oxymoronic, right? Not really. The best stories are made of
conclusions that are semi-ambiguous in nature. In other words,
they let the audience draw their own conclusion. This is not to be
confused with the story theme. We have already established that
the theme of the story is the brand mission. As previously noted, the
story theme should be conspicuously played out through every part
of the narrative, leaving no room for interpretation. But an
entrancing story is one that gifts the audience with the power to
deduct their own learnings. It doesn’t put a threshold on what
should be felt or cultivated from its universal truth. Think of the
best storytelling in Hollywood – movies that have simply left you
stupefied and forced you to engage in discussion with fellow
moviegoers about their ending. Most recently, Marvel Comics has
distinguished itself as an irresistible and creative storytelling force
by leaving stories inconclusive and allowing the audience to use
their imagination on what may or may not have happened.
Inconclusive conclusions also tell your audience that your story is
‘not finished yet’, meaning you continue to move forward and
evolve as a brand and there is much more that they should be
anticipating in the future. How can you best do this? By not forcing
the story lessons every time you tell the brand story through
obvious mention of your universal truth. In other words, keep a
little mystery as part of your brand story and let your audience
methodically unwrap its universal truth as a magnificent favour.
A brand that has done a great job at riddling narrative is Airbnb.
Their mission: to make people around the world feel like they could
‘belong anywhere’. Their universal truth is belonging, but instead of
directly talking about how their services make people feel like they
belong, they collect visual travel stories from customers all over the
belong, they collect visual travel stories from customers all over the
world and categorize them by experiences such as ‘escaping the
crowds’ and ‘big city living’. The stories are inconclusive in that
they don’t directly speak of belonging per se, but the user-generated
content clearly showcases this feeling time and time again through
raw and untouched narrative from satisfied customers.
As you may be starting to appreciate, storytelling is a verb. A
perpetual scheming of bringing elements, techniques and rules
together to keep your audience connected, excited and inspired
about the brand through narrative. But once we’ve determined the
best way to structure the brand story, how can we practically
integrate it as part of the marketing mix?
The next chapter will show how to build an integrated marketing
plan with brand story.
4
IMC Reimagined
Building an integrated marketing plan
with story

Reimagining the brand story message

Incorporating brand storytelling into your IMC plan

As professional brand strategists and communicators, we

understand the value and results of crafting a well-rounded
integrated marketing plan. But perhaps we haven’t realized that
this unification approach should centre around the brand story for
unequivocal success. If we are able to secure the brand narrative
first, it becomes a lot easier to consistently tell the story across
multiple channels, through different tools, activities and processes.
Yet most brands continue to struggle to do this, and that is
because traditionally, we’ve been thinking about the brand story
from a static character perspective: the brand mission is written
once, the story is crafted once and the character is developed once,
if indeed the story and character have been established at all. Most
brands have spent time and resources defining their brand
elements, which make up the attributes of the story character, but
have forgotten that storytelling is a verb. Meaning, the process of
telling your brand story is never-ending and the story must
continue to unfold from different angles, different places and from
continue to unfold from different angles, different places and from
a modern narrative approach. Storytelling is an active business
model where brand elements continue to evolve along with the
brand’s own diversification in the marketplace.
Allowing the brand character to evolve, to grow and transform
within the brand story is the most compelling part of integrated
marketing because it enables an authentic flow of the marketing
plan to find its natural and distinctive competitive edge. Have you
ever tried launching an integrated marketing campaign that just
feels unnaturally rigid? Elements of the campaign appear as square
pegs trying to fit into round holes and every person involved in the
process is clearly frustrated with it? What’s worse, the elements of
the marketing plan seem disconnected and distant from one
another. This is because they lack application of the storytelling
‘glue’ to it, which is what brings the message together, and
inescapably makes it an integrated plan.
Conversely, some brands will launch an individual flashy
marketing campaign, without incorporating the brand story, and it
inevitably becomes short-lived. I’ve seen it one too many times: a
brand spends an exuberant amount of funds and resources on one
strategic and brilliant campaign. It lands well. It produces
immediate results, only to be instantaneously replaced by the next
best ad from a competitor. Or worse, they have now set such high
standards in the marketplace that they find themselves having to
‘up their own ante’ and compete against themselves to deliver a
more extravagant advert than its precursor. As a result, brands find
themselves trapped in a vicious and strenuous cycle of upscaling
their marketing campaigns (often with receding budgets), while
their customers are also spinning their wheels between feeling
inconsistently inspired by these ads but soon forgetting exactly why
they truly love the brand.
I’m in no way trying to diminish the potential effectiveness of a
single, well-crafted marketing ad or campaign. There certainly is
single, well-crafted marketing ad or campaign. There certainly is
value and importance in these individual go-to-market strategies.
But as mentioned before, newer generations are seeking continuity
from a brand. They are no longer impressed by one or two
inspirational segments showcasing how grandiose the brand may
be or what it can offer. Furthermore, we must consider that these
stand-alone campaigns also run the risk of lurching so far from the
brand’s established mission and story that they have the potential
of facing strong backlash from their audiences.
Introducing storytelling to an integrated marketing plan looks a
bit different from one-off minute campaigns because story takes on
an internal approach first, before going to market.
A basic integrated marketing plan consists of five elemental steps:
1. Crafting the message
2. Setting your goals
3. Identifying your target audience
4. Selecting the channels
5. Measuring success

Incorporating brand storytelling into your IMC plan

Notice that the first step in the plan is always determining the
marketing and communication message we are looking to land with
our audiences. Incorporating brand storytelling into this process is
an intentional step to empathetically aggregate the brand theme
and story as part of the overall message in order to adequately and
consistently establish the brand narrative your customers have
come to know and love over time. It’s what British advertising
tycoon David Ogilvy called the Big Idea, or ‘stepping back’ and
looking at what makes an idea (or in this case, a brand story) big.
Ogilvy strongly believed that open-ended and intuitive thinking
infallibly led to transforming the language of a brand message,
because this ‘no assumptions’ approach helps make an emotional
because this ‘no assumptions’ approach helps make an emotional
connection with customers that resonates, is meaningful and can
universally be communicated across all media platforms. Sound
familiar?

You will never win fame and fortune unless you invent big ideas. It takes a big idea to attract
the attention of consumers and get them to buy your product. Unless your advertising
contains a big idea, it will pass like a ship in the night.
David Ogilvy

Ogilvy’s Big Idea is what I call that universal truth in brand

storytelling. Imagine how many ships have passed in our own
brand’s port because we’ve discounted this right-brain judgement
approach when strategizing marketing plans! The Big Idea is about
saying ‘yes, and?’ instead of ‘no, but’ as you craft your brand
message. It allows the brand message to find unexpected paths and
perhaps even set a different course from the one originally thought
of, even if at first it makes no sense.
An example of this is brands tackling social issues as part of their
message and brand story today. I conducted a four-month non-
obvious trend report using Rohit Bhargava’s Haystack curation
method to showcase this new phenomenon in marketing: the
relationship between brands and social justice. As brands take on a
more ‘humanized’ approach to marketing for more effective
consumer connections to emotionally appellant generations
(Millennials and Gen Z), brands are faced with the inevitable
question: do they have a voice and should they use it?
From an integrated marketing plan standpoint, it would make no
sense for traditional marketers to immediately consider this rising
trend as part of their brand message. It’s way too risky. And it feels
uncomfortably unnecessary. As it did when thinking about going
out to market on social media channels at the turn of the
millennium, or using email in the early 1990s.
But storytelling and the Big Idea force us to think with a growth
mindset because embodying the brand story in every marketing
plan message inevitably makes us reflect on how pervasively the
brand core values are being showcased in every message. When
incorporating storytelling into an integrated marketing plan, we
indubitably have to ask ourselves: does this message truly reflect
the overall brand story?
As mentioned before, the smart customer is looking to
emotionally connect with the brand and wants to be reminded on a
daily basis why they love the brand so much. Why they chose it to
be their friend or make it part of their everyday life. A lack of
consistency in marketing efforts or a message that is too far-fetched
from the brand mission can do more harm to a brand than if no
marketing was done at all.
It’s the same psychology we use in our personal relationships.
Ever have a friend, or better yet a frenemy, who once posed as a
friend that always threw mixed or inconsistent messages at you and
you couldn’t quite figure out what they were about, or decide if you
should really be friends at all?
I was in my early adolescent years when I met Angela.* She lived
in the same apartment complex as I did, and thanks to no
computers, internet or video games readily available for
entertainment, I was blessed to spend my summers outside
inventing all kinds of games and getting into occasional mischief
with other neighbourhood kids, and this included Angela.
Angela was pretty. Not girl-next-door pretty, more like Scarlett
Johannson pretty. I can’t remember exactly how we met, but I do
remember we became inseparable from the moment we did. But it
wasn’t too soon after I lovingly asked her to become one of my
‘BFFs’ (that was a thing back then, you know? I mean it really
‘BFFs’ (that was a thing back then, you know? I mean it really
solidified the friendship for eternity and beyond) that I became the
unfortunate recipient of her inconsistent messaging. Some days, we
would lie on the grass, observing the big blue Florida sky parade
cumulonimbus clouds packed with daily afternoon thunderstorms,
and together fantasized about future boyfriends and wedding days.
Other days, she would randomly tell a ‘joke’ in ways that left me
completely confused about the fortitude of our friendship.
‘You know that saying, “I got your back”?’ my rivalrous
companion would suddenly utter. ‘Well I got your back… wayyyyy
back’ and then she would burst into some Machiavellian laughter
straight out of a bad horror movie. I’d laugh right back to partake in
the unwelcome humour, but deep down inside I was sincerely
puzzled by it, and this left an unsettling feeling in my stomach.
Thinking back, I should have been more in tune with my gut feeling,
since a few years later she went on a (very sad) full-frontal attack to
steal my boyfriends. Oh, Angela.
While the effects of dissonant brand storytelling may not be as
melodramatic as my awful experience with Angela the
Backstabbing Monster, there is something to be said about the
perplexity consumers go through when they meet a conflicting
message from a brand. As I delved deeper into my non-obvious
trend report research on brands tackling social issues, I came across
that very thing that happens when an incongruous message is
delivered by a brand.
In early 2019, razor-maker Gillette got into an unfavourable
situation when they decided to align their main brand slogan, ‘The
Best a Man Can Get’, to the demonstrative #MeToo movement
against sexual assault and harassment, which had begun on social
media just two years earlier. The brand decided to create a two-
minute video chastising what they called ‘Toxic Masculinity’
through depicting a series of traditional boy and male behaviours
that intertwine with sexism and that were ultimately considered
that intertwine with sexism and that were ultimately considered
socially unacceptable. Perhaps noble in itself, and almost heroic in
trying to address sexism in today’s climate. The ad’s tragic failure,
though, was not the message in and of itself but the fact that,
historically, Gillette’s brand story had been rooted in sexist
paradigms in attempts to appeal to their main audience: men.
Therefore, this unannounced shift in brand message direction did
not reflect their established brand values and was met with
immediate scepticism about the brand’s authenticity and true
intentions for this message.
We know well that brands exist to make money. Customers know
this too. But because the market and the consumer keep evolving,
we also know that past bottom-line-only marketing tactics are no
longer effective. When the integrated marketing communications
(IMC) concept was first introduced in 1989, it aimed at achieving
consistency through the multiple communications and marketing
channels. Today, that approach is elevated by going beyond
identifying a brand voice, tone and style and aggregating its story.
Building an integrated marketing plan with storytelling is about
getting away from the disparate ‘ad-to-ad’ or ‘message-to-message’
traditional marketing mentality and positioning the brand theme
and universal truth as the foundation of relationship-building
inside and outside of the organization. IMC with story is then a
fundamental operational shift in the brand’s culture and way of
doing business.
If these words sound somewhat familiar, it is because they are.
They resemble the many ways experts have tried to define the
cloud-first revolution or digital transformation. While some
definitions have been a bit fantastical and others too convoluted to
make sense, almost every one of them acknowledges that an
essential part of the digital age disruption involves a definitive and
introspective look at the way every organization is operating to find
innovative and agile ways to stay afloat in the market and industry.
Large or small, your brand is either considering the inevitable
adventure of embarking on the digital transformation journey or
has already begun. And no matter where in the journey your
organization may find itself, there is no better moment to integrate
storytelling as the fabric of the brand’s modernization efforts. It is,
after all, the one tool able to evoke emotion in a time when most
business functions will be digitized and automated. So, I’d like to
invite you to rethink the basic IMC plan steps, by introducing a
storytelling twist.
Let’s take a look at how storytelling can help us build a winning
integrated marketing plan in the digital age. I want to call this IMC
Reimagined.

Reimagining the brand message

By now you should have a clear idea of what your brand story
theme and universal truth (the feeling it is evoking by meeting a
specific human need) are. When you begin to craft your integrated
marketing plan with storytelling, instead of deciding on a specific
message you want to land just one time with external stakeholders,
leverage your brand’s universal truth to help spread the message
within the organization first, one internal stakeholder at a time.
Remember that good storytelling is about evoking emotion. By
crafting the story and delivering it internally first, you are driving a
concerted effort to instil your brand story as part of the culture so
that your internal audience feels, lives and breathes the story and,
consequently, it is authentically told in the market. This is done by
creating a set of assets for storytelling. Ideally, the marketing
discipline in the organization will own this process and dedicate
time and resources to building a hub of storytelling assets that
every part of the organization can have access to. Think of it as
brand storytelling guidelines. The same way the company’s logo
and brand elements are made available for all to use, the brand
story elements and guidelines should be shared. Building an
integrated marketing plan with storytelling begins with ensuring
that everyone in the organization not only knows the story but is
also able to tell it from their individual working space. While every
discipline will certainly tell the story differently, and should, the
underlying message (theme) should stay consistent throughout,
along with tone, voice and other assets. You can think of this step as
an internal marketing campaign that never ends. It is part of the
cultural and digital transformation your brand needs to go through
and it’s a long-term investment, but one that yields favourable
results. Part of crafting the message is also enabling other
stakeholders to tell your brand story. Partners, board of directors,
investors, all should also be closely acquainted with your brand
story as well as equipped to tell it. Later in the book, I share specific
steps on how to best leverage employees as storytellers, but the first
step is ensuring that the brand message is known and understood.
This is primarily done by the creation and sharing of storytelling
resources and assets.
Assets should include everything from simple walking decks on
the overall story, to more intricate instructions on how the
universal truth plays out throughout each discipline, product and
region. A good checklist of storytelling assets looks like this:
Main story deck (this is your brand mission in story form)
Storytelling guidelines (how, when and where to tell the story)
Storytelling elements (character, plot and conclusion
definition)
Storytelling techniques (how to tell the story)
Storytelling resources (available training and materials)
Reimagining your brand’s message means designing every detail of
the brand story and teaching it to everyone who should be telling it.
Creating a hub of storytelling collateral is the best way to ensure
that the story is unified across the company and that there are no
disconnected or diverging stories along the customer journey. It
also provides a firm foundation to deliver future ads, campaigns
and marketing programs. When the brand story becomes the
organization’s North Star, every part of the organization will
intuitively shape internal and external communications around the
story’s universal truth. The brand story will become a steady
reminder to all stakeholders and an affirmation to every customer
who comes in contact with it in the market of why the brand exists.
After establishing a robust brand storytelling engine, you can
confidently take the story to market in as many ways and on as
many channels as you see fit. As long as each marketing campaign
and communication ties back to your brand’s universal truth, you
greatly diminish the chances of entering the vicious cycle of
creating detached adverts or stories that confuse customers. Even if
you dare dabble on the risky side with a particular campaign,
content will not seem foreign to your audience because you have
probed it against your brand’s universal truth and it is evoking the
same feeling every time.

Resetting your goals

The main goal of storytelling is to evoke the right set of emotions.
We learned in the design thinking process that testing the story
prototypes enables you to understand how the story is landing with
your intended audience. Ultimately, we want to inspire our
customers into action, but the first goal is to spark feeling.
Everything else is secondary and will come naturally as a result of a
successful story. Once again, storytelling begins with your internal
stakeholders. They are your first audience and the ones who will
turn into ‘believers’ of the brand’s universal truth before anyone
turn into ‘believers’ of the brand’s universal truth before anyone
else does. Getting your audience to feel the desired emotions is
primordial to the integrated marketing plan.
While goals should be SMART (Specific, Measurable, Achievable,
Relevant, Time-bound), most importantly they should be shared. In
traditional IMC plans, goals are often established and met by
marketing departments for marketing departments, and if lucky,
the communications departments will join in the effort too. But to
drive a truly unified approach in brand storytelling, the reimagined
IMC goals should not only be communicated, but shared among as
many internal disciplines as possible, if not all.
An example of an IMC Reimagined shared goal across the
organization would be: By 30 January 2024, all employees will be
able to incorporate the newly crafted brand story as part of their
individual growth plan.
Remember that the integration of the brand story fundamentally
shifts the IMC plan to start with telling the story internally first, so
that it becomes the blueprint of how employees do business,
advantageously creating advocacy as a result. Once these goals have
been shared and employees are individually made responsible to
deliver on them within their particular discipline, it will be much
easier to drive an external campaign.

Identifying your design (not just target) audience

We have learned that empathy is the main driver of storytelling. In
the design thinking process, storytelling begins with empathizing
with the audience. This means understanding them from a deeper
angle than the conventional marketing persona. When introducing
storytelling to an integrated marketing plan, a considerable amount
of time should be spent studying the target audience from a design
perspective. Remember that driving empathy with storytelling
means understanding which customer needs are being fulfilled by
the brand and which feelings the brand story is evoking from them.
As mentioned in Chapter 1, the more research conducted on your
audience the better. Do not underestimate the power of
psychographic and ethnographic insights that help you understand
your audience’s emotions so that you can continue to design your
story around it.
In IMC Reimagined, we take a distinctive approach to the brand
story by beginning with finding insights to understand if it is
awakening the desired emotions in employees, partners, vendors
and other internal stakeholders. As you are already learning, this is
a key component to brand storytelling as it becomes the
fundamental blueprint to how the story will eventually be told in
the market.
By now, you have built your brand storytelling engine, along with
resources and materials internal audiences can tap into and
leverage in their own space. You have also re-established your goals
to ensure that these are shared among internal stakeholders, and
now you are seeking to understand how the story landed with your
internal audience first, before launching it in the market to external
ones.
The best way to do this is to gather immediate feedback from
internal stakeholders as soon as you deliver the brand story
concepts you’ve created.
Because storytelling starts with an inside-out approach, every
communication channel within the organization should be explored
to deliver the brand story concepts you’ve designed in a way that
stakeholders can best consume them. Part of the digital
transformation journey entails implementation of digital
communication tools and applications that facilitate connection and
social interaction in the company. As you think of your strategy for
creating the storytelling hub and sharing it with stakeholders, you
should also be thinking of which channels should be used to tell the
story. Because cultural transformation can take time, you may want
to consider combining traditional communication channels (such as
email) with more modern social tools such as Slack or Yammer.
Since the main goals of brand storytelling are consumption and
engagement, the best bet is to leverage every channel available to
help drive your brand story message. As with any integrated
marketing campaign, print media and other physical assets should
be considered as part of the plan. Leverage posters and TV screens
around the office to continually remind internal audiences about
your brand story. The more top-of-mind the brand story is to your
stakeholders, the more engrained it will become as part of the
culture and operational strategy.
After you’ve delivered the brand story to your internal customer
base, find ways to see how it landed. It’s important to know if
stakeholders not only understand but believe in the newly crafted
brand mission and brand story. How does this story look from
where they stand? How does it play out in their particular
geography of the company? Is the brand story simple to
understand? Is it useful in their space? Does it evoke the right set of
emotions from them? Don’t be afraid to ask these questions over
and over of your internal audience. Remember that brand
storytelling is a verb and you should never stop designing it, so that
it stays relevant in the market. The only way to stay relevant is to
keep crafting the story your customers (internal and external) want
to hear. And you will not know what that is, unless you consistently
ask them. Make it a practice to get insights from your audience
every time and you will soon see positive results in your brand
storytelling.
You can then follow the same process for external audiences. This
time, it should be easier since you’ve already had practice with
internal ones.
It’s also important to consider that both internal and external
audiences are usually hybrid. A design audience approach
audiences are usually hybrid. A design audience approach
acknowledges the differences between all stakeholders and
empathetically seeks to tell an inclusive story that effectively
reaches many audiences while at the same time crafting
individually relevant stories for each of the particular audiences.
For Microsoft, their global external audience varies anywhere
from gamers (often younger audiences) to tech developers and IT
professionals implementing cloud services at the enterprise level.
Clearly the Microsoft brand story is not going to, and should not,
look the same to the breadth of their customer base. Therefore, it
largely benefited Microsoft to reimagine their target audience and
turn them into design audiences. This made it possible for the
brand to personalize their universal truth and exclusively appeal to
each particular audience. In other words, Microsoft took its
established mission and universal truth (‘to empower every person
and organization on the planet to achieve more’) and
empathetically set out to tell individual stories for each of their
products and consequently their diverse audiences. While all stories
centre on the same theme of empowerment, empowerment shows
up completely differently to the young gamer compared to how the
seasoned IT professional sees it.
Turning your target audience into a design target audience by
listening and gathering feedback, and creating personalized stories
per audience cohort, enables you to epitomize the overall brand
story and effectively deliver it to your hybrid audiences.

Measuring success
Just like resetting your goals to make them shareable among
internal stakeholders under IMC Reimagined, measuring success
looks at ways those cross-functional groups can also celebrate
shared success. This means that not only will your internal
audiences have a few shared goals they’re collectively working
audiences have a few shared goals they’re collectively working
towards when launching a unified marketing and communications
campaign, but they will also have shared metrics that measure the
campaign’s success as you go out to tell the brand story.
Because the main goal of storytelling is to evoke emotion, metrics
should be short and simple: consumption and engagement will
probably be the top ones to consider. Your brand story has now
become a catalyst to culture activation, as it is serving to articulate
the brand values, align strategies and processes, and connect people
internally. Isn’t this beyond your wildest imagination of what brand
storytelling could do for your organization?
For this reason, it is important that the story is communicated
often and through all possible channels to your newly formed
design internal audience and that feedback is collected just as often
to understand how the story is landing. This is why creating
feedback-loop channels and systems and establishing insight tools
prior to landing the story is extremely important.
Microsoft leverages both internal and external tools to gather
feedback from their audiences even as the stories are being crafted
(not yet fully created), and are sure to openly and vulnerably ask
their audiences about their opinion during the process. For
example, for external audiences, Core Services Engineering set up
private LinkedIn groups where storytellers could share projects
they were currently working on and insider IT professionals who
wanted to participate were welcome to review and provide
feedback as the stories were being designed.
Again, storytelling is empathetic in its essence, so you will be able
to empathize with your audience only if you know and understand
how they feel about your brand story. Get creative in your insight-
gathering approach. There are countless tools to use today, both
internal and external, that will benefit your organization in many
ways. The more insight for success measurement gathered, the
better your chances of landing a successful brand story.
Later, as the story begins to take on a life of its own within the
organization, consider adding more robust success metrics and
implementing additional goals through programs such as story
ambassadors and internal influencers to help cement your brand
storytelling blueprint. There is more on this in Chapter 9.
Once the story has landed effectively internally, you can set
specific goals to take the story to market through regular targeted
campaigns and ads. Don’t forget to establish your baseline (before
and after storytelling) to measure how impactful this approach has
become for your organization.
Building an integrated marketing plan with storytelling is really
about learning to foster empathy from the inside out to
fundamentally shift the way your brand story is crafted and told.
It’s an introspective observation that seeks to understand the
customer’s experience when it comes in contact with the brand
story. It’s about crafting a message that is ‘for your audience, not to
your audience’ as my dear friend and colleague Storyteller and
former Distinguished Engineer at Microsoft, James Whittaker, is
always careful to point out. This means that we don’t just build a
story, think it’s good and launch it, as we would in a traditional IMC
plan. Crafting a story for your audience means you are considering
them every step of the way. You are attentively listening to how
they are reacting to the story being told and are diligently going
back to refine it, refresh it, replace it, or whatever it takes to ensure
it evokes the right emotions from your audience. IMC Reimagined is
an empathetic approach to marketing. And isn’t empathy the best
way to make customers, both internal and external, feel accepted,
valued and safe in the brand space?

Empathy is a key component to designing a successful brand story because it stimulates us to

 Empathy is a key component to designing a successful brand story because it stimulates us to
consider the audience during every step of the story design process.

In the next chapter, we will take a deeper look at this

compassionate skillset that compels us to reconsider who the main
characters are in our brand story.

*Some names and identifying details have been changed to protect the privacy of
individuals.
5
The brand story hero
Put your customers at the heart of your
brand story

Non-obvious trends in customer-centricity

Steps to unveiling your brand story hero

I was only a child when I had the sheer good fortune of meeting
Wonder Woman for the first time. Just like you would imagine her,
this warrior princess of the Amazons was everything you would
ever hope she would be. She wasn’t only gifted with great abilities
and demi-god superpowers, but her beauty was infallible and
radiant. I couldn’t stop looking at her. She was the very definition of
beautiful. I was mesmerized by her graceful allure that displayed
courage, passion, integrity, confidence and selflessness all at once.
In a sea of people, I was one of three lucky kids who were able to
get close enough to touch her. Her courageous, yet noble gaze found
me and she singled me and the other two kids out of a massive
crowd, reaching out her hand and motioning me to come closer. I
couldn’t believe it! Without taking my eyes off hers, I quickly moved
through the mob, extending my short limb as far as I could towards
her and eventually putting my small-framed grip into hers. Her skin
was softer than it looked. It was soft as silk. And her long, flowy hair
smelled like spring flowers. Boy, was I lucky to be in such close
smelled like spring flowers. Boy, was I lucky to be in such close
proximity to this divine creature. I mean, she was truly, truly
wonderful. It made sense why people called her Wonder Woman
when her real name was Mom.
What is it about heroes that we love so much? If any character
can spark a myriad of emotions in a story, it is the story’s hero. Is it
their impeccable character traits? Is it that we see a little bit of us in
them, or hope to? Whatever it is, the hero in the story really is the
most inspiring character of them all, even if they aren’t the main
character of the story. Heroes bring us hope, they fight the bad
guys, they transcend every obstacle, including themselves, for the
greater good. I dare say this is why we want them to win. Because if
they win, we all win.
For many years, ‘winning’ for a corporation meant nothing more
than beating out the competition, gaining market share and adding
to that bottom line. But as we’ve been learning, newer generations
conjoined with modern technologies and infiltrating competition
have pressed organizations to rethink their social value beyond
economic impact and challenge themselves to contribute to the
greater good.
During my research phase for brands tackling social issues
trends, I found a striking theory: brands are evolving into heroes
because customers are peremptorily asking them to.
As mentioned before, for this project I used Rohit Bhargava’s
Haystack method for trend curation. The Haystack method follows
five steps (gathering, aggregating, elevating, naming and proving) to
help find and compile stories and ideas to further elevate them into
trends.
During the aggregation process of this trend report, I began to
look at ideas based on how brands can change the world and the
human needs and behaviours that influence those ideas. The
information I compiled was based on the same demographics
throughout each non-obvious trend.
throughout each non-obvious trend.

Millennials and Gen Z, high school education level or higher, income <$25K per year
Top global brands (Fortune 500)
Diverse industries and sectors across the world

I gathered information from various online sources, including

scholarly articles, news articles, industry articles, blogs, brand
websites, research articles and surveys, and these helped me find
correlations between different ideas, all mapping back to the same
notion that brands have begun to use when writing their story,
under the ‘Hero’s Journey’ archetype.

Non-obvious trends in customer-centricity

I believe it suitable to share my findings with you so that it’s easier
to accept how this inclination came to pass. These ideas are a result
of a large-scale analysis of already-existing obvious marketing
trends that attempt to find the unobvious ones with the goal of
making new relevant predictions for brands in the market.

Idea #1. Corporate social responsibility today means

more than just ‘being green’
Influencing behaviour: Newer generations (Millennials and Gen Z)
expect brands to have purpose. In years past, the term corporate
social responsibility insinuated that organizations entertain the idea
of elemental awareness for social good. This meant, at the basic
level, that they needed to be conscious of the effect their
organization had in society and how they should extend some
contribution to social good by aiming at carbon footprint neutrality
or partnering with non-profit organizations for greater impact.
Today, brands are urged to do more than giving back to social
causes through affiliations. They’re confronted with insistence from
consumers to actually drive activism, have a social issue stance and
even craft their products and services with philanthropic
considerations at the design stage. This concept is interesting
because it’s creating an opportunity for brands to leverage social
good works as a product marketing strategy.

Idea #2. Brands are friends

Influencing behaviour: Customers no longer appreciate brands as a
provider of consumer goods and services, but instead they
romanticize them as a direct reflection of themselves. Marketing
Account Manager for Digital Surgeons, Lauren Fagan, made an
assertive observation on this rising tendency when she pointed out
that ‘companies have the potential to create amazing bonds and
solidify lifelong loyalty if they invest in their consumers like you
would your friends’. Fagan couldn’t be more on point. The
emotional connection consumers are seeking with brands is
entrenched in relationship-building, and this association has
mellowed from buyer–seller to consumer–friend. For that reason,
consumers are critically examining which brands they want to
‘become friends with’ as part of the consideration stage in the
purchase journey. This permutation in customer experience is
building pressure for brands to further assess whether their
behaviour and position in the market are attractive enough to be
considered ‘friend material’.

Idea #3. Brands must establish and openly share their

core values as part of their story
Influencing behaviour: Because consumers see brands as a
potential friend, or an extension of themselves, they seek to have
full discernment on a contending brand and their core values.
Establishing corporate mandates along with ethical norms for your
brand and openly sharing them with your audiences is no longer a
‘value add’ to your business strategy, but an indispensable
requirement. Remember that clients are, more often than not,
‘courting’ many brands at once. There are continuous assessments
being made by your audience on how the brand shows up, not in
the market but in society. So the most advantageous way to capture
and keep your customer’s attention is by investing time and
resources in instituting and promoting a clear code of ethics, code
of conduct and core values that conspicuously delineate what the
brand stands for on every front. We’re seeing more and more how
leading brands are riding this trend as they leverage their ‘About
Us’ webpage real estate to offer open-source access to their
company’s mandates. They’re also weaving their brand core values
into their brand story and taking every opportunity to showcase
them in marketing campaigns.

Idea #4. Buying from a brand now means supporting a

cause
Influencing behaviour: Today’s savvy customer is hyper-engaged in
social activism and their effort towards driving change includes
intentional spending or buying with purpose. Modern consumers
are also educated, tech natives, creative, environmentally conscious
and never afraid to leverage these idiosyncrasies when making a
purchasing decision. Big on ‘experiences over things’, Millennial
buying power is predicted to reach 1 trillion by 2020, while Gen Z,
currently accounting for $123 billion in direct spending, is projected
to become the largest generation of consumers by this same date.
to become the largest generation of consumers by this same date.
With this in mind, brands must recognize that contemporary
spending is closely attached to relationship-building and social
activism, for which reason a company’s products and services must
tell the brand story, grounded on empathy, the brand’s core values
and a demonstrated desire to be an inclusive friend.

Idea #5. The new buyer is now belief-driven

Influencing behaviour: Closely related to idea #4, but, in essence,
preceding it to set its foundation, is the idea that there is an
increasing shift in belief-driven spending spanning generations,
including older ones. The 2018 Earned Brand report by global
communications firm Edelman found that 65 per cent of consumers
worldwide are making belief-driven purchases and what’s more
thought-provoking is that according to this analysis, when
consumers feel unrepresented by government, they are looking to
brands to ‘provide a large-scale moral compass – and rewarding
those that do’. This takes a brand’s social stance to a whole new
level of activism where their Hero’s Journey brand story just
encountered a significant plot twist.

Idea #6. Companies that do not take a social stance may

lose competitive edge
Influencing behaviour: As brand storytelling becomes a prevailing
force in driving marketing strategies, and given today’s influencing
behaviours, it’s becoming more and more clear that companies
choosing to stay neutral on social and political issues, instead of
proactively weaving a social activism angle into their brand story,
will sooner rather than later be feeling the negative effects of their
decision by losing market share. Associate professor of marketing at
Drexel University, Daniel Korschun, in his article published by Fast
Company, showed research findings on the potential costs for
companies choosing to stay silent. An example given in his report
was rival US-based rideshare companies Lyft and Uber’s approach
to President Trump’s 2017 immigration executive orders. ‘Lyft
reacted by publicly opposing the order and pledging US $1 million
to the American Civil Liberties Union. Uber was more equivocal,’
noted Korschun. As a result, Lyft’s response to the issue was
generally seen as favourable by consumers, while some customers
called for others to boycott Uber altogether. This is another
compelling reason as to why you should proactively and
continuously design your brand story in a way that keeps your
business relevant and competitive in the marketplace.

Idea #7. Innovation is now attached to positive world

change
Influencing behaviour: Up until now, we’ve seen the common-sense
reasons for why brands are feeling compelled to take on the ‘Hero’s
Journey’ approach in their brand story, starring themselves. New
buyer model, consumer expectations and the ever-changing
competitive-edge landscape are among several opportunities
seemingly driving the brand to ‘put on a cape and go save the
world’ in some form or fashion. Through the analysis process and
while uncovering ideas, I slightly touched on brands also having to
re-evaluate how their products and services fit into the storytelling
strategy through keeping social impact top-of-mind at the early
stages of their product-making. But taking it a step further, Founder
and CEO of Good Business, Giles Gibbons, in his scholarly article
‘The Social Value of Brands’, points out that brands can do more
than comply with society’s expectations: they can be agents of
change by becoming social innovators. This is where, instead of
making a consideration at the product or service design phase to
evaluate where and how already-created products and services can
contribute to the greater good, brands can make a shift in the
usability, accessibility and desirability of the service or product to
purposefully lead that positive impact, essentially redefining
innovation.

Idea #8. Brands must be careful when taking a social

stance
Influencing behaviour: To conclude, the last idea that transpired
from my research comes with the overstated warning that socially
conscious brand stories can be a double-edged sword. The Head of
Business Development at Neuro-Insight cited Gillette’s ‘Toxic
Masculinity’ ad as a prime example of how a strong emotional
response to an advert can trigger the human memory’s encoding
(the process that turns an item of interest into a construct that can
be stored within the brain), effectively impacting the subject’s
future behaviour, including purchase decision-making. This means
that if a brand does decide to craft their brand story, taking into
account all of the preceding ideas, they must also take time to
consider the risks associated with this game plan. While good brand
storytelling aims at evoking emotion, if the emotion sparked turns
out to be a negative one, it may be not be an easy task to regain the
customer’s trust and loyalty, once lost. Brands should then create a
business continuity plan that can authentically address any
mishaps or shortcomings in storytelling. But don’t fret. Remember
brand storytelling follows the design thinking process. And the last
step is to test your story concepts over and over to see what works
(and what doesn’t). If you’re using this approach to go to market,
you will have the opportunity to quickly recover and go back to the
storyboard with controllable damage done and increased
opportunity to polish the narrative. ‘Fail fast’ never looked so good!
 I hope these unobvious trend ideas provided good context as to
why you may feel the brand should without a doubt be the hero in
the brand story. I mean, so far in this modern allegory, the
customer has been the imperious almost-antagonist character
demanding change from the brand, or else. And here you are, along
with your organization, making heroic efforts, moving heaven and
earth and reading books like this to meet those demands. And the
title of this chapter is making the customer the hero of the brand
story?
Counterintuitive, I know.
But everything you’ve read so far about brand storytelling has
stretched traditional practice and encouraged creative and
nonsensical thought. Storytelling is an art as much as it is a science
and if you decide to make it part of your business blueprint, it can
potentially transform everything about your brand, from your
brand mission, to its culture, to how you operate your business.
That is, if you take time to meticulously define the characters in
your story in a way that will enable this transformation.
In Chapter 1, I mentioned that you must strategically define the
characters in your story, and that leading brands like Disney and
Nike always make the customer the hero in their brand story. I also
gave the example of brands like Microsoft that went from a
product-focused business to a customer-centric approach in their
brand story, essentially becoming the ‘Robin to Batman’, and this
shift in business model resulted in phenomenal success for the
company in the market. This isn’t a surprise to anyone. It is no
secret that brands putting their customer at the heart of their
business (and story) will always win. But according to a 2018 report
by the CMO Council, only 14 per cent of marketers believe that their
company is customer-centric, and 11 per cent think their customers
agree with that characterization.
Making the customer the hero of the brand story is easier said
than done, because our rationale and intrinsic desire are to
broadcast and showcase how good our company’s products and
services are. In our minds, these are clearly the heroes of the story.
Without the product or service, there is no brand story. So, while we
can logically understand why the customer should be the hero, it is
difficult to see how we can make them one.
But hang in there. It’s not as tough as you think. If you’ve been
following the steps laid out in Chapter 4, you’ve probably done a lot
of the groundwork for the most difficult steps already. We’ll get to
that very soon. But first, let’s take a look at the elementary and
easiest step in making your customer the hero in your story.
Are you ready?

Steps to unveiling your brand story hero

This really couldn’t be any simpler. The first step in making your
customer the hero in your story is… literally making them the hero
in your story:
Read your brand mission.
Read it again.
Analyse it.
See if the customer shows up, if they show up at all. See how
they show up. Where they show up. Do they show up as a hero
at all?
See if the story is about your product’s new awesome features
or if it centres on how your products and services make your
customer better, enabling them to win.
If your customer’s win is not the central part of your brand story,
revise it as many times as possible until it is crystal clear to you and
everyone around you that your brand exists to make a positive
impact on your customer.
Remember that rewriting your brand mission is the beginning of
 Remember that rewriting your brand mission is the beginning of
a cultural activation and transformational process your company
will undergo. Therefore, after you’ve revised your brand mission
and carefully designed your story, the real work of building a
customer-centric brand culture begins. Like everything in brand
storytelling, introducing your new hero is a domestic endeavour
driven by empathy and evangelized by your internal stakeholders
once they buy in.
The IMC Reimagined plan I shared in Chapter 4 laid out
foundational steps on how your newly crafted brand story should
be shared and diffused first internally and later externally to your
audiences. Within the first part of that process is where you have
the best opportunity to unveil the customer as your brand hero. The
next five steps are both poetic and operational in principle, because
each presents a utopic business strategy founded on brand
storytelling that can actually be carried out.

Make empathy and inclusion key pillars of your business

After I implemented design thinking steps in my storytelling line of
work, people began to get curious about prototyping stories and
asked me to share more. It wasn’t too long before I was travelling
the world and sharing insights on this process. But after a couple of
years of telling the same story about storytelling, I realized there
was more to it and needed to find out what that was.
At the end of every of year, in the last couple of weeks in
December, I take a few days to self-calibrate. I assess my personal
brand performance over the past 365 days and critically take a look
at areas where I need to do better as a wife, mom, sister, worker,
friend, all the things that make up who I am. This is a gruelling and
unforgiving process that for the past few years has allowed me to
improve and evolve my personal brand, as well as my brand
message. What else can be said or done better? How else can it be
said or done better?
said or done better?
In December 2018 I had the fortuitous opportunity to visit Machu
Picchu for the first time as an extension of a business trip. I invited
my best friend of over 25 years to join me in this whimsical bucket-
list adventure. For four gruelling days we hiked the treacherous
classic Inca Trail, exploring roughly 25 miles of steep, narrow paths
deep into the Peruvian countryside and climbing high into the
Andean mountains while exposing ourselves to the ruthless
elements of nature….
Just kidding. We took the train. But the lazy alternative was just
as heart-stopping and awe-inspiring. And it came at the perfect time
for my self-deprecating end-of-year process. I really did envision
myself coming out of this enigmatic wonder of the world with a
newfound sense of individual purpose and personal brand
messaging for the year to come. I’ve always thought of Machu
Picchu as a spiritual conundrum of some sort. How could I not? This
‘Lost City of the Incas’ is one of the most renowned sacred places in
the word. Our tour guide even felt inspired at one point to start
chanting prayers in Quechua (the native indigenous language).
Imagine witnessing these marvellously harmonious invocations
coming from a local, in Andean language, and with a dramatic
landscape of ancient giant walls and terraces made up of quartz
serving as the backdrop. I’m telling you, the universe was certainly
conspiring for me to reach nirvana. I was close, very close.
Until a sudden downpour erupted, and my almost-moment, along
with my hopeful heart, were both covered with pluvial
disappointment – and an unflattering provincial poncho. So much
for soul awakening. I was ready for my Pisco sour now.
Of course, Machu Picchu was an unparalleled and unforgettable
life experience. And thanks to my remarkably overindulgent tour
guide, I was even able to take a selfie with a llama as I had always
envisioned (my bucket list is very precise). But to my personal
dismay, I didn’t find the spiritual enlightenment I had been
dismay, I didn’t find the spiritual enlightenment I had been
desperately searching for… or so I thought.
On a random night shortly after New Year’s Eve a few days after
the trip, I was suddenly awakened by an urgent brain download. It’s
as if ideas had been floating around my head for days but my
internal Internet of Things had to first find its patterns and arrange
the data to make them ready for download. In layman’s terms, I just
needed some sleep to let my brain gather ideas.
‘Storytelling 2.0’ is the first thing I typed in my phone notes that
night. Frantically and almost afraid these concepts would soon
disappear from my head, I kept typing away.
Here are the actual chicken scratch notes I took on my phone on 3
January 2019 at 2:43 am PST:

Storytelling 2.0
The reason people share their stories is to evoke empathy.
Steps to becoming empathetic:
Authenticity → Pure → Refined (refining gold process, flux?)
The beginning of empathy is not authenticity but measuring your level of authenticity
and refining your brand, brand attributes, brand story until it achieves its purest form
(gold refining process)
Peaceable, meaning inclined to peace, is more likely to describe people and groups of
people, whereas peaceful, meaning undisturbed by turmoil or disagreement, is more
likely to apply to events and situations.
Peace → quiet → shut up (listen)
You go from listening to learning their language
Gentle
Our brains see masses of people but only focus on a few to empathize with (ie end of
world movies). Lesson: you were made to empathize with your close network and
create a domino effect. Lesson: find the story you want to focus on
Hand exercise
Will Smith and Sophia
Why storytelling works: it focuses on 1 character
After successfully capturing the initial brain dump, I was satisfied
and exhausted, so I went right back to sleep. I spent the next few
days mulling over this content to ‘double click’ on what Storytelling
2.0 really meant. As the initial notes manifested, storytelling is all
about empathy and inclusion. I mean, of course it is. That’s all we’ve
been talking about this entire time. But here is where it gets a step
deeper: it’s not just about crafting your story with these concepts
but about making them operational pillars in your business.
Empathy and inclusion should not just be an idyllic part of your
brand story, but the very infrastructure of it. As you set out to
rewrite your mission and craft your brand story to make your
customer the hero, you should also challenge the operational status
quo and charter. On what foundations do your customer service,
communications, finance, operations, sales and marketing business
functions operate? Does each of these disciplines have the habit of
consistently asking ‘is this inclusive and empathetic to our
customer’ every single time a new product is being designed, or a
new system is created or new customer response is given?
The brand story serves to instil your company’s core values and
mission to stakeholders, but also to reposition your brand internally
and externally to them. Making your customer the hero in your
brand story is about incorporating inclusion and empathy as part of
your company’s core values. List them as such. You don’t have to
give them big, convoluted, forgettable descriptions. Simply add
them as part of your brand’s fundamental beliefs, begin using them
in your everyday language, and watch magic happen.

Pull in the customer chair

When Satya Nadella invited employees to join him in the arduous
journey of turning Microsoft into a customer-centric, learn-it-all,
empathetic and inclusive culture, one of the first things he asked
employees to do was to ensure the customer became a part of every
employees to do was to ensure the customer became a part of every
conversation and meeting they had. Some employees began a ‘pull
in the customer chair’ movement, where a physical chair was
brought into the meeting room to represent the customer. Some
real geeks got really creative and actually decorated the ‘customer
chair’ to make a bigger point. I must admit, I wanted to sit in one of
those chairs. They looked really good. This practice may have
seemed superfluous at the time, but you wouldn’t believe how
effective it became when having business conversations. Being
keenly aware that our customer was ‘sitting’ right there next to us
inherently changed the conversations, and eventually the brand
narrative.
In order to triumphantly make your customer the hero in your
brand story, your internal stakeholders need to get to know the
customer intimately. Pull in the customer chair. Make the
customer’s presence known to everyone in the company by sharing
customer insights, enabling direct interaction between the
customer and internal audiences whenever possible and ensuring
individual employee priorities tie back to customer success goals
every time. Functional groups should have at least one or two
business goals that reflect a customer-centric business model. If it
doesn’t, it will not be top-of-mind for your employees and they will
potentially get really busy doing other things that perhaps are not
directly impacting customers at all.
Making your customer the hero in your brand story is also about
introducing the hero to your audiences and letting them get closely
acquainted with it.

Give them green eggs and ham

I don’t hold the title of salesperson and you probably don’t either.
But one could argue that no matter where we sit in a company and
under whatever function, we’re all nothing but salespeople trying to
under whatever function, we’re all nothing but salespeople trying to
sell the brand value to internal and external audiences every day.
Because of this, if you’ve worked for a corporation long enough or
have ventured to become a freelancer or entrepreneur, at one point
or another in your career you’ve come in contact with some ‘salesy’
type of soft skill professional training you have been highly
recommended to take.
Stage presence, confidence, resilience, passion, strong
communication skills, enthusiasm. These are all but a small number
of competencies we’re required to exert today in order to effectively
bring value to the brand and tell the brand story. By all means, we
must gain all the knowledge on how to be all of this right now. Our
bottom line depends on it.
My first training of this type was led by a top, award-winning VP
of sales in a smaller privately owned company I had just joined. Yes,
he was the quintessential sales exemplar: striking bright smile,
extremely charismatic and good looking, over six feet tall and
rocked a pinstripe suit as if they were invented solely for his fancy.
He was the type of salesman you knew was a salesman and was
going to sell you something, but you didn’t care. You were going to
buy whatever he was going to sell you because you just couldn’t
help yourself. There’s a saying in Spanish that refers to these types
of people. They are people who ‘te venden tierra en el desierto’
(they sell you sand in the desert… and you buy it!).
I was curiously hesitant about the training he was going to give.
Whatever personal development ancient wisdom that had been
stealthily reserved for the few and elite for centuries past, he was
willing to offer it freely and I was ready to take it all in and take it
all to heart. I expected nothing less than the never-told secrets of the
gifted rich and famous. A Tony Robbins-type life-altering session
that would have me growing six feet tall and rocking a pinstripe suit
in no time.
But much to my anticlimactic surprise, on the day of the training
he walked into the packed room, fashionably late and
uncharacteristically almost unnoticed. As he made his way to the
front, he began to pass out a copy of Dr Seuss’ Green Eggs and Ham
to every one of us.
Stunned and clearly confused, attendees began to look around the
room in hopes of catching a clue on what was happening, and what
would happen next. With a quiet sigh as if to modestly grab the
room’s attention, this commanding Master of Commerce took on a
grandfatherly persona, opened the book and began to read from it.
Some people quickly responded to his abstract instructions by
following along with his reading. Others, like me, were still looking
around, hoping this was some ludicrous but brilliant introduction to
his sensei ways and that soon he would bring out the master sword
of sales and demonstrate how to manoeuvre it to make the kill.
He’s going somewhere with this, I elucidated. Stay alert. The
moment of reckoning will soon happen.
But it never did. Within a few minutes, he finished the reading,
extracted his face from the printed work, scouted the room with no
show of concern for audience approval, and matter-of-factly
concluded ‘this is the best and only sales strategy you will ever
need’, before walking out.
It took me years to ‘get it’. But when I finally did, I realized how
brilliantly right he was. Dr Seuss’ green eggs and ham story is about
persistence. It’s about telling the story consistently over and over
until every potential customer is impelled to try your product or
service.
Making your customer the hero in your brand story is about
literally naming them the hero as you write the story, weaving
inclusion and empathy into it, introducing the hero to your
audiences and never letting them forget it.
It is your job as storyteller to proclaim the customer as the hero in
your brand story so persistently that when your audiences consume
it, they love it, Sam-I-Am!
it, they love it, Sam-I-Am!
6
If story is magic, vulnerability is
the magic wand

What is vulnerability in storytelling?

Waving the magic wand

We love authenticity. We crave it. We preach it. We require it as a

main ingredient in relationships, leadership and business approach.
But when it comes to strategically applying this bona fide attribute
to our everyday business practice, and even more, making it a pillar
in our brand story, most of us don’t know exactly where or even
how to begin. This is because deep down inside, we know too well
that authenticity is a direct by-product of vulnerability, and
vulnerability is, well, that which we don’t speak of.
I was once invited to co-present with another influencer woman
in tech at a summit for Hispanics. Our topic was ‘Storytelling for
personal branding’. We divided and conquered, and I was to speak
first about the why in telling your personal story to effectively build
your brand while my counterpart would share the how.
I had delivered a version of this talk many times before, but as
any good storyteller will do (hint, hint), I took the time to research
my audience in order to design the presentation exclusively for this
cohort. This can’t be very hard, I thought. I’m Hispanic. I am the
audience.
 From a socio-cultural standpoint, the Hispanic culture places high
value on dignity and pride. It is typically group-oriented,
hierarchical in relationships and deeply emotional in
communication style. As a people, we enjoy telling good stories and
have a built-in animated mechanism (this is a nice way of saying we
make uncalculated scary hand movements when talking) that helps
us bring stories to life in beautiful and colourful ways. In fact, when
presenting to this particular audience, I decided I would jokingly de-
emphasize how storytelling needs to be emotional, because that’s
pretty much a ‘given’ for our origin group.
But during my research, I found it bitterly enlightening that it is
those very traits of honour and decency that make us Hispanics
very terrible storytellers – when it comes to telling ‘raw’ stories
about ourselves. I thought individually about every member of my
extended family and came to the sad conclusion that I had no idea
who my relatives are or what their individual stories were about.
Growing up in Venezuela, I spent countless Sunday afternoons at
my grandmother’s house surrounded by many aunts, uncles and
cousins. All of us would take turns to sit around a long, dark cherry
wooden table with mis-matched chairs to eat our matriarch’s fish
soup and tell delightful fictional stories, cultural legends and myths.
But not once did any of these family members talk about their own
life journey, their successes or, better yet, their personal struggles.
Never did they pass down anecdotes or riddles of true
disenchantment and frustrating defeat to new generations. Except
for one decrepit photo of my great-grandmother on my father’s
side, I have no idea what my progenitors beyond grandparents
looked like, who they were as individuals or what motivated them
to migrate from once place to the other, eventually landing them in
the small Latin American country of Little Venezia. Thanks to DNA
technology, I know that I’m 36 per cent Portuguese, 20 per cent
Native American and the rest a bottomless mix of European and
African heritage. But when and how did my Portuguese great-great-
great-grandfather meet my Native American great-great-great-
grandmother and fall in love? Did they have a salaciously illicit
Pocahontas-style romance? Sadly, neither I nor my future
generations will ever know. Why? Because in my culture, we
consider it rude and disrespectful to our ancestors to expose them
in any way that could make them appear anything but successful
and ideal. In other words, they can’t appear human.
‘This is why we love telenovelas,’ I elucidated to the Hispanic
summit audience when delivering my personal brand storytelling
portion. ‘Because all of this melodrama is actually happening in our
own households, but we’re not really allowed to talk about it.’
While I may not know specifically how your culture or cohort
feels about vulnerability, I know all of us constitutionally associate
this word with weakness.
The word vulnerability is derived from the Latin vulenrare which
means ‘to wound’. Defencelessness and incapability of withstanding
an attack immediately come to mind as synonyms of this concept.
No wonder we generally cringe at the thought of being perceived as
vulnerable – or telling vulnerable stories. Nobody wants to be
associated with being defenceless and fragile.
But isn’t it also true that we are easily enthralled by those very
stories of unshielded abandon? That we find it exceptionally
inspiring when someone decides to courageously expose
themselves in the most uncertain of ways? We praise those who
take a risk to openly welcome judgement and criticism while we sit
back as spectators thanking our lucky stars that it isn’t us standing
there, emotionally naked on a main stage. The juxtaposition of
vulnerability is truly a perplexing notion, and one that we must
examine further because of what it represents to storytelling.
In her book Daring Greatly: How the courage to be vulnerable
transforms the way we live, love, parent, and lead, storyteller and
University of Houston research professor Brené Brown sharply
explains her own feelings regarding this antithesis, and dare I say
she is accurately speaking for all of us:
‘I want to experience your vulnerability but I don’t want to be
vulnerable.
‘Vulnerability is courage in you and inadequacy in me.
‘I’m drawn to your vulnerability but repelled by mine.’
Brown goes on to further explain that while ‘we associate
vulnerability with emotions we want to avoid… we often lose sight
of the fact that vulnerability is also the birthplace of joy, belonging,
creativity, authenticity, and love’.
And aren’t all those things the universal truths we want our
stories to behold?

Vulnerability in storytelling
When it comes to brand storytelling, vulnerability is quite the
opposite of powerlessness. It is a mighty force that bursts open
emotional awareness. If story is magic, vulnerability is the magic
wand that unleashes genuine connection with our audiences. As a
storyteller, you must boldly grab this powerful incantation
instrument and dive deep into the notion of being courageously real
when telling your brand story, freeing yourself from the fixed
mindset of having to hide your brand’s flaws and deficiencies and
embracing those transformational moments that led up to where
the brand may find itself today.
When Microsoft decided to share their digital transformation
stories from an emotional angle, vulnerability became their best
tool. I was assigned to do a story on operationalizing the cloud,
featuring a veteran cloud engineer as the main character. As he and
I ventured deeper into delivering a genuine narrative, I could see
the story painstakingly becoming more and more vulnerable at its
core and was glad our protagonist was not only up to the daunting
task of being virtuously forthright about his personal experiences,
but proactively decided to lead the charge in telling these exposed
tales.
‘The learnings, pitfalls and compromises of operations in our
expedition to the cloud’ blog became an instant hit with our IT
professional audience when it was finally published as engineers
trekking along their own digital transformation journey tuned into
the message that big corporations like Microsoft did not necessarily
enjoy smooth sailing on their way to cloud computing, and like any
other company, big and small, young and old, the company
experienced some bumps and bruises along the way. Microsoft’s
willingness to share the operational susceptibilities and lessons
learned as it pioneered moving data from on-premises to the cloud
so that others could learn from their mistakes was so well received
that the story evolved into a six-part series and contributed to
record-breaking visits to its website.
Vulnerability in storytelling works because it poignantly reminds
us of our humanity. It encourages us to move away from the orator-
to-audience point of view and begs us to meet the crowd eye to eye.
It is precisely there where we have the best opportunity to
empathize with one another and, as you already know, empathy is
the beginning of great storytelling.

Waving the magic wand

But it’s important to recognize that incorporating vulnerability as
an ingredient in your brand narrative is easier said than done.
Unlike in Harry Potter, this ‘magic wand’ doesn’t find you. You have
to go find it and this is why I want to offer a few tips and tricks that
can help you track this energy source and make you bolder in
telling your story as authentically as possible.

See your brand as a human

Once upon a time, your brand was born.
It was given a name and a mission, and it set out to live that
very purpose.
The brand grew in size and wisdom.
It made friends and foes along the way.
It hopes to one day achieve all its goals and soon live happily
ever after.
Your brand is not only being perceived as a human by your
customer or being bestowed with human attributes by your chief
marketing officer, it can also be considered as a human entity, and
for all intents and purposes, should be. When you see your brand as
a human instead of as a corporation, you are more likely to accept
its imperfections, becoming more forgiving of its past mistakes and
shortcomings and also recognizing that embracing these natural
‘human errors’ along with the tales of these previous misfortunes
can be the most innovative way to reach your audience.
It is those stories of failure that inspire the most, because they
appeal to the arduous endeavour it took to reach success: humility,
resiliency, persistence, hard lessons learned. Remember, brands are
potential friends to your customer. As the sidekick in your brand
story, vulnerability provides a rich opportunity to create a valuable
space for your brand character to shine by way of courageously
putting aside past pretences and welcoming transparency with
narratives that showcase the trials and tribulations your company
has experienced thus far in its quest to deliver a great customer
experience. This is an effective tactic in positioning your brand as
an agent of strength and nobility in its own space and creating
closeness to your audience throughout the brand narrative.
Both Starbucks and Apple corporations experienced their fair
 Both Starbucks and Apple corporations experienced their fair
share of challenges when CEOs Howard Schultz and Steve Jobs,
respectively, both left the companies for a period of time but then
eventually came back to help turn them around from their
struggling condition. Upon these undeniable stories of downfall and
in due course triumph, the brands astutely leveraged their
provocative chronicles and purposively shared the axioms
cultivated to help elevate their brand story. And elevate they did.
Seeing your brand as human is giving your brand permission to
show up as vulnerable and, by extension, yourself as a storyteller to
tell the brand story from its most authentic and raw origin.
Adopt this practice of veritably and literally humanizing the brand
and watch your brand narrative teem with spellbinding motion,
swiftly enchanting those who come in contact with it.

Set boundaries
OK, I know being vulnerable in your story may sound whimsical
and almost too romantic for your liking. The reality is that it’s a
frightening idea and you’re probably second-guessing this notion as
a business model. It’s almost as scary as it was when your
marketing team had to consider opening a Facebook page or
Instagram account for your company (smile).
Just like any evolved communication strategy, as you whip out
your magic storytelling wand you ought to plan for the unexpected
and create rules and guidelines to help keep the magic powers
somewhat under control. Storytellers are creative journalists who
seek to find the best stories to connect with their audience. So far,
we’ve been learning that the best stories are emotional,
inspirational and authentic in nature – the very synonyms of
vulnerability. But undoubtedly there is a risk we take in coming in
from this exposed angle and, like any other business risk-taking, it
should be a calculated one.
should be a calculated one.
Remember the midnight enlightenment data dump I shared with
you in Chapter 5?
Authenticity → Pure → Refined (refining gold process, flux?)
Being successfully authentic in your brand story requires a smart
strategy of refining your vulnerability. You will spend time testing
your story prototypes and analysing your audience’s reaction to the
narrative when you deliver it, but before you go to market and if
you decide to be vulnerable with your story, you should also define
what vulnerability means to your brand and brand story, the
degree of vulnerability you are willing to convey and what is
completely out of reach for every storyteller of your brand story.
These boundaries should be a part of your business PR and
communications design from the outset and every member of your
storytelling task force should contribute to it in some way. Just as
you plan for a potential social media crisis, an intention to win by
being vulnerable in your brand story should be accompanied by
methodically identifying the key messages you want to share as a
brand and explicitly pinpointing those stories you are not willing to
disclose or acknowledge as part of the narrative. In addition, just as
you would for a marketing campaign launch, it is recommended to
set systems and processes in place to help you monitor customer
engagement, sentiment and overall impact once you’ve decided to
test your vulnerable stories.
A good trick is to test these stories with a smaller audience first. If
you have global customers, for example, a smaller region or
country can serve as a suitable audience for monitoring impact. At
a larger scale, introducing vulnerability in your brand story can be
done in a positive and proactive way if properly embedding it as a
part of your storytelling toolkit when sharing the brand story with
your internal audience first.
As you have already learned, storytelling is more than just telling
stories; it is a blueprint for effectively connecting with internal and
external audiences. If you choose vulnerability as one of your
storytelling pillars, your audiences, especially internal ones, will
begin to embrace this notion and leverage it to create magic in their
own space. Expelliarmus!

Bring reinforcement
Just as empathy can be fostered as a soft skill, vulnerability can be
instilled as a cultural and leadership trait of your brand merely by
designating your company employees as brand story ambassadors.
Notice I am not calling them advocates, because this is not so much
about promulgation of the narrative as it is about representation of
it.
It would be futile for the brand to tell stories that appear
courageously open if, at the core, those background characters that
contribute to that very story are nowhere to be found in the core
message. The example I shared of the cloud engineer who jumped
at the chance of candidly confessing his personal struggles during a
revolutionary time at Microsoft is a great illustration of how
vulnerable behaviour is enforced at the brand storytelling level.
Highlighting individual stories of people who are deep down in
the trenches, making things happen, delivering the customer
experience head on for your company, is the best way to emphasize
the brand’s willingness to be open, authentic and genuine with its
narrative.
Quite frankly, I daresay that while there is still a place for
executives and company leads to continue telling stories of success
on behalf of the brand from a PR perspective, it is the viewpoint of
the singular brand envoy (the customer service representative, the
floor sales associate) that will resonate best when vulnerable stories
are told.
 Reinforcing the behaviour of vulnerability is about deliberately
introducing those supporting characters so that your audience can
better understand what it takes for the brand to help the customer
win. If your customer is the hero and your brand the sidekick, these
secondary characters are strategically being woven into the
narrative to uncover how the sidekick (your brand) champions the
hero (your customer) in the tale. Your employees are your best asset
when it comes to showing up as genuine and open in your brand
narrative, because they are able to naturally expose the angle of the
everyday struggles, organically showcasing what it takes to create
and deliver the service or product your customer comes to love.
To effectively bring reinforcement, your brand should create a
platform where employees feel free to openly share their personal
stories from wherever they may find themselves within the
organization. In addition, the company should offer storytelling as a
soft skill training to employees and encourage them to ditch the
PowerPoint presentation for a personal narrative at the next
quarterly or monthly business review.
Microsoft’s Chief Storyteller Steve Clayton has taken this task
seriously. It’s been five years in the making, but today the company
offers digital and in-person storytelling courses as part of
employees’ individual professional growth, a social teams network
for storytellers to share personal stories and find community
support, and a monthly virtual meeting to provide updates on the
brand’s storytelling efforts. There is more on training your internal
stakeholders in Chapter 12.
Becoming vulnerable in your brand storytelling goes beyond
crafting a vulnerable story. It is a true intention from business leads
and storytellers in the company to instigate multiple and inclusive
angles to the brand story from those who continuously contribute
to it.

SCAMPER it
SCAMPER it
One of the greatest practical and useful exercises in my storytelling
practice has also proven to be the one that makes my stories most
vulnerable. The SCAMPER technique (Figure 6.1) is a productivity
tool created by the late advertising executive Alex Faickney Osborn
as part of his list of unconventional ways to think up (brainstorm)
new ideas and solutions to create or improve a product.
 Figure 6.1 SCAMPER brainstorming model

Figure 6.1 details

SCAMPER is an acronym that stands for S- substitute; C- combine; A – adapt; M –
modify; P – put to another use; E- eliminate; and R – reverse.

This mnemonic acts as a ‘story prompt’ to help further develop or

improve the story arc in a more inclusive and authentic way. In
storytelling, I have been able to successfully employ this mechanism
to uncover new angles of the story I may have not initially
considered. At its core, this acronym facilitates conversation with
other storytellers and contributors to the brand story about
character, plot and conclusion possibilities left unexplored in the
beginning.
Granted, if you’re really following the design thinking approach
to craft your stories, you have probably already spent a good
amount of time brainstorming ideas for story concepts. But let me
remind you that design thinking is a perpetual cycle and there is no
straight path to designing your brand narrative. At this juncture, if
you realize the value of authentic and vulnerable storytelling and
truly desire to take hold of the magic wand, I invite you to bring
your already-crafted storyline to this place of vulnerable ideation
and SCAMPER the magic out of it by taking the following steps.

Substitute
Ask yourself, what elements of the story can and should I substitute in order to probe a new
angle? If, for example, you were to substitute one piece of the story plot for another, what
would happen then? How would it change the original storyline and conclusion? Being
vulnerable in your storytelling means exploring every and all aspects of the brand narrative,
including those transformational and unforeseen plot twists the brand has experienced to
better understand how else it can make an impact with the intended audience. Take a
moment to substitute each of the three basic elements of the story (character, plot and
conclusion) just for kicks, and see what else comes of this action.

Combine
I’m always asked if ‘it’s allowed’ to combine different storytelling techniques. Is it OK to tell a
Hero’s Journey type story along with a Mountain one? Who said it’s not OK? You are the
storyteller here and it is you who knows what will resonate best with your audience. Through
this particular prompt, you can feel free to blend storytelling techniques you’ve learned up
until now to see what else can happen in the story and how. You can also combine story
delivery forms, such as telling the story in both written and visual forms. The beauty of being
vulnerable in storytelling is that by engaging in this very practice you are potentially
discovering your own new techniques and ways to tell stories.

Adapt
This cue calls on us to revisit the purpose of the brand story. Again.
Preposterous! Are you asking we start all over?
Ah, much like its name serves as an invitation to identify a hypothetical new aspiration for
the brand narrative, it also acts as a much-needed admonition that our story is never fully
 baked, that there is always going to be an opportunity to revisit every facet of it many times
over and that we should be adaptable to that idea.
This vulnerable suggestion proposes the question: How can you adapt your brand story to
serve another purpose or meet another business objective? Could it be that beyond the
primary commission of emotionally transferring information and activating culture with
stakeholders, the brand story also has the potential to achieve other industry goals? You will
never know until you take the time to explore these possibilities.

Modify
How could you change the way the story currently looks and feels? In Chapter 3 I talked
about the importance of dressing up your story structure with visual elements. In this step,
you get to play with any and all conceivable ways the story can be cognitively understood.
Invite your brand ambassadors to offer avant-garde building blocks to the brand story and
put them to the test. You may be pleasantly surprised at the results.

Put to another use

Speaking of putting things somewhere… whatever happened to those unused storytelling
ideas left behind from your past brainstorming sessions? Is there a chance you can bring them
back at this point in your storytelling journey and implement them to get a fresh perspective?
This phase invites you to take a step back and insert design concepts you may not have
considered at the very beginning to potentially create new narrative theories today.

Eliminate
If you were to completely eradicate a character in the story, what would happen? What if you
took out a visual element or simplified the whole story for a lighter version? What if you
eliminated the conclusion completely? Another way to make your story vulnerable is to play
with the idea of taking it apart or ‘dismantling’ it to conceivably let some elements shine
brighter thanks to the absence of the one you chose to cancel out.

Reverse
Lastly, what if you swapped characters in the story? What if, for a moment, the customer was
now a supporting character and the company employees the heroes? Reversing roles or
sequences of events in your story will map out new ways to unfold the story and bring more
awareness of the significance of each component in the story.

Vulnerability in storytelling is about intentionally poking holes in

the allegory to unabashedly expose new vantage points and angles.
the allegory to unabashedly expose new vantage points and angles.
I hope you make time to play with this exercise and that it helps you
unearth wonderful and cutting-edge alternatives for your brand
narrative you hadn’t yet contemplated.

Stay flexible
It is dutiful to continue to remind you that the design thinking
approach is never a fail-proof model for brand storytelling. Instead,
it is a creative and innovative scheme derived from those willing to
build up their emotional intelligence and embrace a growth
mindset in order to achieve a different outcome for the brand and
its constituents.
Becoming vulnerable in brand storytelling unquestionably puts
the brand in a delicate and somewhat uncertain position and
therefore necessitates a malleable adoption of the process. Once you
have created parameters for operational efficacy and risk
mitigation, inclusively invited ambassadors share the story from
their personal angles and SCAMPERed new ways to tell the story,
make a conscious effort to free yourself from the need to be in
complete control of the storyline and let it bountifully flow from its
many valuable sources.
The reality is that as a storyteller you are not the Keeper of the
Realm but instead the Head Palace Scribe. So, fight the innate
temptation to make yourself responsible for the brand reputation in
the market when the story is being tested. Branding is about
promoting the distinctive core values, products, services, attributes
and symbols that differentiate your brand from others in the
market. Brand storytelling is using stories to emotionally convey the
same message with the added bonus of creating long-lasting, trusted
connections with your audiences. This is a consistent and never-
ending effort that you commit to, in spite of and unrelated to any
other outside contributing factors that will be ever present.
Staying flexible in your vulnerable stories is about acknowledging
that while you endeavour to set the tone of the brand narrative in
the long term through ingenious strategies, there will always be
other circumstances and determinants that influence the brand
perception in the market as a whole. As a storyteller, it is your duty
to carefully design the brand story, create and deliver a functional
and integrated marketing communication plan and splash it with a
bit of vulnerability to spread the magic in a certain direction. After
that, you should sit back, relax and let the story take form.
If you’re wondering what happened with my Hispanic audience
when I suggested the notion of being vulnerable in ‘Storytelling for
personal branding’, they first winced at the idea, as I expected, but
later they came to the understanding that in today’s connected
world, where voices are being heard and amplified, it is not only a
privilege for our community, but our responsibility to boldly share
our stories of losses and wins so that future generations can learn
from them and hopefully do much better than us. Indeed,
vulnerable storytelling is a genuine opportunity to leave others a
better way than we found when we started work, by imparting
wisdom from lived experiences. This serves both at the personal
and corporate brand levels.
If you decide to be vulnerable in your storytelling, you will be
pleasantly surprised at the immediate response you get from your
audience. The emotional reaction might be so powerful that you
may begin to feel the effects of ‘manipulation with story’. This is
where you have to take a step back and ask yourself: Why am I
doing this? And where do I draw the line?
The next chapter, in my estimation, is one of the most critical in
brand storytelling, and storytelling in general, because it explores
the ethical norms of the storytelling craft… which have yet to be
written.
7
Ethics in storytelling
When to use your secret weapon

The importance of ethics in storytelling

Learning ethical perspectives

I remember the first time I ‘discovered’ the true power of

storytelling as a narrator, rather than a spectator – and that was an
entirely different revelation to storytelling. I was invited to deliver
the keynote at a women-led social enterprise summit in Ifrane,
Morocco and was to speak about how to effectively scale your
business through the sharing of your brand story on social
channels, something this particular audience had yet to explore or
even consider.
I couldn’t have been more terrified and yet delighted at the same
time. Though I had been on the public stage delivering similar talks
for a few years now, this opportunity and platform sang a unique
tune, one that I was nervously unfamiliar with. Perhaps it was the
fact that this was no ordinary assembly. This audience comprised
savvy women entrepreneurs from the Middle East and Africa
whose for-profit artisan businesses existed primarily to benefit
their marginalized communities. If your mind didn’t explode a little,
please read that again.
Or maybe it was my preoccupation with what I would need to
wear on ‘social night’ where we were asked to showcase cultural
wardrobes representing the region we came from (do I wear a
cowgirl hat or a Venezuelan Liqui Liqui?). It could also have been
that my extended family was going through a rough patch at the
time and in hopes of finding a bit of distraction for both of us, I
decided to bring my mother along at the very last minute, not really
measuring the implications of it all.
Either way, I had ‘all the feels’ about this trip and imposter
syndrome was unapologetically lurking outside my hotel window
the very night we arrived. Other than being a woman, I felt I had
nothing more in common with this congregation of altruistic
heroines who didn’t seem to worry much about not having an
espresso machine within acceptable distance.
As a trained orator, I had learned the fundamental inner
workings of ‘taking the audience through an unforgettable journey’
and understood the basic idea of transferring information through
an emotional lens. These ‘communication hacks’ had effectively
positioned me to get in front of hundreds of professionals and
deliver a speech, any speech, with astuteness and confidence. I hate
to brag, but I was getting pretty good at this craft – and sort of
instafamous. In fact, my international public speaking calendar
began to fill so fast in the months prior to Morocco that I soon found
myself sprinting in and out of countries like a runaway convict,
flirting with time zone differences, changing wardrobes in airport
bathrooms, and begging Lady Luck to let me make my (very tight)
flight connections because I had but a few hours to get to my next
speaking engagement. Happy to report, Lady Luck has yet to fail me
– though my luggage will tell an entirely different story.
When I accepted the invitation for this particular event, I knew I
had to pay extra attention to my narrative delivery. My message to
this special audience had to be beyond poignant. It had to stir
hearts, encode ‘feel good’ memories, do all the magic that
storytelling does and then some, so they could effectively remember
storytelling does and then some, so they could effectively remember
what I was going to teach them about… digitizing your business
with social media?
Enter the secret weapon: my mother.
As often happens to me, and not because I’m always jetlagged, I
woke up in the middle of the night with a grand idea. I was to
deliver my speech as scripted, but right in the middle of it, I would
interrupt myself and invite my incredibly beautiful and talented
mother (did I mention she’s Wonder Woman?) to the stage so she
could tell her own success story of… telling your business story. In
the African culture, motherhood is highly honoured, and mothers
are regarded as sacred contributors to society. As matriarchs, they
have a sound voice and much wisdom to impart, so everyone pays
great attention when someone’s mother speaks.
Trying to convince my audience to learn and use digital channels
to scale their business in a region commonly teeming with
technological challenges, such as unreliable or no network
connectivity, was going to be nearly impossible. Unless, of course,
my surprise guest would show up in her invisible plane, reel them
in with her invisible lasso of truth and pave the way for me.
Unempathetic side note: if you invite someone to travel with you,
they owe you and you can cash in immediately, especially if it’s a
relative.
And so it went. I stood before my distinguished audience,
delivered half of my speech on why you should leverage social
media to share your brand story and bam! The next slide had only
one word – INTERRUPT! – and then I stopped talking for a few
seconds. That was it. Superwoman’s invisible plane was about to
land.
With amusement, I watched the audience’s eyes quickly widen
with shock, shortly followed by the wrinkling of brows as they tried
to foreshadow what would come next.
Oh, but they couldn’t predict my next move if they tried! Except
 Oh, but they couldn’t predict my next move if they tried! Except
for the driver who picked us up at the airport, no one had learned
that my mother had joined me on this trip. The decision to bring her
along had been made just a few hours before the flight, leaving me
no time to announce her to event organizers, who were also
stupefied.
‘I figured, why stand here and talk about the importance of
sharing your brand story’ – I finally broke my premeditated silence,
figuratively drawing my weapon as my mom, obeying her cue, got
up from the confused audience and swiftly made her way on to the
stage to join me – ‘when I can have someone very special to me
testify about how this very notion has benefited her in many ways.
Ladies and gentlemen, please welcome to the stage, my mother!’
Applause and shouts instantly erupted as the women
enthusiastically jumped out of their chairs acclaiming my
Amazonian progenitor who, with much passion and poise, went on
to tell her own narrative, favourably cementing my less-than-
compelling message into their hearts and minds. My work here was
done. I had once again made the audience dance to the beat of my
storytelling alchemy regardless of their initial tune, and dancing
they were. Literally. That was a sight to see.
And the rest is ‘lived happily ever after’ history.
After the on-stage adrenaline wore off and I satisfactorily
watched imposter syndrome quietly back away from my hotel room
window, I noticed another reality-check creature creeping through
the crevasses. It was ethics in storytelling. My mind suddenly
flooded with questions that seemed to have no definitive answer.
Had I used my mother to manipulate my audience? Possibly. Was that
wrong? I’m not sure. Am I hungry or jetlagged? Maybe both.

The importance of ethics in storytelling

I don’t know about you, but when I witnessed first-hand the sheer
paramountcy of emotional control driven by storytelling and
understood I was the person behind the wheel, a moment of ethical
reckoning happened. Remember that, at the very beginning of this
book, I mentioned I’d gone on a quest to ask several storytellers in
different disciplines ‘what is not storytelling?’ and one of them
cautioned that ‘it is not manipulation’? It’s because they too had had
a moment of reckoning and now I clearly understood where they
were coming from and just how mercenary stories can be.
As marketing professionals, communicators, or just as humans,
we must recognize the unscrupulous depths the art and science of
storytelling can reach if ever left unchecked, and the fatal results a
narrative’s secret weapons can yield if drawn at the wrong place,
wrong time or with the wrong audience.
Just as in marketing, moral distinctions, particular principles and
maxims ought to govern storytelling efforts, with the goal of
carefully examining dilemmas that may arise from using this
contrived approach. This is why I feel it necessary to share with you
a few practical perspectives that can help tackle potential ethical
issues as you begin to construct your own brand storytelling
strategies.
But it is fitting to first understand what ethics is not, so that we
are clear on how and why we ought to act in precarious situations
we may find ourselves in.
Ethics is not:
Feelings. While feelings can help guide some ethical choices
by making us feel ‘good’ or ‘bad’ about them, feelings can be
ever-changing and fleeting and do not provide a grounded
foundation for making ethical choices.
Religious beliefs or societal laws. Both religious beliefs and
governmental laws may generally advocate high ethical
 standards, but they are not all-encompassing and can also
differ depending on cultural norms or geographic locations.
Cultural accepted norms. Some cultures may have high
ethical standards, and some may not. In addition, cultural
norms change from time to time and do not provide a
consistent set of values. Think of ancient societies like Rome,
for example, and what was ‘permissible’ back then versus
now. You may argue that the way they behaved towards one
another was not too ethical compared to some cultural
standards today.
Merriam-Webster defines ethics as a set of moral principles. In
essence, a guiding philosophy that enables us individually and
collectively to make choices and react to situations.

Ethical perspectives
When considering ethical issues in brand storytelling, it is
important to understand the various angles or perspectives that
ethical issues encompass. Marketing professor at the University of
Notre Dame and co-author of Ethical Marketing Patrick Murphy
makes a compelling call to marketers and communicators when
thinking about socially responsible marketing and the ethical
foundations of relationship marketing. In his book, Murphy points
out that there are several perspectives to contemplate when making
ethical decisions for marketing at different levels, namely the
personal, organization, industry, societal and, lastly, stakeholder
levels.
From a storytelling platform, I would like us to explore each of
these viewpoints in more depth since, as we have been learning,
while storytelling can be used a marketing tool, it’s a much more
complex approach to engagement and communication with
stakeholders, and therefore it begs for a more profound
examination when being considered for implementation. Let’s take
examination when being considered for implementation. Let’s take
a look at how.

Organization (or brand)

In general, reasoning about ethical decisions within brand
storytelling is dictated by the brand’s core values, business goals
and executive leadership. Just as with any new business growth
hacking or transformational process, it is the top leadership team
that will ultimately decide which stories to tell about what and
when, and these may not necessarily align with your individual set
of norms or code of conduct. As a storyteller, you are called to
design stories that display the heart of the brand, successfully
engage internal and external audiences and win potential
customers over through an empathetic and emotional connection.
But how far your brand is willing to take this practice and which
secret weapons it intends to use to successfully land the story will
surely depend on the expectations of leadership, and for this
reason, as agents of the organization, brand storytellers must check
their story design efforts against these intentions and standards
earlier in the process rather than later. The best way to minimize
ethical dilemmas when crafting brand stories is to establish
storytelling ethical values from the get-go and proactively engage in
conversations with as many leading internal stakeholders as
possible during the conceptual (ideation) phase of storytelling.
Remember that storytelling is the emotional transfer of
information, and in our quest to evoke people’s feelings, we may
find ourselves in ambiguous terrain where the path is not so clear.
Understanding the criteria for evaluating actions to ethically
awaken our audience’s emotions is something we ought to always
consider.
Following are some questions that may help facilitate storytelling
ethics conversations with your leadership and serve as a
ethics conversations with your leadership and serve as a
continuous checkpoint before story concepts are developed and
tested in the market. (If you happen to currently serve at the
executive level within your organization, these questions can help
as a barometer to gauge how closely modern and innovative
concepts for business growth align to the company’s ethical norms
and business code of conduct.)
Does this story affirm the company’s core values?
Does this story foster trust with each and every stakeholder?
Does this story help build relationships?
Does this story showcase diverse and inclusive behaviours?
Does this story honour the company’s commitments and
promises to its customers?
In the race to tell a good story, I’ve seen many brands step off their
core value platforms and land disparate narratives that, at the very
least, leave customers frustrated and confused because the stories
are not reflective of the brand’s values; at the highest level, they can
show up as inauthentic and distrusting, resulting in quite the
opposite effect the brand sought to achieve.
Conversations about ethics in storytelling with your leadership
are indispensable to you as a storyteller and to the brand. These
discussions will help provide direction, even if the pathway is not
completely clear, and give you confidence to continue exploring
uncharted territories in the land of tales.

Industry
The marketing and communication industries, as well as whichever
industry your company serves (in my case, tech), will generally
have a set code of ethics, and these can vary greatly depending on
industry type, geographic location and legal regulations and policy.
I recommend you take time to familiarize yourself with each of
these to best understand the set of expectations and norms required
of you as a professional and storyteller. More on this a bit later in
the chapter as we compile these expectations and norms into a code
of conduct template.

Societal
In addition to organizational, individual and industry standards,
Murphy points out in his book that the role of marketing ethics can
be seen as critical to both social order and justice, and I believe this
applies to every aspect of conducting business, including
storytelling. Audiences need to feel that stories are open and
transparent, just like purchase transactions, and that as noted in
Chapter 5, they are the hero in the story, not the victim in any way.
In addition, as we’ve already seen, the desire of new generations to
befriend the brand comes as a direct result of the societal impact
the brand is making, or not. Therefore, both the organization and
the individual ought to consider whether their set of norms includes
a societal aspect.

Stakeholder
Ethics in storytelling needs also to consider any group or individual
affected by the story being told. As professionals, we understand
that there are various levels of stakeholders we serve. Within the
storytelling context, we’ve been primarily talking about internal
and external stakeholders (internal being employees, partners,
investors, vendors, shareholders, board of directors, and external
being existing and potential customers). There are also indirect
stakeholders that do not have a formal relationship with the brand
but are still affected or impacted in some way by the brand story.
When thinking about incorporating your stakeholders in ethical
norms for storytelling, keep in mind that you and your brand will
norms for storytelling, keep in mind that you and your brand will
find it challenging to balance the concerns of all stakeholders, and
sometimes the best course of action will not be a ‘win–win’ situation
for all but rather a minimization of harm done to the groups
involved.

Personal
While, as a part of the organization, you are asked to understand
and adhere to its set of ethical norms, as an individual it is also
essential that you build your personal set of guiding principles (if
you have not already done so) to help you navigate the enigmatic
circumstances you will often encounter as a professional in the
ever-changing digital landscape. Even more so, a personal code of
conduct is especially important to have as a storyteller because, as
you already know, good storytelling comes from the heart. If you’re
not explicitly passionate about the stories you’re telling, if you don’t
truly believe in the story, you will not be able to tell it with
conviction, and your audience will immediately sniff it out as fake.
When in Morocco I found myself in a foreign predicament, and
the questions that arose from my decisions and courses of action
would have been easier to answer had I dedicated the time to create
a document that established personal core values and moral
obligations to myself and others. But we live and we learn, and
thanks to this experience, and a course on marketing ethics I took
while working towards my Master’s degree, I was able to design a
personal code of ethics that today I use as my North Star when
conducting business. I can honestly say that this has been one of the
best decisions I have ever made as a marketer and storyteller,
because it empowers me to do my work from a very authentic place
and reduces ambiguity around how I want to live my life and tell
stories in general.
I really believe this can benefit you as well, so I’ve created a
template framework to help guide you in writing your own.
template framework to help guide you in writing your own.

Personal code of ethics

Preamble
The preamble is the introductory section where you share the purpose of your personal code
of ethics. Essentially, you’re giving the code of ethics a mission and explaining why it is
important to you. Typically, this section will be about half a page to a page long and answers
the questions: Why did you create this document? What is your primary mission in life? How
will you use it in your life and career?
For me particularly, it was very important to mention that these principles were not only a
guide for my business conduct but for life conduct in general. I made sure to mention that I
have many jobs and I am many things, such as a wife, mother, daughter, sister, friend, coach,
thought leader, storyteller and marketer in the technology industry, and these guidelines
would help me to leave an impactful legacy in all of these aspects.

Foundations
In this section, you set out to share the foundations of your code of ethics based on at least
three frameworks: moral, societal and professional. This section is typically the hardest to
write, because it begs you to think through your own life-guiding principles, possibly
challenging those stances that have influenced you since birth: family, culture, society,
business. I will briefly break down each section to make it easier, but do take time to expand
each unit as this is the meat of your document and should be about 2–3 pages long.

Moral
Here you can share your personal beliefs and values (not society’s or those of your place of
business), even though they might seem similar or intertwine. Common moral values usually
include:

Always tell the truth

Have courage
Keep your promises
Do not cheat
Treat others as you want to be treated
Do not judge
 Be dependable
Have integrity

In my code of ethics, I do a little deep dive on where I base my values, namely my religious
beliefs and specific non-consequential ethical theories I have read about. It might benefit you
to read some theories and better understand which ethical theories you set your values on. I
will provide some extra reading suggestions at the end of this chapter regarding theories.

Societal
In this section, you can further explore philosophical ideas for social contract where you agree
to abide by the set of established and understood principles with your stakeholders. This
simply means that you are willing to align to society’s rules and thrive in a shared societal
environment, not only because you choose to align, but because you are grounding your
choice on those personal ethical behaviours you first listed in the moral section. For example,
under social contract, you may agree not to physically harm another person because society’s
laws prohibit it, but you also choose this behaviour because you have agreed with yourself
that you will respect and honour others.

Professional
In addition to the moral and societal frameworks, if you work for a corporation or even if you
have your own business, chances are that the brand as a stand-alone has established a code of
conduct for employees and internal stakeholders. As a member of that workforce, it is your
duty to understand and make the choice to align to them. In some instances, you may find that
the corporation’s ethical principles do not necessarily align to your personal ones. This is
where it’s very important that you take a step back and reflect on whether you are willing to
be a part of the company or not. In addition, there may also be specific industry standards that
you need to be aware of and agree to. In the United States, we have a few marketing
associations that help regulate standards for the marketing industry. I suggest you look into
some of these in your own location and learn more about the ethical principles established for
the industry.

Statement of professional values

Here is where you can add a bulleted list explaining your key values specifically to your
customers, taking into consideration industry and brand standards. Here’s an example of one
of mine:

Honouring every customer and stakeholder by considering the impact every

communication or ad will have on them as individuals as well as respecting their
wishes as consumers in every situation.
 Provisions of conduct
In this final section you will detail the actual behaviours you want to exert in bulleted form.
While, prior to this, you were looking at an established set of guidelines, this piece serves to
meticulously map out how you plan to abide by them. A real example for me is:

A continuous attitude of gratitude towards all customers and stakeholders. No

arrogant or ego-driven demeanour. A selfless approach to be the ‘sidekick’ of the
story and placing the customer or stakeholder as the hero of the narrative in
every communication and marketing plan.

Looking back at my Morocco story, and measuring the reasoning

behind the decision-making to bring my mother on stage against
this set of values, I can genuinely share that though I didn’t have
this code of ethics written up in this specific way at the time, I’ve
always tried to hold myself against these general ethical standards.
Had I used my mother to manipulate my audience? Not at all. My
heart was centred around authentically delivering my message in a
way this distinct audience would best understand it. My mother had
much more in common with these women, including age
demographic and an entrepreneurial history, than I did, with the
added bonus that she was, well, Wonder Woman. Good to note, she
stole the show so well that I lost her for a few hours after the speech
as she made her way through the crowd and even a local TV
network who sought to interview her.
A good set of personal value norms will not only service you
individually as you build your brand storytelling muscle, but also
your organization as it ensures you’re crafting the most authentic
stories. In the best-case scenario, both your personal standards and
the organization’s will align. In the worst, they may not, and as an
individual you have the right and responsibility to decide whether
you want to tell stories for a company whose set of values does not
align with yours.
You’ve probably figured out by now that ethics in storytelling is
 You’ve probably figured out by now that ethics in storytelling is
founded on empathy – the key that unlocks human emotion,
vulnerability – the magic wand that reveals the magic of story, and
inclusion – the topic we will talk about in the next chapter:
Immersive storytelling.
8
Immersive storytelling
Exploring the story experience

What is immersive storytelling?

Leveraging immersive storytelling trends

A relatively new term has been born within the storytelling field.
The first time I heard it was back in 2017 when I was invited to
participate in a storytelling-focused hack: an ultra-condensed,
hyper-creative event designed to encourage employees to turn their
passion projects into reality.
Only a handful of storytellers, myself included, were fortunate
enough to be selected to join Lance Weiler, founding member and
Director of the Columbia University School of the Arts’ Digital
Storytelling Lab, along with his colleagues, to learn about and put
into practice this cutting-edge technique that converges media and
technology to bring about solution-driven tales of augmented
reality.
A filmmaker and entrepreneur, Weiler has been disrupting the
entertainment industry for over 20 years in the United States and
abroad, and for the next couple of days he was about to teach us the
ropes of this applied science in what would become one of the most
eye-opening storytelling experiences I had ever been a part of.
On the first day of this World Café, as he dubbed it, we spent time
understanding the fundamental topic at hand: young gang
members in southside Chicago were using code language on social
media to incite rival gangs to meet for violent, and sometimes
deadly, altercations. Authorities had become aware of this
precarious situation but were unable to find or track any
communication patterns to proactively engage and diffuse, since
the covert terminology seemed to be in continuous evolution.
The initial table conversations were structured, and it soon
became apparent to all participants that we had been intentionally
selected to contribute owing to the collective diversity of
intelligence in the room. The conversations took place in three
rounds, each framed around a question and then building into the
next, until the clock interrupted our impassioned workflow and we
begrudgingly had to put our pencils down in anticipation of the
next day.
The next morning, the team all unintentionally showed up about
a half hour earlier than call time. Our hunger for learning was
evident. While Weiler had led the session the day before, this time
he sat back and observed as one of his colleagues, a renowned
gaming guru, took charge and began to explain the day’s mission:
we were to divide into smaller teams and create a cardboard game
prototype that would help bridge communication gaps between two
individual parties (or players).
What does this have to do with gang members in southside
Chicago? My negative self suddenly crept up. From the puzzled
looks on my teammates’ faces, I deduced that they too were
doubting the reasoning behind this whole experiment. But there
was no time for pondering. We had only a few minutes to receive
our orders and get to work, and I for once was ready to win this
thing, even if it wasn’t an official competition.
What came next was a series of jam-packed spring-like activities
ranging from 22 to 45 minutes where, during every round, we were
given a specific set of instructions and materials to evolve our game
prototype. Aside from the tight deadlines, that really doesn’t seem
like a hard thing to do, right?
Wrong. The plot twist (pun intended) was that after every round,
each team had to rotate and build upon another team’s prototype.
In other words, our ‘final product’ would never come from our
original idea. Instead, we would cooperatively evolve someone
else’s concept.
You’re kidding, right? Cross-group collaboration will never get me
a trophy. My dark side was getting the better of me.
By the fourth and final round, our group was unquestionably
mentally drained. The demand to creatively evolve something
founded on someone else’s original design proved to be more
challenging than initially anticipated, and we were clearly running
out of ideas. Thirty out of the last 45 minutes had already passed
during the last assignment and my team had accomplished next to
nothing. Some team members resorted to fastidiously playing with
Play-Doh, while others indulged themselves in the assorted
afternoon refreshments and yet others repetitiously reviewed the
sticky notes left by the last team in futile attempts to gain new
insights into the undertaking that sat in front of us. I nervously
paced back and forth, acutely aware of the ticking clock.
The task at hand was to mature a simple communication strategy
showcasing two participants. After a lot of silence and useless mini
brainstorming sessions, the lightbulb finally went off: we would
elevate the game to make it an interactive message of love versus
hate. Below are the game rules.

Game name: Love vs Hate

Number of Players: 6
 Number of Players: 6
Game Objects and Roles: Player 1 (Messenger) must successfully convey the message
of LOVE to Player 2 in a specific time. Player 2 (Collector) must collect all LOVE
objects into a bucket to win. Players 4–6 (Distractors) distract and confuse Players 1
and 2 with HATE and DISTRACTION objects so that they do not communicate
effectively.
Game Contents: LOVE, HATE, DISTRACTION figurines made of Play-Doh, collection
bucket, hourglass, blindfolds, board.
Game Assembly and Setup: Game board between players. Collection bucket at
Collector’s end. LOVE objects at Messenger’s end. HATE and DISTRACTION objects
evenly distributed on both sides of board.

Game play
Coin toss for Players 1 (Messenger) and 2 (Collector), rest of players are Distractors.
Players 1 and 2 are blindfolded.
Clock Begins: set to 1 minute.
Turn Sequence: On minute 1, Player 1 takes a LOVE object and tries to place it on
Player 2’s side of board for pick-up, while Player 2 searches for it. Distractors will
also place other objects, disrupting connection between Players 1 and 2. Once the
minute is over, new player sequence begins.
Winning: Players 1 and 2 win against Distractors if they are able to successfully connect
and collect LOVE objects into Player 2’s bucket.

Voilà! We had completed our task.

With only seconds to spare, we ran back with our game prototype
in hand ready to deliver the [winning] model. As you can imagine,
we had little time to work out the minor details, such as who would
play the Messenger and Collector roles, so when it came time to
play, we spontaneously requested volunteers from the audience
and very soon realized that this impulsive decision added a special
variation to game-playing. While Player 1 was from our team and
fundamentally understood the game rules, Player 2 had only just
been briefed about what to expect from the Distractors. Our
volunteer truly had no idea what was about to happen in the next
sequence of events. And the truth is, neither did the rest of us in the
room.
room.
Distractors declared an all-out war. They made loud noises. They
manipulated objects to increase their similarity in appearance to
that of LOVE objects and confuse the players (remember, they were
blindfolded, so they had to feel the objects on the board). Some even
began removing LOVE objects from the board when it became
apparent that the Collector was making some small progress and
finding a connection path to the Messenger. I watched in horror
and disbelief and a sudden sense of duty to end this unruly
behaviour came over me, but it was quickly relinquished as I
noticed the room audience was lighting up with emotion in
anticipation of what would happen in the next several seconds.
Instinctively, I let the game take its course. In the midst of the chaos,
Player 1 realized something was off. Too many distractions were
happening. Too many things felt out of control. He could ‘sense’ the
Collector’s anguish in trying to communicate but not being able to
reach each other. As the sand sank faster into the bottom piece of
the hourglass, the Messenger did the unexpected: he boldly
stretched out his arms and softly grabbed the Collector’s hands
from the top of the board, gently placing a LOVE object in the centre
of her palm. The audience gasped in unison and the room was
suspended in a paralysing and deafening silence in the seconds that
followed.
That, my dear reader, is immersive storytelling.

What is immersive storytelling?

You may not find an official definition of this concept in books or
online yet, as it is one of those relatively new digital age terms that
have yet to find their place in the digital transformation landscape.
But if I had to contribute to this definition, I’d seek to borrow from
the self-branding statement of the person I believe to be the
godfather of immersive storytelling, Lance Weiler. Weiler describes
himself as a ‘storytelling agnostic whose work is not limited by
running times, mediums or platforms’.
It’s true. Immersive storytelling explores and experiments with
many environments, or storyworlds, with the goal of giving people
the feeling of ‘being there’ and, through that feeling, creating an
added layer of authenticity and empathy to the story, exponentially
increasing its chances of success.
In the game prototyping experience I just shared with you, you
only read what happened to my team and me. Your exposure to that
moment is driven by a singular-faceted event based solely on my
subjective forbearance of it. Had you been present in that room,
your experience as a spectator, team player or even Player 1 or 2
would have provided an entirely different understanding of the
occurrence and narrative, though the allegory’s elements and
universal truth remain the same.
Immersive storytelling takes the audience further than any 2D or
3D experience ever can, enabling a ‘theory into practice’ approach
because it invites the audience’s additional human senses to
converge into the story.
Therefore, if storytelling is the emotional transfer of information
through the introduction of a character, plot and conclusion,
immersive storytelling is the emotional transfer of information
through the embodiment of a character in a storyworld.
But how is this relevant for brand storytelling and how can we
begin to apply it in our own space as digital marketers and
communicators? I’m glad you asked!
We’re already seeing how virtual and augmented reality
platforms are rapidly integrating themselves into the customer
experience, essentially contributing to the customer’s self-indulgent
demands of becoming an active character in the brand story. Digital
transformation is forcing the traditional narrative structure to
emerge from its grassroots design where the audience happily took
the passive role of a listener, reader or viewer to become that of a
the passive role of a listener, reader or viewer to become that of a
‘lived experience’ where narratives incorporate the latest
technologies such as 360° video or holograms to invite the audience
to experience the story within a particular environment.
Some brands are already harnessing the power of immersive
storytelling and winning. In 2017, IKEA launched Place, an
augmented reality app that enables customers to preview how
furniture pieces can look within a particular floorplan space
through the convenient use of their smartphones. This integration
marked a significant milestone for the furniture retailer in their
digital transformation journey and continues to be a popular
differentiator for the brand in the market.
The reality is that it’s only a matter of time before this innovative
brand storytelling approach completely takes over the traditional
written storytelling methods and becomes the norm. The
introduction of immersive storytelling may give you the
overwhelming feeling that you have yet to catch up with the old
method… but I say be comforted instead, because you now have the
opportunity to consider this leading strategy as part of your future
brand storytelling plans.
In Chapter 3, I briefly mentioned how UX-designed stories oblige
us to get maniacal about providing an optimal experience to our
customers through everything from typography to story setting to
visual elements. And now, we should consider environment as an
add-on element. As stated earlier, immersive storytelling is about
intentionally creating a favourable environment for your audience
to zestfully experience the brand story. And while storytelling with
design thinking principles continues to faithfully drive the idea of a
low-cost, low-effort approach, it would be a disservice to you and
your brand not to invest in future communication technologies as
part of your digital transformation journey.
Immersive storytelling trends
With that in mind, it’s important to carefully analyse relevant
market trends that can help you decide which type of technologies
can help create the best immersive environments for your brand
story. For this, I have created an opportunities chart (Table 8.1). By
using this chart, you can fill in relevant trends as well as
‘unknowns’ within your specific industry, design audience, current
technologies and even society that exist in your individual space
and can help you uncover ideas for your immersive storytelling
consideration process. The more time you spend researching these
trends, the more opportunities you can find in your specific
landscape.
 Table 8.1 Opportunities chart
Skip table

Current trends Unknowns

Industry
Design audience
Technologies
Society

Let’s say I were to fill in this chart for a company within the tech
industry (as it happens to be my field of work) in my quest to find
opportunities for immersive storytelling. My chart would look
somewhat like Table 8.2 at a very high level.
 Table 8.2 Opportunities chart example
Skip table

Current trends Unknowns

Industry Autonomous things, How will AI and IoT continue to evolve their
augmeneted analytics, AI own intelligence? What does autonomous
developments, blockchain, things mean to traditional products? How do
empowered edge, smart smart spaces/modern workplaces disrupt
spaces working environments as we know them?
Design Smart, cutting-edge, easily Will they still like reading in the near future?
audience bored, wants to get to the Will ‘reading’ look different if integrated with
point fast, likes ‘how-to’ mixed reality?
stories, enjoys reading
Technologies Digital channels, cloud How fast will these technologies evolve and
computing, latest need to be adopted by my organization?
hardware, holograms,
subscription model
Society Innovations, well-being, What will society norms look like in the near
social justice, future and how will they affect social
environmentally friendly, interaction?
connectedness,
mindfulness, purpose-
driven, emotionally
charged

By taking time to analyse market and audience trends with this

context, you can purposely begin to map out which immersive
experiences fit best in your brand storytelling. The following are
types of immersive brand storytelling techniques that currently
exist (and that may be obsolete, evolved or replaced by the time you
finish reading this book).

360° or spherical video

As the name suggests, these video images are captured either
through a collection of cameras set up in different places or through
a panoramic or omnidirectional camera in order to provide a 360°
view for the consumer. As with everything immersive, the upside of
using this technique is that it offers more information than the
conventional approach, and the more information you’re willing to
give your audience, the bigger the potential you have to increase
trust and loyalty with your stakeholders. This immersive medium
adds another layer of authenticity because it displays every possible
angle, so there are no ‘hidden corners’ or ‘behind the scenes’
scenarios happening in the background, which are usually
obscured, but known to the viewer. For storytellers in traditional
disciplines such as the entertainment industry, this type of
openness can actually signify a nuisance, because most
conventional techniques in storytelling draw upon illusion to
successfully deliver the stories. However, in brand storytelling, the
ultimate goal is to be as authentic and vulnerable as possible, so
360° video may be a good narrative channel to consider. From an
immersive angle, this technique gives the audience a decent level of
interactivity with the storyworld by providing an option to play
with the story content through movement of the frames or clicking
of links, if available. Effective ways that a brand can integrate 360°
video into their brand storytelling are by using them for:
company events, keynotes, product announcements;
customer-specific messages from executive or top leadership;
advertising.
One downside of this technique is that the stories being told
through this medium are still told through the videographer’s angle,
so the view is limited to the filmmaker’s camera’s movements.
Nevertheless, if a photo is worth a thousand words, how many
words is a 360° photo worth? At the very least, dabbling with this
inventive technology puts you at the forefront of digital marketing
and makes you a thought leader in immersive storytelling.
Storytelling never ends and always tests new platforms that appeal
to your audience. This one might be one to explore.
to your audience. This one might be one to explore.

Gaming or emergent storytelling

While your mind may go directly to videogames as you read this
subtitle, you may be surprised to find that videogames are but a
fraction of gaming as a type of immersive storytelling technique,
and for brand storytelling purposes, videogames may not apply as a
technique at all.
I began this chapter by sharing with you a story about how our
extended group of storytellers at Microsoft set out to build a series
of evolved board-game prototypes with the goal of solving a real-life
societal issue in southside Chicago. Bringing you back to that story,
after that extraordinary moment when Player 1 reached out for
Player 2’s hand, all of us had an acute understanding of what
immersive storytelling meant. The universal feeling (or emotion
activated and unanimously felt by all of us coming in contact with
this live-action narrative) was that of accomplishment. This elated
feeling of triumph happened when the two desperate players finally
thought outside the (cardboard) box and were able to successfully
communicate with one another. But notice that I label this juncture
as the moment of universal truth and not the climatic point of this
chronicle. For all of us, the actual turning point happened when
Weiler anticlimactically broke the atmospheric silence, expediently
leveraging our universal truth moment to point out just how
visionary we can all become when we endeavour to conquer
something specific and how we could conveniently use those newly
discovered raw instincts, competencies, imaginative workflows and
cross-group collaboration techniques to help him and his team
devise a decoding method for authorities to help translate social
channel communication between gang members. Because in that
game, real lives were at stake.
 I’m not a gamer myself, but through this rigorous hackathon
exercise I quickly learned a few basic truths about game designing
that later served me well when introducing emergent storytelling as
a technique in business. These are:
By design, all games are broken. The challenge is to fix
something.
Game design considers how it will empower the players.
Creative power, destructive power, manipulative power are
but a few types of powers that players are given for a chance
of winning the game.
‘Gameplay’ is a catchall phrase that mysteriously fits into
every context of a game conversation, even if it doesn’t make
sense. Keep reading this gameplay to learn more.
At its best, game storytelling ditches the theoretical allegory of sorts
and dives right into the practical schooling of literal character
embodiment in the storyworld, exasperating the main character’s
need to win. Within the brand context, game storytelling engages
the audience so deeply into the brand story that the level of
empathy towards the company is almost as high as it is with the
self. The audience is systematically learning about the brand story
from a first-person perspective and naturally discovering by what
means they interrelate with it, as opposed to being told by the
brand. This direct interaction with the brand mission, core values
and universal truth ‘speaks for itself’ and creates a tremendously
powerful bond between the brand and the audience.
At its worst, like in my own game prototype, at any given moment
the active character may decide to improvise and disrupt the
gameplay sequence, creating an alternative storyboard of universal
truths for the brand. Not too bad an outcome, if you ask me,
because this can help uncover alternative angles the brand may not
have contemplated otherwise.
Effective ways that a brand can integrate game storytelling into
 Effective ways that a brand can integrate game storytelling into
their brand storytelling are by using it for:
Customer-related internal mini hacks: establish the challenge,
empower players with your brand story core values, mission
and universal truth and let stakeholders creatively hack
solutions in game format.
Gamification reward platform for customers: whether sales,
marketing or other incentivized programs, use your brand
storyline and elements to create immersive gamification
reward experiences for your customers.
Social advocacy: both internal and external stakeholders can
participate in a gamified approach to social amplification of
your storytelling content. More on this in the next chapter.

Mixed reality
The very premise of this book is founded on the notion that the
integration of the latest digital technologies into every aspect of
business (also known as digital transformation) is forcing the
blending of the physical world with the digital world (also known as
mixed reality or MR), and brands are having to recognize that
traditional means of engagement and marketing between
organizations and customers are rapidly becoming obsolete.
Digital technologies have significantly raised the bar on what
engaging content can look like, and when it comes to brands that
seek to be thought leaders in digital marketing, the use of virtual
reality (VR) and augmented reality (AR) offers a new realm of
opportunities to create compelling and innovative content.
Differentiating itself from emergent storytelling or 360° video,
this multilayered approach to story offers exciting new storyworlds
to be explored and controlled by active characters. The storyboard
is nonlinear, and the design feels almost boundaryless in this story-
living model where unique elements come together to create a
more dynamic and emotional experience for the audience. At its
early stages, this immersive storytelling approach required an even
more focused embodiment of character because it necessitated the
use of supporting gear (such as vision goggles) to invite the
character into the story setting. However, AR has quickly evolved to
leveraging mobile device camera views paired up with social media
application filters to overlay content into the real world.
At a high level, many brands in many industries have already
begun adopting this immersive technique to bring products and
services to customers where they are, as opposed to expecting
customers to come to them. With AR and mobile technologies,
brands are helping customers envision themselves using a
particular product or service, and this has proven to be a very
lucrative marketing tactic. In 2018 alone, AR advertising brought in
$428.3 million in revenue and it’s expected to top $2 billion by 2022.
But we’ve learned that storytelling is beyond a marketing tactic or
tool. It is an intentional approach to connect at a deep and
emotional level with our stakeholders. So how do we go beyond
short-lived marketing gimmicks and integrate this immersive
technique into the long-lasting brand storytelling strategy? Effective
ways that a brand can integrate mixed reality storytelling into their
brand storytelling are by using it for:
Offering new dimensions for your brand storyworlds: as you
define and design the brand story setting, character and plot,
think of ways that these environments can creatively pop up
on a customer’s mobile device through holographic content,
for example.
Weaving user sensory experience scenarios for your products
and services into the brand story, not as a marketing
campaign.
Live streaming
While broadcasting in real time has been around for a little while
longer than 360° video, emergent storytelling and mixed reality, it
continues to be a leading immersive storytelling technique that is
most compelling against all others because, well, it’s real time.
The word ‘genuine’ often comes to mind when live streaming is
used as a platform. The idea that anything can happen gives the
audience a sense of camaraderie with the storyteller as together
they navigate a somewhat ambiguous storyline. Social media
influencers have built their empires on this immersive technique
simply because of its highly engaging features such as informal
direct interaction and unfiltered display. Best of all, it’s relatively
inexpensive, and most social channels have provided a live
streaming vehicle to deliver content to audiences, so that
storytellers, once again, can meet customers where they are.
Another benefit of live streaming is that your content has the
potential to reach audiences way beyond your target as viewers
invite others to join in the fun. This immersive storytelling
technique can be a real differentiator for your brand in the market
if you’re primarily looking to establish relationships and increase
brand awareness.
Beyond marketing, live streaming can beef up your brand
storytelling in multiple ways. Effective ways that a brand can
integrate live streaming into their brand storytelling are by using it
for:
Creating a sense of urgency for your brand story: is there a
new character, product or plot twist you want to introduce to
your audience? Announce a special event to your audience
and tell them live. As you continue to evolve your brand and
brand story to meet customer demands, using this avenue to
vulnerably share your journey with your audience may help
you win extra points in the trust and loyalty departments. So
many brands today choosing to take a social stance, for
example, have failed to show up authentically to their
audiences, even if they truly intended to, because their
advocacy move was abrupt and offered no context. I imagine
that if, prior to launching the provoking, and generally
displeasing, Gillette ‘Toxic Masculinity’ ad I mentioned earlier
in the book, a Procter & Gamble storyteller had strategically
jumped on a two-minute live stream and introduced the
setting and reasoning for this brand’s shift in core values and
alignment to the #MeToo movement, the response from the
public would have been a lot different. Live streaming offers
an opportunity to bridge on-the-spot (often seen as more
vulnerable and authentic) and already-crafted content,
showcasing an ability from your brand to dabble with new
technologies in the quest to capture audiences from different
angles.
Giving the audience an ‘inside look’ at the brand: while a lot of
progressive companies have now taken the cue from Apple to
live stream their hero product reveal events, a smaller-scale,
more mundane approach can invite audiences to experience
everyday operations or a Q&A conversation between leaders
where they too can engage and immerse themselves in the
story. At Microsoft, engineering disciplines offer a monthly
webinar to help answer questions around products and
services. This has become a very popular and successful
storytelling practice, leaning into the brand’s universal truth
of empowerment, because it not only opens a new door of
connectivity between customers and the brand, but enables
those customers to learn directly from those individuals who
sit at the forefront of the technology.
These are just a few examples and ideas of immersive storytelling
techniques that you can begin to explore as you build your brand
story. Remember, storytellers (you and I) are in the never-ending
quest to evolve the brand story in creative and meaningful ways. As
more technologies arise, we’ll have more opportunities to discover
new ways to share the narrative… and change the gameplay.
Consider it a true privilege to be a frontrunner of brand storytelling
in this digital age, where everything is curiously unpredictable, and
you get to pioneer it for your brand.
FTW!
9
Your best brand storytellers
Employees and influencers

Building a storytelling army

Designing the story persona
Employees and influencers: the good, the bad and the ugly

Both employee advocacy and social influencers have always existed

in one way or another as an effective means of promotion for
brands, even if not officially and specifically selected by the
organization. People are natural storytellers and, as social beings,
we innately connect with friends and acquaintances through the
interchange of allegory, often about our mundane day-to-day
activities, which surely bring us back to our place of work or
preferred grocery store (brands we often engage with). It is also no
secret that celebrities, journalists and industry experts have
consistently influenced purchase decisions simply, and sometimes
inadvertently, by sharing their choice of fashion brand or fast food
restaurant. But with the decay of traditional marketing and the fast
advancement of technology, these two orator forces have risen in
an unprecedented way to become today’s top digital marketing and
storytelling channel: social media.
In the early 2000s, social media began to empower individual
users to establish credibility with particular audiences, outside the
once fortified walls of traditional marketing and PR. By virtue of
authenticity alone (there’s that word again), when brands were still
wrestling with the idea of investing in such things as a Facebook
page or Twitter account because there was no way of tracking
return on investment (ROI), an army of savvy socialpreneurs (or
early social media adopters) began to explore each of these
channels and build their reputation with niche audiences, simply
by sharing their expertise or showing up ‘behind the scenes’ of a
manicured camera. Celebrities and ‘nobodies’ alike, choosing to ride
this wave, began to enjoy a new and direct medium to approach
and connect with their audiences, and this marked the beginning of
what today is known as influencer marketing, a $10 billion dollar
industry that is leading the way in brand marketing, and
consequently, storytelling.
While I recognize that there are several types and levels of brand
endorsers in the industry, for the purpose of building your brand
story, I’d like to group influencers and employees together under
one category: story persona.
In Chapter 3, I briefly touched on UX design principles to
reinforce the importance of carefully crafting the brand story so
that it can provide an optimal experience to the audience. And that
is the key word: experience. The ‘emotional transfer of information’
is an experience. Empathy is an experience. Vulnerability is an
experience. Story is an experience. And no matter how well we think
we’ve designed the story, it is how the user experiences the
narrative that ultimately determines how effectively it will land.

In UX design, an earnest piece of the design process is defining the design persona. Notice that
I didn’t say the user persona, which we know to be a hypothetical representation of the target
audience.
Much different from a user or marketing persona, in UX, a design
persona is crafted to best understand the relationship (or
experience) between the designed product and the user. In other
words, design personas give the product a hypothetical personality.
I’d like to borrow and also modify this UX concept to serve brand
storytelling because, while the story is the final ‘product’, it is the
storyteller who makes the story come alive and unlocks the story
experience for the audience.
Where would the iPhone be if someone other than Steve Jobs had
shared its remarkable tale of origin?
How impactful would the World Wildlife Fund be as a global
organization without its A-lister celebrity advocates?
Would National Geographic have as much success and influence
on Instagram without the posting of raw, individual journalism
allegories shared by those experiencing the ‘behind the scenes’
while on assignment?

Building a storytelling army

I think you get my point on how pivotal the dependency between
stories and storytellers is, but you already know this. Lately, we’ve
seen brands significantly increase their spend on influencer
marketing and employee advocacy efforts, with some investing up
to 40 per cent of their total marketing budget in influencer
marketing alone. Brands are recognizing the paramountcy of
granting storyteller duties to the humans of the brand instead of the
organization as a whole, and this is paying great dividends.
I’ve personally witnessed global corporations such as Adobe
evolve their employee advocacy programs from merely providing
curated brand content for employees to share to decisively
equipping their employees to embody the brand story and weave it
into their own personal tales, intentionally activating them as brand
story ambassadors. And the results are fascinating.
story ambassadors. And the results are fascinating.
Any other author would share this instance in case study form,
but in the true fashion of storytelling, I asked Jose Camacho, Social
Media and Employee Advocacy Program Manager for Adobe, and
also a personal friend, to give his exclusive account of how
employee storytelling developed at one of the world’s most
prominent multinational software companies.

How Adobe’s Social Ambassador Program evolved from

transactional employee content publishing to a robust
community of brand champions with storytelling
My name is Jose-Andres Camacho. I am a Social Media Enablement Strategist at Adobe,
responsible for scaling, mobilizing and leading the brand’s Social Ambassador Program by
working cross-collaboratively with global teams to help equip employees to learn and tell the
Adobe brand story and evangelize it by passionately sharing it on social channels, organically
consuming our products and enthusiastically participating in our corporate social impact
efforts.
When I started the role in June 2018, I knew very little of employee advocacy or
storytelling and how both are being leveraged by businesses for competitive advantage in
various industries today. Although I was aware of overall employee advocacy tactics, never
had I seen it sourced to the scale chartered by my newly assigned team at Adobe.
Our immediate goal was to get at least 50 per cent of our enterprise-wide employee base of
plus 20,000 to not only learn, but love our brand story so much that it would instinctively
propel them to generously share it with their individual audiences on a regular basis. I will be
honest. I did not fully grasp how brazen a goal this was. At the time we had around 700 users
on our employee advocacy program, some of whom were not even considered active. But
shoot for the stars, you’ll at least land on the moon, right? I had much to learn – very swiftly.
As I began my research, the Head of Employee Advocacy and I instantly began to uncover a
number of innovative opportunities to implement as part of our wider strategy to scale the
program in a healthy way (I’ll explain what this means later on).
Our first step was to get the right tools in place for scaling. From the very beginning, a key
partner in our employee advocacy efforts was our technology partner, EveryoneSocial.
EveryoneSocial is an employee advocacy and social selling platform that helps companies
diffuse their brand story and story assets, such as news, articles, video and documents, for
employee curation and sharing.
We needed to measure active users as a baseline for benchmarking. So, we defined an
‘active user’ as someone who had logged into the tool at least once in the past 30 days. Then
we established goals.
we established goals.
Naturally, with a tool like EveryoneSocial, there are a variety of metrics you can employ to
track success. For us at Adobe, we determined that the two biggest key performance
indicators (KPIs) were the number of users in general and the percentage of active users,
since our primary goal was to scale quality storytellers. In addition, we also implemented
secondary performance metrics to help us understand the efficacy of the program as a whole.
Our KPIs looked like this:

Percentage of active users

User logged in within the past 30 days
Goals
50% of employee base
30–35% of users reaching best-in-class ranking per EveryoneSocial
tool criteria
Social channel metrics
Reach
Engagement
Lead generation (visits to Adobe.com domain)

We also tracked the number of suspended users as part of our strategy to keep people active
by implementing a ‘purge’ initiative where, semi-annually, we would reach out to inactive
users, encouraging them to log back into the tool within 10 business days to signal to us their
commitment to keep their accounts instated, otherwise to let those 10 business days pass and
we would give their licence to another user.
Then we laid out the storytelling strategy.
One of the major draws to our program was the ability for employees to use
EveryoneSocial as a personal social media content aggregator tool. We understood that our
new storytellers had individual motivations for sharing stories and that though the overall
brand story was the same, it could be broken down into mini-stories (always leading back to
our universal truth) and distributed in categories through different storylines for
personalized sharing. So, we created eight storytelling streams varying in topics from ‘Adobe
news’ to ‘Digital Experience’, ‘Creativity’ and ‘Leadership’. Every day, users would log into
EveryoneSocial and find the latest articles, blogs, videos and tweets to engage with and share
to their own social network. They could also schedule any of these story pieces to be shared
at the best time for their audience within specific channels such as LinkedIn and Twitter.
Users had a variety of social channels to choose from, including Facebook, Xing and WeChat,
and in case they had a hard time adding their own ‘spin’ to the story arcs, we included generic,
pre-written social copy to ease the burden of coming up with tweet-worthy verbiage.
It was important for our users to be emotionally connected to these stories, rather than
seeing them as typical brand marketing content, so we spent a lot of time carefully curating
each piece of content and ensuring that every one of them represented the Adobe brand
values and mission the best way possible, every time.
Then, it was time to scale.
 Then, it was time to scale.
At first, we started with a smaller group of early adopters to have an opportunity to
observe and gain insights into our working model. As the program gained traction, we began
to strategically reach out to some Adobe internal teams and invite them to partner and pilot
our program within their discipline, not only to help build buzz and activity on social media but
to ladder-up to the wider organization goals, where appropriate.
For example, one team we piloted was a group of about 160 talent acquisition team
members where we implemented targeted goals, including but not limited to:

Talent team would share at least one social post per week.
Adobe hashtag use to increase by a minimum of 15% year over year on LinkedIn,
Instagram and Twitter channels.
Follower count for Adobe social accounts to grow by 15% year over year.

Within just five months, the pilot tracked so well that our team was asked to expand and roll
out to the entire employee experience organization.
Pro-tip: If you have a ‘Sports Marketing Program’ or similar function within your company
that partners with local concert venues, stadiums and arenas, ask about how your Employee
Advocacy Program can partner with them. This partnership comes in handy when they have
unused tickets to local games, events, concerts and so on which you can leverage as Program
incentives. We managed to make an arrangement with our respective Sports Marketing
Program manager to prioritize our advocacy program team for any outstanding event tickets
so that we could award them to exceptional Social Ambassador champions. This turned out to
be a great call, especially when we agreed to become hyper-creative and tune into
gamification for added impact.
One way we encouraged a healthy sense of competition among colleagues was by
leveraging EveryoneSocial’s gamification features, the leaderboards. These performance-
ranking boards play a key role in motivating teams towards sharing and engagement metrics.
For example, if we wanted to encourage users to post more engaging content, we would
award more points to content that resulted in a certain number of engagements by their
audience instead of the amount of actual content itself.
The leaderboards also enabled us to target specific geo-location campaigns. For example, in
the summer of 2019 we received four free tickets to an upcoming DJ Khalid concert at Oracle
Arena. Because we had recently onboarded a cohort of around 350 interns, most of whom
were from the Bay Area, we decided to run an impromptu contest with all Bay Area interns.
The contest would run for five days and the top four interns who shared the most stories
would win the Khalid tickets.
The results were bewildering. In our five-day contest, we saw:

+13% new users of our platform (all of which were newly onboarded interns);
+593% in Adobe stories shared to social media from this cohort alone;
+14% engagement within the five-day period.

More recently, we had an opportunity to give away 20 free tickets to a San Francisco Giants
More recently, we had an opportunity to give away 20 free tickets to a San Francisco Giants
vs Chicago Cubs baseball game to a group of fortunate social ambassadors. Using
EveryoneSocial’s reporting and analytics features, we pulled data to find top-performing Bay
Area social ambassadors in terms of engagements during the month prior and without
warning reached out to them to surprise them and let them know they had won.
These ‘surprise and delight’ experiences have become extremely valuable for us in terms of
building energy and positive relationships in and outside our Social Ambassador Program
versus the expected awards users are already aiming for as part of gamification. Through this
experiment, we also began to appreciate the importance of imparting the brand story outside
of digital walls.
As our program began to build demand among business units and organizations across
Adobe, we saw an opportunity to think bigger. Because of this, our team began to shift its
focus to elevating brand storytelling skills among the Social Ambassador Program. We did this
in several ways. First, we launched the 2019 Employee Advocacy Learning Series of webinars
in January 2019. This series of educational webinars included topics like:

‘Optimizing Your Social Media Presence: How to Save Time and Bring Together the
Content You Love’, which focused on enablement around high-value behaviours like
creating personal streams on EveryoneSocial where users can create feeds that
automatically pull in content from sources like RSS Feeds, Google keywords,
#hashtags and @Twitter handles.
‘How to Optimize Your LinkedIn Profile (and what to post)’, which helped users put
their best foot forward on LinkedIn in terms of publishing frequency, tips, direction on
where to find Adobe-branded cover images and other best practices.

The series’ goals were twofold:

Educate our users (and wider employee base) on high-value behaviours because we
found that users who created personal streams shared six times more content over
those who did not.
Drive awareness to the Adobe Social Ambassador Program and keep our enablement
resources top-of-mind.

Also, in conjunction with our learning initiatives, we introduced fun and rewarding
networking events to create a deeper sense of community and buy-in.
Today, Adobe’s Social Ambassador Program has progressed from being simply a
transactional content-creation approach for employees to a healthy community of brand
storytellers, and the numbers speak for themselves. Beyond numbers, the brand enjoys an
equipped and increasing group of employees who regularly and resourcefully share the
Adobe story, have a distinct social presence, regularly use our products and get involved in
our corporate social impact efforts.
When I first arrived at Adobe, our original mission was to help Adobe employees and
partners show their support for Adobe online, discover relevant content shared by fellow
employees and stay up to date with industry news. While that was an appropriate charter for
 employees and stay up to date with industry news. While that was an appropriate charter for
our team at the time, it has since evolved to a robust brand storytelling function, one that
tears down organizational silos and works cross-collaboratively with other teams globally.
Looking to the future of employee advocacy and brand storytelling, I see organizations
championing internal influencers and company leaders to have a truly unique and powerful
influence on digital channels by moving away from merely regurgitating curated content and
empowering employees to tap true thought leadership via user-generated content (USG) and
other forms of digital expression, enabled by the brand and resulting in a true sense of
community and culture engagement between brand storytellers, both digitally and physically.

So there you have it. There is no question that humans telling the
humanized brand story works. But if every brand begins to tune
into employee advocacy and influencer marketing practices, won’t
brand storytelling eventually get diluted and, like everything else,
become obsolete? I began this chapter by acknowledging that
employee advocacy and influencer marketing have always existed,
even when there was no official title for these marketing
‘techniques’. They existed organically because, as humans, we
naturally seek to engage authentically with others, and they will
continue to exist years from now for that very reason.
Side note: I would be remiss if I didn’t make a clear distinction
between employee advocacy and influencer marketing, before
plopping them together into the story persona. So, I drew a quick
table showcasing each technique’s most valuable attributes, types,
trends and statistics (Table 9.1).
Table 9.1 Employee advocacy and influencer
marketing statistics
Skip table
What is it? Types Trends & Statistics
Employee Recruiting and incentivizing Early adopter,
Brand messages
Advocacy employees to share their champion,
reached 561%
support for the brand, brand internal brand
further when
products and culture to help influencer
shared by
raise positive awareness about
employees vs the
the brand
same messages
shared via official
brand social
channels
Employee
advocacy
programs with at
least 1,000 active
participants can
generate $1.9M in
advertising value
65% of brands
reported increased
brand recognition
after implementing
an employee
advocacy program
Leads developed
through employee
social marketing
convert 7x more
frequently than
other leads
Influencer Recruiting and incentivizing Celebrities,
In 2019, 320 new
Marketing people who have built a industry
influencer
reputation for their particular experts,
marketing focused
talent or expertise in a topic and content
platforms and
have gained a follower audience creators,
agencies entered
because of it micro and
the market
nano
 influencers Businesses who
understand
influencer
marketing can gain
up to $18 in earned
media value for
every dollar they
spend
69.4% of
influencers chose
to be influencers
so they could earn
revenue
70% of teenage
YouTube
subscribers say
they relate to
YouTube creators
more than
traditional
celebrities

While there are clear differences between the two, from a brand
storytelling perspective, both serve to tell the brand story
efficaciously in what may be the most authentic and relatable
manner to the audience. I encourage you to research which
storytellers work best for your particular brand and brand strategy,
but will call out that nano and micro influencers are becoming
more prominent in the influencer space because they tend to be
more zealous towards the niche audience they have come to
organically amass as a result of their personal efforts. For that
reason, if you were to ask me, I would say your best brand
storytellers are employees and micro influencers. Both are
authentically and emotionally tied to the brand story – and not
interested in ‘selling’ to their audience.
But not everything in story is a fairy tale. Some brands are still
struggling with getting the best ROI from influencer marketing or
employee advocacy campaigns, if any at all. So how can we
employee advocacy campaigns, if any at all. So how can we
maximize our resource investment efforts when selecting the best
storytellers to go and tell our carefully crafted brand story? By
carefully defining the story persona, of course. And this can be done
in five easy steps.

Designing the story persona

Step 1. Evaluate your brand story characteristics

In Chapters 2 and 3, we learned about the many brand story
elements, such as the universal truth, structure, colour, typography
and other attributes, that make the story come to life. As you get
ready to match these attributes with the story persona (or chosen
storyteller), it is wise to review these characteristics one more time
and cross-reference them against each type of orator contender to
understand highest level of suitability. A few questions to consider
during this evaluation process are:
Does this [influencer or employee] best reflect and represent
the brand story?
Who is this [influencer or employee] as a character in the
brand story?
Does this [influencer or employee] seem more like an intruder
or a natural addition to the brand story?
Choosing and crafting your brand persona begins with evaluating
which personalities can best complement those attributes you have
carefully given your brand story. There is nothing more
disappointing than to see a brand put extraordinary efforts into the
meticulous design of their brand story, only to have it fail miserably
because they didn’t take time to also craft the story persona.

Step 2. List your audience motivations

Step 2. List your audience motivations
I know well that you have already defined your audience and
reflected on which emotions you seek to evoke from them through
your brand story. But throughout the book, I keep iterating that the
audience is in continuous transformation. By the time you read this
chapter, the very motivations that were true for your audience a
few months or weeks ago may be completely different. Therefore,
as you decide how your story personas will look, sound and
approach the audience, it makes sense to revisit the list of factors
that keep your audience inspired and engaged to help define those
persona traits. When listing your audience’s motivations, consider
the following:
If you have a hybrid audience, will one story persona suffice,
or will you need more than one? In the case of Microsoft, I
have mentioned before that their audience expands across a
multitude of industries and cohorts. For that reason, they craft
different stories, all tying back to the brand mission and
universal truth, so they design several story personas to
appeal to their diverse audience base.
Does the story persona attract your audience? Let’s remove
the brand story from the equation for a second. If the story
persona alone were to show up in front of your audience,
would they be wooed by it? Would they want to learn more
about the brand because of it?
Whether an influencer or employee, every storyteller contracted to
tell your brand story should observe the attributes and personality
you give the story persona designed by you and your team, because
it considers your audience’s motivations and desires. In other
words, it is customer-centric in essence – it keeps your customer
(not the storyteller) at the centre of the story.

Step 3. Explore the story persona affordances

Step 3. Explore the story persona affordances
In UX, there is a term used to describe the offering and value a
product provides the user, based on the user’s perception of it. This
is called an affordance. In The UX Book: Process and guidelines for
ensuring a quality user experience, author Rex H Harston explains
than an affordance can be seen as the physical relationship the user
has with the product.
There are four types of affordances in design, namely cognitive,
physical, sensory and functional, and I will once again tailor this
notion to brand storytelling to help you design the best story
persona (Table 9.2).
 Table 9.2 Types of design affordances
Skip table

Affordance
Type Description Example
Cognitive Story persona behaviour that helps A catch phrase that an influencer or
Affordance the audience identify and employee will always say before
foreshadow something specific introducing a part or all of the brand
about the brand story story to their audience
Physical A story element that the story A call to action, a stage prop or visual
Affordance persona leverages to physically element during storytelling
engage the audience
Sensory Elements the story persona uses to Is the persona’s tone audible enough?
Affordance engage the senses of the audience Their presence noticeable enough?
Functional Attributes the story persona has How does the story persona
Affordance that serve to successfully drive the effectively evoke the emotions from
brand story mission the audience?

With this in mind, think about whether and how the personality
guidelines you attribute to the story persona consider these
affordances.

Step 4. Explore the emotional job the story persona

delivers
This wouldn’t be a storytelling book if it didn’t mention the word
emotion repeatedly and in every chapter.
The story persona is in essence the face of the brand story.
Everyone who comes in contact with the story persona, whether in
an influencer or employee form, will make judgements on the
brand based on how implicitly they deliver the brand story. For this
reason, it’s vital that you determine the emotional elements the
story persona has and plays and how these are translating the
brand story. A few things to consider when exploring the emotional
job of the story persona are:
 Does the persona awaken the same emotions from the
audience as the brand story does? If you were to hire a social
influencer, for example, that is known to be extremely
sarcastic in his tone and manner but your brand story’s
mission is to evoke a sense of benevolence, this may come
across as conflicting to your audience. When designing your
brand persona, ensure that as a stand-alone it speaks to the
brand’s universal truth through its own core elements.
Does the persona set the mood for the brand story? Emotions,
moods and feelings are all part of the brand storytelling
experience. How your story persona shows up will create the
setting for the story in and of itself and it’s good to consider
how effective this setting is.

Step 5. Give your persona an identity

Alas! This is the culminating and most fun part of crafting your
story persona. After you’ve studiously taken time to revisit your
brand story characteristics, audience motivations, affordances and
emotional value, it’s now time to begin crafting your story persona
just as you would a marketing persona or other types of fictional
representation characters. As a marketer, I know you’re a guru at
creating personas, but given this niche character, I still want to
offer some tips that you may find useful:
Give as many personality attributes to your story persona as
possible:
Example: My story persona is a neighbour, friend and
hero to all XYZ Company stakeholders. While modern
and tech-savvy, her physical attributes blend well with
XYZ’s humble beginnings, so she does not take away from
the nostalgic charm and experience that the brand’s
origin story proudly provides the audience. The story
 persona gives comfort and an emotional experience
through thoughtful and immersive sensory and physical
experiences, and she knows well the audience’s
motivations and seeks to meet them every time. My story
persona is always smiling and delighting audiences with
her welcoming and authentic presence.
Share this characteristic definition with your potential
storytellers:
Influencers, top leaders in the organization, regular
employees, celebrities and anyone else who has been
granted the official storyteller task for your brand story
should recognize the key attributes your story persona
possesses and embody them within their own disposition.
But please do not get me wrong. The story persona serves
only as a guiding light to show how the story can best be
told, not as a dictated and inflexible approach to
storytelling. Remember that the story persona enables
the relationship between the brand story and the
audience, and it is clear that every storyteller will
manifest the brand story to the best of their ability within
their own context, as they should. Nevertheless, as with
everything branding, it serves the brand best to establish
norms and guidelines to keep the path of the brand story
headed in its best direction.
Revisit the story persona attributes periodically:
If you’ve learned nothing else from this book at all, please
remember the one thing I have been stressing from the
very beginning: storytelling is a verb. Part of the
continued design thinking process is prototyping and
testing concepts, and this includes your story persona
and its attributes. The brand, brand story and brand
stakeholders are all continuously evolving, so the
 attributes you bestow on the story persona may be
irrelevant very soon. Thankfully, your audience will be
honest enough to indicate whether the story persona is
still evoking the right set of emotions when delivering the
story. Continue to listen to them, observe and see what
warms their heart, as the story gets told in many forms,
channels and through many storytellers.

Employees and influencers: The good, the bad and

the ugly
Now that you have a North Star for your potential storytellers, let’s
take a look at the roles each plays in your brand storytelling, as well
as the benefits and risks associated with each so that you can
maximize the success of your story.

Employees
Unlike influencers, employees are already an integral part of your
brand story, so once you’ve shared your newly crafted story using
IMC Reimagined techniques, they will uniformly own it, live it and
tell it, right? We wish.
In Chapter 4, I highlighted how brand storytelling serves as a
culture activator and how an integrated marketing and
communication approach can furnish strategic resources to help
invigorate this key group of storytellers to authentically live and
breathe the brand story. But as we apply the concept of story
personas, how can this tactic properly commission internal
storytellers – C-suite leaders and customer service representatives
alike – to wondrously permeate the brand tale to their individual
audiences in the most magical way? By probing the possibilities.
Most brands I’ve come in contact with understand the importance
of designing the brand story (this is why you’re reading this book)
but have an exceptionally trying time when having to operationally
bridge the gap between the intersectionality that employees at
every level and discipline of the organization bring to the brand
story. Therefore, they sadly end up succumbing to the safe,
unoriginal and often fruitless content-curation employee advocacy
model that some third-party tool offers, leaving the most important
part of brand storytelling on the table: story personification.
Don’t commit brand story suicide. You and your team have been
working very hard to design a stunning story for your stakeholders
and, as a final strategy step, it is critical to look at the primary
storytellers and the roles they play in the organization so that you
can best empower them to impart the story.
The chart shown in Table 9.3 illustrates the differing storytelling
roles that employees of the organization can play as they take on
the story persona, and the related pros and cons that can affect your
storytelling strategy. This scenario assumes that your brand has
decided to implement storytelling as a blueprint for business
growth, and that leaders are not only supportive, but also helping
drive the strategy.
Table 9.3 Employee storyteller role pros and cons
Skip table

Employee
Type Storyteller Role(s) Story Persona Pros Story Persona Cons
Top
Impart brand Already Historically, not
Management
story from the believe in highly or
(C-suite
top down to and authentically
level)
internal consistently engaged on social
stakeholders reinforce channels
Funnel and the brand May be
fund story disconnected from
storytelling Influencers some design
strategies and thought affordances
Equip and keep leaders May push back on
middle within brand storytelling
managers organization efforts if ROI
accountable for Embody the metrics are not
driving story clearly defined
storytelling persona
strategies in attributes
their discipline Effectively
contribute
to emotional
function of
the story
Understand
audience
motivation
at a high
level

Middle
Help diffuse Embrace May not
Management
brand story into telling the understand
(division
departments brand story intricacies of
head,
Allocate and story storytelling design
regional
dedicated persona and continuous
managers)
budget to attributes evolution approach
storytelling Are micro May be less
practices influencers concerned with the
Decide on and within emotional job of the
 create organization story and more
distinctive Define concerned with the
narratives hybrid functional
focused on audiences affordances in
audience base May be respect to the
Equip and keep more in tune bottom line
supervisors with social
accountable for media
properly engagement
executing
brand story
consistency
within their
departments

Supervisory Infuse brand Consistently May be more

(supervisor, storytelling to tell the concerned with the
program employees on a brand story emotional job of the
manager) daily basis as Are nano story and less
part of the influencers concerned with the
brand strategy within functional
Execute on organization affordances in
defined May have an respect to the
storytelling active social bottom line
techniques for media and May be tempted to
their particular digital take a ‘behind the
department presence scenes’, less
Equip and keep Have close involved storyteller
employees visibility to approach in
accountable for story attempts to help
understanding trickling employees shine
and telling the down to
brand story employees
individually Understands
pain points
of
storytelling
design
evolution

Employee Tell and Social May not be fully

personify the channel equipped to offer
brand story to early all design
 stakeholders adopters affordances
within their and Are not necessarily
specific role consumers concerned with
Are Understand functional or
consistently audience emotional story
learning the motivations persona jobs
new or evolved Can Have no say in
brand influence budget spend
storytelling storytelling
techniques evolution
Capture based on
frontline customer
feedback on feedback
brand story If trained
from customers well, can
display the
story
persona
identity
successfully

Contracted Serve as an Serve as to May not consider

work force extension of amplify the themselves to be a
employee when brand part of the brand
personifying persona story
brand story Can bring an Are not concerned
Align to brand ‘outsider with design
story strategies perspective’ affordances
as part of work to how
deliverables effective the
Can also emotional
capture and
feedback from functional
customers story jobs
are

Remember that this chart only showcases a general idea of how

employees of the organization may play a part as they envelop the
story persona, so you can take a more targeted employee advocacy
approach and increase your chances of triumphantly landing the
brand story internally. By no means is this a concrete idea and, in
the spirit of design thinking, it’s once again essential to remain
flexible when integrating storytelling strategies. I encourage you to
use this chart as a template and take time to plug in your own
organization’s leadership roles and how they currently play in your
storytelling strategy.

Influencers
I won’t spend a lot of time explaining the role that influencers can
potentially play in your brand story because you already know. But
I do want to remind you of a few general pros and cons of
leveraging this storyteller force as you continue to strategize the
best ways to land the brand story with your audiences:
Pros
Significantly helps amplify the brand story and build
trust with external audiences
Has massive target audience reach
Can deliver on all story persona affordances
Cons
May not be a true fan of the brand story and may run the
risk of showing up as inauthentic
May be very costly
Is short-lived
Crafting your story persona and deliberately endowing certain
groups with brand storyteller powers is a sure-fire way to see your
tireless story-building efforts come to fruition in the most magical
way. Happy designing!
10
Marketing (actually, testing) your
brand story

Defining key assumptions

Ground rules for testing your story

Congratulations, you did it! You worked tirelessly to craft an

enchanting brand story, faithfully placing your customer at the
heart of it, delicately sprinkling it with visual elements and
immersive techniques and thoughtfully designing a story persona to
ensure the tale is told in the most compelling way imaginable. Now
you’re ready to take it to market.
Unlike a traditional product marketing plan that follows rules
such as:
Define situation analysis (SWOT and current market status)
Define goals
Determine KPIs
Identify target audience
Define content and channel strategies
Set marketing budget
Outline cross-functional team responsibilities (RACI)
taking your brand story to market is less about, well, marketing –
and all about testing the brand story concepts you created during
the prototype phase. If you’ve been following the design thinking
approach to storytelling, you’ve already spent time empathetically
researching your design audience, defining, ideating and
prototyping diverse story concepts that tie back to your brand
mission and universal truth. And now, it’s time to get them out
there and see how the audience responds.
In Chapter 2, I briefly touched on how the test phase is somewhat
of a soft launch project where you are able to observe and evaluate
whether and how the story concepts you designed resonate with
your audience the way you intended them to.
Indeed, it can be a bit unnerving to hit the market with story
concepts that feel somewhat unfinished. To ease your nerves, I
want to offer a pre-testing tool that may serve in measuring the
WOW factor of each design concept before getting it out there: the
Key Assumptions table. Used in design thinking to critically
appraise the value, execution, scale and defensibility capacity of
each design concept, this technique leaves nothing to the
imagination when it comes to exploring conceivable ways a
prototype can flounder.

Defining key assumptions

After designing concepts, the key assumptions table acts as a
scorecard by letting you benchmark specific criteria under each
capacity (ironically, also called ‘test’) and against three main
experiments, namely thought experiment, 2D/3D and 4D.
Each of these experiments consists of expedited observations
captured through quick exercises as follows:
Thought experiment: learned through analysis of existing data
(research you conducted at the beginning);
2D/3D: learned through quick dialogue with the market
(conversations with stakeholders);
4D: learned through lived experiences (conducting a live trial
 4D: learned through lived experiences (conducting a live trial
with a controlled group);
I know what you may be thinking: You want me to test the story
before I test the story?
More or less. I consider this assumptions table to be more of a
quick temperature check to help gauge the design concept’s
aptitude in the market. Please note that by no means does this
process supplant the actual testing phase of a design concept. You
will learn later in this chapter than during the testing phase, you
and your team will spend a substantial amount of time observing
and gathering necessary feedback from your stakeholders to
improve your brand story. So, it is not recommended to shortcut
this aspect of the design thinking process in any shape or form.
Nevertheless, I have personally found value in using the key
assumptions model for vetting my story concepts before they hit the
market and I want to share with you how I’ve used this concept in
the past. For this example, I will illustrate a real-life case where I
contributed to a city placement project. This particular city was
interested in showcasing its distinctive destination attributes
through storytelling efforts. I developed a total of four story
concepts, one of them called ‘The Myth’.
This particular concept focused on the region’s rich evolution,
history, mythologies and culture. In the interest of protecting the
actual story concept, I have slightly modified it, but you will still be
able to capture the process flow.
When submitting the Myth story concept to the key assumptions
process, I began by analysing how this concept aligned against each
criterion under the value, execution, scale and defensibility tests
columns. For each criterion under each test, I added a new row
providing a description of how The Myth could meet that specific
criterion. Then I began to benchmark. Every time the description
met a criterion under the value, execution, scale and defensibility
capacities, I would place an X in the appropriate box, including any
capacities, I would place an X in the appropriate box, including any
time I had had the chance to conduct a quick experiment to test it.
The more boxes marked, the more the story concept’s WOW factor.
Table 10.1 shows the results of my key assumptions about The
Myth. You will note that there are no 4D boxes marked because I
didn’t get that far into the project.
Table 10.1 Key assumptions
Skip table

Key Assumptions

Thought 2D/3D
Experiment (learned 4D
(learned through (learned
through dialog through
analysis of with lived
Story Concept Name: The Myth existing data) market) experience)
Value Test Appeals to most current X X
tourism trends: eco-
Customers
tourism, sustainable,
want it
historic, solo, small town
Customers
travel
will pay for
it Meets design goal of X
Partners making customers feel
want it engaged, inspired,
refreshed, hopeful and
excited
Stakeholders agree this X X
IS fundamentally the
region’s story
Execution Test Technical experience is X X
through digital channels
We can
produce Business is already X
experience operating. It’s a matter
technically of unifying the story.
We can Acquiring customers
acquire depends on story launch
customers date
We can
operate
business as
it grows

Scale Test Aims to reach global X

market
Addressable
market is Can be scaled X
big enough consistently year over
year
 year
We can
acquire Contributes to bottom
customers line goals
affordably
Revenues
exceed
costs at
scale

Defensibility Test Risk on advantage: other

We can regions may copy
protect The more the story gets
advantage ‘out there’ the more the
Advantage business will grow
increases as
we grow the
business

As you can see, this particular story concept doesn’t really show up
strongly when it comes to having a WOW factor. Would I still have
chosen to take it to market? Possibly. But only if I followed some
rules.

Story concept testing ground rules

In this chapter, I want to offer some story concept testing ground
rules that may help you best test your brand story concepts in savvy
and delectable ways.

Rule #1. Consistency is brilliancy

Brand strategist Taughnee Stone, in her article ‘The psychological
reason why brand consistency is so important’, says that brand
consistency is about trust, more than anything. I couldn’t agree
more. In earlier chapters I gave the example of how Gillette and
their ‘Toxic Masculinity’ ad showed up as a disparate brand
storytelling strategy, resulting in irreparable backlash from their
target audience. This fluke in storytelling messaging, the opposite of
their historic brand values, ended up costing the company
significantly in terms of market positioning, and months after this
unfortunate market scheme the brand was forced to reduce the
price of their shaving products by as much as 20 per cent.
Conversely, studies show that brand consistency can generate as
much as 23 per cent more revenue for the brand.
Consistency is the name of the game when it comes to launching
your story concepts. Everything from your brand mission to your
logo, social media channels, marketing assets and more ought to
uniformly echo your brand story’s universal truth and conjointly
evoke the key feelings you defined for your audience early in the
design phase. If story concepts call for an overall brand refresh, you
may want to consider that as part of your long-term brand story
marketing plan. But for the most part, your story concepts have
already been guided by the brand mission and core values, so they
shouldn’t fall too far from the (brand) tree.
Aside from ensuring that brand story concepts are driven by the
brand identity and personality, to test your story concepts in the
most consistent and advantageous way it makes sense to make your
brand’s universal truth the ultimate marketing goal. When deciding
to go to market, the number one indicator that your story is
winning the hearts and minds of your audience will be when the
audience’s natural emotional response to the story is exactly what
you sought to evoke from them from the get-go. Story provokes
action. Expect your audience to enthusiastically engage with your
brand and storytellers as soon as they have been ‘struck’ by the
story concept.
Also consider making your search engine optimization (SEO)
keyword the universal truth for your brand. At Microsoft, the
universal truth is empowerment. The brand mission is to empower
every person and organization on the planet to achieve more. The
feeling they want to give their customers (internal and external) is
that of empowerment. You will most likely see this word,
empowerment, showcased in every mini story, overarching
message, internal and external brand communication and
advertisements coming from Microsoft. It’s even stamped on the
back of the employee badge. You will know you’re effectively
marketing your brand story concept when that one thing you want
your brand to be known for is widely recognized as synonymous
with your brand by your audience.

Rule #2. Show, don’t tell

To best promote your brand story concepts, forget about most of the
marketing techniques you’ve come to know thus far. Though some
overall marketing plan strategies, such as setting goals and
establishing (flexible) metrics, still apply to comprehensively
advertise your brand story, overall SEO and lead-generation-driven
tactics are not the brand story’s objective. Remember that your
brand story is not a product, it’s actually the brand itself
represented in story form. Therefore, the marketing goal for your
brand story is to ensure that the brand core values and mission are
showcased at their best.
Keep empathy and vulnerability top-of-mind. Don’t forget that
design thinking begins and ends with empathy. Stay empathetic to
your design (target) audience and story personas (storytellers)
throughout the launch process by creating feedback-loop systems to
capture immediate feedback (more on this a bit later).
Also remember that the best stories are the most vulnerable ones.
Fight the urge to clean up or polish the story concepts too much.
Prototypes are raw in essence and that is what makes them
beautiful.
Outline and openly share your story concepts strategy with
internal stakeholders and story personas using the IMC Reimagined
internal stakeholders and story personas using the IMC Reimagined
plan to create an open communication flow:
Which story concepts will you go to market with first?
Which marketing channels will you use?
Who will share these stories?
Who and how will your brand engage with your audience?
Be ready to fail fast. Build a contingency plan. If the story concept
fails, how will the brand respond and recover? Are there story
concepts in the pipeline or are you ready to modify and relaunch?
To make things easy, this plan can mirror your already-existing
social media crisis plan for the most part.

Rule #3. You’re in it for the long haul

Storytelling is a futuristic brand strategy that solicits present-day
activation. Although prototyping and testing cycles will by nature
have a fast turnaround time, the actual elapsed time for designing
and launching stories until one ‘hits’ is a prolonged tactic that
follows no specific timeline. In short, you’re in it for the long haul.
Furthermore, it’s important to keep in mind that your brand story
also acts as a culture stimulant and trust-building catalyst with
internal and external stakeholders. And neither of these is
constructed overnight. However, while your story concepts are
being tested in the market, you can continue to be highly productive
through observing and gathering data for improving the next round
of prototypes, as needed. Staying true to the design thinking model,
design cycles never really end, so developing a habit of steady
research for improvement will serve well throughout the brand
story evolution.
A great way to create a dynamic observation system is by putting
together a launch management task force comprising internal and
external stakeholders who will not only be willing to provide honest
feedback once the stories go to market, but also share a different
feedback once the stories go to market, but also share a different
perspective altogether. You will be surprised how many trusted
partners, employees and vendors are willing to participate in this
exercise. All you have to do is ask. At Microsoft, we offered the
opportunity to partners and customers to give us constructive
criticism on story concepts before or shortly after they hit the
market, and they were more than willing to share their opinion
because they truly care about the brand and the brand’s success.
Notwithstanding, this process can only work if there are robust
listening tools in place. The most important resource when
implementing listening programs is people, not tools, who engage at
the human level with those stakeholders investing their time in
giving feedback. Consider piloting a closed social network group as
a start and see where it goes from there and whether you’re able to
scale. The more human your observation approach is, the better the
assessment you will be able to gather and the more opportunity for
improvement you will find.

Rule #4. Go with the character flow

Once the story concept lands, anything can happen. It can go viral.
It can flop. It can have impact on an unintended and untargeted
audience group. It can be misconstrued or taken out of context on
social media, if you choose this as a go-to-market (GTM) channel.
Thankfully, you’ve already prepared a contingency plan for these
unwelcome, but plausible, events. So, let’s focus on yet another
tenable instance that may actually serve the story in a positive
manner: character flow.
Great storytellers are flexible in their approach. They’re never too
attached to an idea and are typically open to the possibility of the
story itself or a story character taking on a life of its own and
forging a new narrative path. Because you have made the customer
the central character in your brand story, there is a good chance
that the customer may take the narrative lead at one point or
another. How you choose to handle this shift in story plot will speak
volumes to your customer base as to how they truly are regarded as
the central character.
I picked on Disney as a brand at the beginning of the book
because, at heart, I am a sold-out Disney fan. If you know me, you
know the nauseating depths of my unhealthy obsession with The
Walt Disney Company. I would like to say that my infatuation for
the mouse began back in my home country of Venezuela, where like
any child living outside of the United States, the sheer notion of
travelling to America to meet Mickey is a far-reaching preposterous
idea. But it wasn’t until much later in life, when I was already
married with kids and still very much in love with the brand, that
my shameless fascination reached its all-time high.
Conveniently, I lived in Florida and obviously my family and I
were proud Annual Passholders (we paid a hefty chunk of hard-
earned cash for year-round admission tickets to the parks). I’ve lost
count of how many times I’ve visited the parks over the course of 28
years. Quick maths will have me at over 150 times, at a minimum
(yes, I’m bragging), but I can tell you that every time I visit, it is a
delightful and surprisingly different experience.
It may be because Disney is simply doing what it does: magic. It
may also be because I endeavoured to find new experiences
(character dining, events and behind-the-scenes tours).
On one particular occasion, I reserved us the Marceline to Magic
Kingdom Tour, a fascinating three-hour guided walking tour that
takes you through the streets of the Magic Kingdom through the
eyes and history of Walt Disney himself, offering vaunted secrets of
the man himself as well as behind-the-scenes access to the three
classic rides he designed: Pirates of the Caribbean, It’s A Small
World and Haunted Mansion. I won’t give it all away in case you
want to partake in this in-depth experience one day (highly
recommended), but I do want to fast-forward to the moment we
walked past the crowds in our VIP line (I’m still bragging) through
the notorious garden entrance of the Haunted Mansion ride. As we
were getting ready to enter the house, our tour guide made a
sudden stop and pointed to the floor.
‘Does anyone know what that is?’ she asked, in true Disney
enchanting fashion.
We directed our gaze to where she pointed and noticed a ring
stuck in the cement floor.
‘A ring!’ yelled the youngest member of our tour cohort.
‘Indeed!’ the tour guide confirmed.
She then began to explain the history behind the peculiar jewel
stuck on the ground:
A few years back, we remodelled the Haunted Mansion entrance. The place
where the ring sits now was actually a hole on the ground where an old fence
locked in. After we removed the fence (and the lock), we overheard park goers
asking where the ‘ring’ had gone. Patrons had conceived a story about a bride
who had died and come back to haunt visitors in the Mansion. This was not at
all part of the original storyline for Haunted Mansion. However, we at Disney
create and recreate the stories our customers want to hear, so we decided to
include this fan-fabricated character into the Haunted Mansion storyline, and
as a result placed an actual ring on the floor to help corroborate it.

Now that’s true character flow. See why I (and possibly the rest of
the world) love Disney so much?
Disney and other winning brands are nimble enough to welcome
the natural development of a brand story and story characters. As
your story concepts unfold in the market, consider enabling the
idea that your customer may thrive on your storyline and carve a
new story concept altogether, as long as the stories stay true to the
brand’s universal truth and mission.

Rule #5. Make it shareable, scalable and available

Your story concepts will take on different shapes, types and forms,
Your story concepts will take on different shapes, types and forms,
and they should. You may choose to test long-form video, immersive
storytelling, The Mountain structure or the Hero’s Journey. You may
test different shades of colour or new typography in visual
elements. Whichever way you’ve chosen to design your story
concepts is all part of the innovation you bring to your brand story,
but do keep in mind that when they go to market, the stories should
be made readily available to your audience, scaled fast and shared
by everyone.

Availability
Don’t make your audience come to you. Go where your audience is.
Put the story in front of them and hand it over like a gift, because it
is. In today’s content-saturated world, the worst thing a brand can
do is expect the customer to consume content directly from their
website or digital account. Wooing is part of the storytelling
approach. You have to invite your audience to join you in the
storytelling journey. So, make concessions to show up where your
audience lives. If the bulk of your design audience has moved to
Instagram, for example, your brand story needs to go there.
Side note: as of 2019, Instagram is now the leading digital channel
for influencer marketing.

Scalability
Yes, these story concepts are prototypes, but just as you have
planned for possible failure, have you also planned for unexpected
blow-out success? If a prototype video story hits, for example, how
will you take this concept and adapt it as a permanent piece of your
brand story? Do you have the right tools and resources in place to
elevate it? Take it global? Localize it?

Shareability
Shareability
Aside from making your story concepts available in the channels
where your customers are, the concepts should also be easy to
share. Use tweetable quotes in your written content, create snip bits
of longer-form video, use social channel features such as Instagram
stories to break down the content even more. Integrate digital
symbols such as emojis, memes and GIF images to bring a different
angle to the storyline. In today’s hyper-connected world there are
many low-cost resources available to quickly evolve a prototype
concept. Keep your creative juices flowing!

Rule #6. Stay curious about your audience

Empathy continues to rule every aspect of brand storytelling and
can become more pervasive during the testing phase. In your
preoccupation to get these stories to market, you may be tempted to
disengage empathetically with those at the heart of the story. Yes,
you may have put listening tools and systems in place, and even
invited some customers to be part of your feedback taskforce. You
may also have agreed to stay flexible, should your customer decide
to alter the narrative structure in some way, and made efforts to
ensure the design concepts are readily available and distributable,
but have you created an open space where you have the ability to
accurately understand your design audience’s thoughts and feelings
towards your story concept?
Beyond listening tools, take time to try to see the story from your
customer’s perspective when the story lands. Be critical of it, as the
customer would, and when you receive feedback, find opportunities
to gain more insights into why they feel a certain way about the
story.
I once resorted to asking ‘why’ seven times after receiving
customer feedback on a story concept:
Why do you feel this way about the story?
 Why do you feel this way about the story?
Why?
Why?
Why?
Why?
Why?
Why?
The results were fascinating and enlightening in many ways. I was
able to go back to the drawing board with a new sense of direction
because I took extra time to understand my customer’s experience
with the story. I beg you to make it a daily practice to pause for a
moment, in the middle of the daily madness, and think about your
customer as a human, not a customer. Remember they too struggle,
have fears, get tired. This will serve you (and them) well during the
testing phase – and long after.

Rule #7. Engage, engage, engage

Have you ever met a very charismatic and inspiring individual,
perhaps a public speaker or thought leader, and your first
inclination was to try to connect with them on social channels, only
to be left vulnerably floating in cyberspace waiting for some kind of
acknowledgement or response on their behalf that never came?
There’s nothing quite as disappointing as this, and so much wrong
with it too. But that’s another topic to chat about another time. The
point I’m trying to make is that brands that do not have a customer
engagement strategy in place are driving the exact same unpleasant
experience with their audiences, and this disorienting feeling is
exponentially exasperated when the failure to connect on behalf of
the brand happens right after a highly emotional story captures the
customer. What an unfortunate misstep!
Because storytelling is an emotional experience, if it lands well, at
the very least you can expect your audience to want to engage
intimately with your brand because that’s what it set out to do.
Good stories awaken the brain in all kinds of beautiful ways and
prompt the audience into action. Remember?
I often tell the story of how I make my teenage boys take me out
on son-and-mom dates. Being the only female in the house (even my
dog Dino is male, as were our deceased pets Ninja the gerbil and
Bubbles the goldfish), I am regularly exposed to action and
adventure entertainment, movies and TV shows, so I find it fitting to
put them through the ‘misery’ of taking me to the cinema to watch
‘chick flicks’. Often these happen to be… you guessed it, Disney
movies. I know they secretly love them.
On one occasion, it was my oldest son Alex’s turn to take me out.
We went to watch the highly anticipated Disney Pixar movie Coco.
In short summary, the story is about a Mexican boy who believes
his life’s calling and dream is to play the guitar for a living, but
because of a hard family-imposed rule he is simply not allowed to
play any music.
The story warmly unfolds in true Disney fashion, and by the
finale, every seated person in the theatre, including my teenage son,
was drowning in tears (although he’ll tell you his were the result
of… allergies). As we walked out of the theatre, I could see Alex
reflecting on the storyline in silence (he’s our shy one), and then his
eyes suddenly lit up and a smile overtook his once sombre
countenance as he grabbed my arm enthusiastically and said ‘Mom!
I want to get a guitar!’
The guitar now sits in his closet. But that’s not the point. The point
is that the Coco story provoked an inevitable desire in my son to do
something. Anything. The story lit him up inside in so many
wonderful ways that there was no other way to respond but
impetuously.
The hope and goal are that your story concepts triumphantly do
the same for your audience, within their own context of course. And
the same for your audience, within their own context of course. And
when that happens, how will your brand engage back? Are you
prepared for the many inspired Alexes to flood your social channels
as they react with emotion?
Creating mechanisms and investing resources in customer
engagement processes is not a nice-to-have, but a must-have in
storytelling. This is customer experience at its finest. You’ve come
so far in this game. It would make no sense for your brand to go
through all these efforts in creating and delivering an impassioned
narrative experience, only to fail at what it ultimately set out to do:
connect with the audience. Be sure to create simple and feasible
ways for your audience to engage and stay engaged with your
brand at all times.
Also remember that younger audiences desire to build deeper
relationships with the brand. They are not interested in quick,
convenient and impersonal communication. They expect the brand
to invest as much time as they deem necessary, building trust
through a connected experience. So, as you set up engagement shop,
map out a set of techniques that will deliver quality engagement to
your audience and not leave them defencelessly hanging out there.

Rule #8. Recycle and upcycle

So, the concept failed for some reason. Don’t fret. The good news is
that prototypes by definition are low-cost, low-effort solutions, so
unlike a lot of the marketing content you may be used to producing,
this content is malleable and easy enough to repurpose.
We first have to consider that there are many external
influencing factors that can potentially affect the performance (not
the aptitude) of a prototype in the market. Timing, channel, market,
distractions, trends, industry news and many more can be culprits.
So before you decide to repurpose altogether, do remember that
you are in the test phase of design thinking and that if during this
time you elected to follow some or all the ground rules proposed
above, you will have a lot of valuable data to rummage through and
help you gain a deeper understanding on where the concept may
have gone slightly wrong. Spend some time there, analysing the
possibilities. By now you can probably call yourself a storyteller and
data analyst professional (smile) and there’s nothing wrong with
that, if you ask me. Often, we rush to just get content published for
the sake of content, instead of for the sake of our audience. What
makes storytelling an innovative approach to communication is the
dedication you are putting into creating and launching the stories
your customers want, not the stories you think your customers
want. With that said, after you’ve spent what you believe to be a
considerable amount of time investigating the data and are not
finding too many patterns or indicators, it’s time to recycle and
upcycle.
The possibilities with concepts that are not an immediate success
are more than great. Don’t forget that the reason the concept
became a concept in the first place is because it met all the criteria
in the design thinking phase. It was born out of a brainstorming
ideation session and passed the prototype phase too. So, these
concepts are still quality content, and as author Seth Godin once
said, content is ‘the only marketing left’.

Upcycling
The prototype may be good at its core but perhaps requires a fresh
perspective. Take it back as it is to a brainstorming session to see
what else can come of it as an idea. SCAMPER the heck out of it or
submit it to a Six Thinking Hats exercise or any other type of
approach that compels looking at it from a new angle. This alone
may bring infinite possibilities for a new and improved prototype to
test.

Recycling
It may never come to this, but once you’ve exhausted upcycling
possibilities, you can resort to repurposing the story concept
altogether, as you would any other content. Explore ways that it can
take new shape or form beyond a storyline. Can it be used as a
talking point in a corporate walking-deck presentation? Can it be
turned into an internal podcast or newsletter? Get creative about
giving your concept a new life. By now, you’re also a creative
genius!
Testing your story concepts doesn’t have to be a tedious or
lengthy process. On the contrary, it can be an enjoyable and very
insightful step in your storytelling design, if you take the time to put
the right parameters and processes in place. You can then watch
your stories take their rightful place in the market and benchmark
to scale.
11
Benchmarking your brand story

Main indicators for benchmarking story

Leveraging existing metrics

If anything could poetically capture benchmarking for storytelling it

is a quote by Singaporean political activist and teacher T P Chia. He
said: ‘We all live at the mercy of our emotions. Our emotions
influence and shape our desires, thoughts and behaviours and
above all our destiny.’
We’ve spent most of this book learning about the art of
storytelling. However, I did mention that story is both a science and
an art, and here’s the science.
Great stories stimulate senses, activate feelings and
unapologetically exhort the audience to do something. Anything. But
when we pause to ponder about the real possibilities of story, what
it can actually do to and with our audiences, I don’t know about you,
but I get an unsettling and apprehensive feeling of what could
actually be at stake. Shall we call this the ‘surprise element’ in
story?
I was once invited to speak about the power of storytelling at a
tech conference in Stockholm. As a true storyteller, I’d like to paint a
quick picture of the scenario I walked into.
The audience comprised over 200 top IT professionals, developers
and decision makers in the industry looking to optimize their
and decision makers in the industry looking to optimize their
businesses by learning innovative solutions to scale during their
digital transformation journey. Needless to say, this group was
extremely deliberate about how and where they would choose to
spend their time to learn new insights.
By definition, 98 per cent of the audience was male (and I truly
hope that by the time you read this, that number will have shifted
more towards higher female representation in the tech industry,
but that’s another story). The mood was reasonably impassive. OK,
very impassive. Not only because this is how ‘techies’ tend to be in
general, but as I quickly learned the night before during the speaker
dinner, the Nordic cultures, and especially Swedes, approach life
with a certain degree of lagom, which translates into ‘just the right
amount of’, meaning a reliable degree of moderation. That’s a nice
way of saying ‘emotionally reserved’ if you ask this Latina. And my
talk was about letting story awaken all your emotions….
I had of course done some research of my audience prior to
arriving. But truth be told, during my analysis, I quickly became
side tracked (and kind of enamoured) with the mythological idea
that this population was primarily Viking by heritage. Seafaring
warriors, explorers and raiders are anything but lagom in my
estimation! Surely I would walk onto the stage, ramble about this
and that, and conclude with a victorious raise of a hand while
shouting ‘Skål!’ and watch this rambunctious crowd jump out of
their chairs in uproar and cheer me back with gusto. But I learned
on speaker dinner night that no such thing would probably happen.
This audience was too collected, and somewhat sceptical in general.
The presentation room was cold that morning. Literally and
figuratively. I could feel their eyes stare me down with a cool and
laid-back brashness while I nervously pretended to check my
speaker notes to avoid them. Imposter syndrome sat comfortably on
my right shoulder whispering: just get through it and go home,
they’ll forget about it and you soon.
I delivered the same speech I had given dozens of times before
and, as usual, ended with the grand finale of an emotive video that
typically drives my audience to tears, this time with little hope of it
eliciting this reaction. Knowing what effect this video has had on
past audiences, I would usually sit back and enjoy watching their
physical response become apparent as the story visually unfolds
and their emotions begin to awake. But this time, I shyly hid behind
the podium to check ‘my notes’ again, expecting nothing more than
a blank stare from them in the end as they scrupulously mentally
questioned why I had wasted their valuable time. I could hear their
thoughts, too.
As the video came to an end, I walked up to the centre of the
room, as I usually do, to leave the audience with a final thought.
Imagine my surprise when I finally faced my Scandinavian
assembly and saw dozens of them crying hysterically. I mean,
hysterically. Emotion had overtaken the room, lagom was nowhere
to be found, and I think it took imposter syndrome away with it.
Indeed, it was a beautiful thing to experience, but so unexpected
that it took me a few days to actually process – and benchmark –
what had transpired.
Measuring the impact of storytelling isn’t easy work. For one
thing, the primary goal of story is to arouse emotion, and unless you
can earn the bragging rights of seeing your audience cry like I did
with those Swedish men at the tech conference, every single time
you share your brand story, it will be difficult to quantify success.
But it’s not impossible; you will just have to get a bit more creative.

Main indicators for benchmarking story

Because story is rooted in feeling, there are no existing mechanisms
to help determine precise metrics or KPIs (although some of my
Nordic friends will debate that, thanks to AI, emotions may soon be
reduced to data and this will become a possibility – stay tuned for
Chapter 13 where I talk more about predictions for technology and
artificial intelligence). However, there are three main indicators
that can help confirm your brand story is headed in the right
direction and will ultimately result in contributing to your overall
business goals. These are:
emotion
reaction
and lasting action
Ideally, for benchmarking, you will include storytelling as part of
your brand awareness effort, which usually doesn’t have a solid
metric plan but more of a contribution recognition of the overall
business objectives. For example, we understand that the level of
consciousness and emotional response that consumers have to a
company is directly tied to their purchasing decision, although
there is no definitive metric that can track or confirm this. Look up
the definition for ‘branding’ and you will get anything from ‘the
promotion of a company’ to elements that make a brand
recognizable, such as logos and symbols, to my all-time favourite
description by The Branding Journal, ‘the process of giving meaning
to a specific organization, company, products or services by
creating and shaping a brand in consumers’ minds’.
Marketers will typically measure brand buzz by tying branding
efforts to specific all-up marketing metrics such as earned media,
website traffic and social engagement. The logic is simple: the more
excited people get about the brand, the more consumer engagement
the brand gets. The same can be applied to storytelling, since story
is one of the biggest catalysts in brand recognition, if not the biggest.

Leveraging existing metrics

To this extent, I’d like to help you simplify this benchmarking
process by categorizing your already-existing branding metrics into
the indicators I previously mentioned above, and also placing them
in order of sequence, meaning that metrics achieved in emotion will
lead to metrics achieved in reaction, so on and so forth.

Emotion
You’ve already learned that the first indicator that your story is
performing well is when it successfully captures your audience’s
heart and stirs up their emotions. But not just any emotions, the
ones you intend to awaken through your carefully designed story.
Taking it all the way back to Chapter 1, this indicator serves to
measure your brand story’s functionality. It answers the basic
question: Did my audience feel ______?
But which metrics determine this? We can easily say ‘reach’ and
‘mention’. The hypothesis here is that as your brand story begins to
make its way into the hearts of your stakeholder groups, their
emotions will lead them to echo the story, helping amplify it in the
most gratifying fashion. Let’s take a look at how this can potentially
unfold.
We ought to remember that the brand story is always serving two
main stakeholder groups (internal and external), each containing a
design audience, and within each group these two metrics may look
completely different. For this reason, I want to capture how reach
and mention serve each stakeholder group when the story lands
successfully, through a comparison sheet.
Table 11.1 Emotion metrics for stakeholders
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Audience Brand Mentions Content Reach

Internal Overall brand mentions increase and The number of people who see
stakeholders: the brand’s universal truth is your brand story content on
owners, consistently associated with the internal channels (emails,
employees, brand. enterprise social tools,
partners, Let’s say you’ve determined your presentation decks) rises because
vendors, brand’s universal truth is ‘belonging’ people in this internal stakeholder
shareholders, or to make your audience ‘feel like group are starting to assimilate
investors they belong’. You will know your the brand story into their overall
brand story has become top of mind messaging when referring to the
for these stakeholders when they brand.
steadily make use of the word
belongor belonging as an extension or
description of the brand.
For example, you may begin to hear
stakeholders say things like:
XYZ is all about belonging
XYZ product makes me feel
like I belong
XYZ always equals belonging
Mentions are organically made
internally and externally as
stakeholders freely and naturally
begin to share the brand’s universal
truth as part of the core brand
messaging.
External: Media and industry coverage grows The number of people who see
consumers, and digital channels are picking up on your brand story content on
society, the brand’s universal truth and key external channels (news articles,
government messaging shared by internal social posts, print media,
stakeholders. Because of this, they traditional media) increases as the
also echo the message. brand gains recognition in the
For example, media outlets recognize marketplace by the core message
the feeling the brand is meaning to it is sharing
give customers:
XYZ’s products are making
people feel like they belong
 XYZ stands for belonging

Once your brand story begins to resonate in the hearts of your

stakeholders, and most importantly, your design personas, it will
also resonate in their minds, and this will ultimately result in an
emotional response from them. Former Professor of Psychology and
Director of the Swiss Center for Affective Sciences in Geneva, Klaus
Rainer Scherer, in his article ‘The dynamic architecture of emotion:
Evidence for the component process model’, observes that our
emotions are caused by our thoughts. I hope you’re beginning to see
the scientific correlation between brand awareness and emotional
response: the more consistently you tell the brand story, the more
exposure your audience will have to it, the more likely they will
think about it and the more chances your story will have to evoke
their emotions. It’s a simple game of maths. And Brand Marketing
101.
When I began to build my personal brand with storytelling
techniques, I wanted to showcase many aspects of who I am as a
person, not just a professional, and highlight the numerous things
that make me uniquely me. I didn’t have the official title of
Storyteller yet, but instinctively understood the compelling nature
of capturing my audience’s attention through the clever use of
words. I knew words had power. I just didn’t know how much.
When I decided to take my newly created brand to digital
channels, I set out to leverage valuable real estate that’s often
wasted, such as LinkedIn’s profile headline section, which most
people use only to put their current role title on, or the About Me
section, taken for granted by many when they simply describe
responsibilities within their current role.
I can’t quite remember the original profile biography I wrote, but
even though it has evolved many times through the years, the core
message and key words remain the same today. Here’s my current
LinkedIn About section:

High standards + high heels always on the next adventure to disrupt something. Dreamer.
Strategist. Venezolana. #Storyteller. #Inclusion advocate. Believer. International keynote
speaker. Author Brand #Storytelling. Sometimes insomniac. Ice cream = superfood

It wasn’t much longer after I had publicly shared some of my very

personal descriptors, such as my love for ice cream and fixation
with high heels, that I began to receive unexpected messages and
mentions from my network (shall we call them ‘surprise
responses’?) regarding my branding.
‘Just passed a shoe store. Saw these and thought of you,’ messaged
a colleague, along with a photo of a beautiful and colourful pair of
stilettos.
‘Ben & Jerry just announced a new ice cream flavour, did you see
their Twitter post?’ would tag someone from my Twitter network to
ensure I didn’t miss this ice cream opportunity.
People were associating me with the very key words I had
purposely used to brand myself with, and it was quickly evident to
me that the psychology of branding had been activated. When my
network had sporadic mundane encounters with shoes and ice
cream, I (or my brand) would automatically pop up in their minds. I
had given my audience more ‘everyday’ to correlate me with, and
naturally, mentions began to rise on social channels. Coincidence?
Reach and mention are two metrics that can be used to gauge not
only how emotional your audience is getting about your brand but
how much it knows about it and its universal truth. I should point
out that mentions may be positive or negative, albeit we hope for
the positive ones, but I am of the school that anyone taking the time
to reference your brand at all is a sure indicator that the brand has
at the very minimum made an impact on them. Your job is to make
sure it’s a good one.
When I was managing social media support channels for
Microsoft, we encountered many opportunities to tell the brand
story in ways we hadn’t thought of before. From a customer support
perspective, audiences who reached out to us were engaging with
our brand because they needed, well, support. It hadn’t occurred to
us in the discipline that these connection points with customers
were in essence brand mentions and reach. Social support sits under
the customer services discipline at Microsoft, not the brand
marketing one. In our (siloed) minds, those of us working under this
structure were only to engage with our customers in a reactive
fashion when customers reached out to us for help, while the job of
diffusing inspiring proactive content to audiences belonged to
marketing. Our responses tended to be dry and somewhat
antisocial, even though we were talking to our customers on social
channels and the underlying expectation was that the connection
with the brand on those platforms would be less formal.
The funny thing is that our customers were the same people… and
when they ‘talked’ to Microsoft, whether on our main or product
channel as a response to a deeply moving story or to request
assistance on customer support ones, they anticipated the
engagement experience to feel the same. Some of you would say this
is a no-brainer, of course, but at the time, the uncertainties of
effectively managing digital channels were as painfully unfamiliar
as the notion of using story as pervasive means of connecting with
customers.
Truth be told, digital age disruption has forced marketers and
communicators out of their comfort zone, and all we’ve done since
the birth of these new technologies is nervously navigate the
ambiguous landscape, learn and continue learning from how our
customers react through the process.
 Understanding customer sentiment is never a bad idea.
It will benefit you to pay close attention to the mentions your
brand gets by internal and external stakeholders and treat them
like one more engagement opportunity. Your audience is talking to
and about you, and these are the most obvious occasions to impart
brand values to them through your story. Have you considered
taking a stroll by Redditt and Medium to see what your customers
are saying about your brand there? While your brand may not be
actively present on every digital platform, it doesn’t mean your
customers or potential ones are not. It makes sense to periodically
invest time and resources in understanding your brand’s influence
on secondary channels and perhaps take a moment or two to
engage.
I once decided to personally engage with one of our Microsoft
customers on Twitter. He made mention of our brand to his
network (not to us directly), but we were monitoring channels and I
noticed that he was visibly upset about not yet receiving his highly
anticipated Windows 10 update after he’d sign up for it months ago.
The product rollout was scheduled to download in waves, and he
was impatiently frustrated about the length of the process. I
recognized this brand mention was a good opportunity to engage.
This customer was excited about our new product and looking
forward to experiencing it. He was a fan of Microsoft and I realized
that though I wasn’t going to be able to offer him a solution (he
simply had to wait for the product to arrive as scheduled), I could
provide an alternative way to make him feel empowered. So, I
reached out and openly invited him to join our Windows Insider
Program, an open worldwide program that allows people to test
software before release. The customer was not only delighted that
Microsoft proactively reached out to him, but was thrilled to be
invited to the program and happily accepted.
Your brand storytelling will undoubtedly spark a new surge in
mentions and consequently reach, both earned and owned. It’s
mentions and consequently reach, both earned and owned. It’s
smart to leverage both to continue inviting reaction from your
audience.

Reaction
On 6 February 2007, a woman named Lisa left her place of work,
got into her car and drove almost 1,000 miles from the US state of
Houston, Texas to Orlando, Florida.
To save travel time to her destination, she wore adult diapers. She
was desperate to get to someone, right away. She needed to
confront the person she considered to be her romantic rival – the
person who had stolen the affection of her lover.
Lisa Marie Nowak was a naval flight officer and NASA astronaut.
She was also in love.
This is a true story. And as bewildering as it may seem at first, it
honestly becomes a bit mundane in our minds when we learn this
broken-hearted individual’s emotional state of mind. We’ve all
heard the many outlandish stories about people in love doing, well,
outlandish things. Perhaps you’ve done a crazy thing or two in your
time, in the glorious name of that thing called love. Experts rank
love as one the most powerful human emotions, closely following
fear and anger, which psychiatrists have determined are the only
two emotions engrained in us to ensure survival.
I want to call out love, because it serves as a great example of the
reactive punch that feelings can provoke.
While the love your audience will have for your brand story will
be more of a slow burn rather than a rapid fire, when a brand story
manages to unlock and agitate strong feelings, you can expect a
sure automatic and unconscious reaction from the audience. And
just like we can attach some branding metrics to emotion, we can
also apply benchmarking indicators to reaction. For ease of
readership, I will leverage the same table format used above and
attribute the reaction metrics to it: this time, engagement and
conversions (Table 11.1).
A great way to drive more engagement and conversion with your
brand story is to pitch it internally to other disciplines. I will share
more later in this chapter, but let’s talk about the final and, in my
humble opinion, most valuable benchmarking metrics of brand
storytelling: lasting action.

Lasting action
Delving deeper into the formidable notion of love as a notable
example of how strong feelings can incite action, those of us
fortunate to be or to have been in a long-term, caring romantic
relationship understand that after the early endorphins and
oxytocin effects of being in love wear off, what’s left is a strong
desire to stay bonded with the person we love in an enduring
partnership arrangement. In the same way, once your stakeholders
‘fall in love’ with your brand, they will intuitively want to keep
connected to it. Your younger audiences will finally befriend it, and
what follows next is the culmination of everything you sought out to
achieve with brand storytelling: positive culture shift and market
placement.
If you’ve ever read a book or article about how culture shift
happens in an organization, you already know there are key
milestones, one leading to the other, as well as indicators that
transformation is happening. A simple plan would look like Figure
11.1.
Table 11.2 Reaction metrics for stakeholders
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Audience Engagement Conversions

Internal As your brand story begins to take effect on Conversion for this
stakeholders: this cohort, you can expect this audience to cohort is not much about
owners, start bonding at a deeper level with the actual sales (though story
employees, content. The brand’s universal truth is not just can and will contribute to
partners, top of mind, but a catalyst for unification an increase in internal
vendors, between teams, departments and disciplines audiences buying or
shareholders, through the storyline. Internal stakeholders using the brand
investors will not only enthusiastically begin to share, products), but more
like, and comment on content that tells the about belief.
brand story, but feel a sense of ownership of it This word is often used in
themselves and begin to adapt the stories to faith-driven associations.
their own spaces. Building on the same When someone makes a
example as before, you may find, for instance, choice to trust in a
a finance analyst taking XYZ’s universal truth certain religious
of ‘belonging’ and start applying it to her conviction they convert
financial reporting: ‘This is how XYZ is making into it as a result.
people feel like the belong’ or vice versa when Similarly, when the brand
sharing data about business results. story productively
If you were still hesitant about implementing influences this particular
an employee advocacy program until this audience, an act of faith
point, now would be a great time to start or ‘buy in’ is made by
considering implementation. The brand core them, transforming them
message is resonating with your audience, from passive to active
they understand what the brand is about and storytellers. In laymen’s
what it stands for and are connected terms: your internal
emotionally to it. This is the beginning of your stakeholders are no
company’s culture shift driven by the brand longer a part of the brand
story. contributing to its
success, they become the
brand driving success.
This conversion act is a
momentous milestone in
your culture activation,
and no coincidence that it
walks hand-in-hand with
engagement.
While you will not be able
to directly quantify
 to directly quantify
conversions internally,
there will be a palpable
shift in culture-driven
initiatives. Your internal
stakeholders will visibly
showcase a renewed
sense of passion and
respect for the company
and its values and will not
be shy to evangelize it.
External: Just as you assume a greater response from As mentioned before, you
consumers, target audiences when you deliver a targeted may not be able to
society, marketing campaign, you can expect your precisely associate lead
government external audience to begin engaging more and generation or conversion
more with your brand story and content as to brand storytelling, but
they respond emotionally. Mentions will turn when mentions, reach
to likes and shares, and your website traffic and engagement
may also increase significantly through increase, there will be an
nothing but organic amplification of your inevitable impact to
content. overall conversions.
When the brand culture is activated by It’s recommendable you
storytelling, external audiences will take work with cross-
immediate notice and even sceptics will functional teams such as
become curious about the reactive attention sales and channel
your brand is getting. It’s really the same marketing before
science behind viral posts. By now, we’ve launching your brand
understood that viral posts at the very core story to learn the
are relatable and emotional so people feel baseline on current
compelled to share them, because in some conversions so once the
way, the content ‘spoke to them’. story begins to spread,
you can determine how
impactful it is becoming
(did the conversion rate
steadily increase month
over month soon after
your story landed?)
A friendly reminder:
you’re in it for the long
haul so while you may get
an immediate reaction
from your audience,
actual conversion may
take a bit longer to
take a bit longer to
quantify.
 Figure 11.1 General brand culture activation journey

Figure 11.1 details

The first step is “It starts at the Top.” The second step is “What gets measured gets
done.” The third step is Results Review. The fourth step is Uncover Hidden Issues.
The fifth is Other Optional Activities. The sixth step is Create Blueprint for Success.
The seventh and last step is Implementation and Taking Action.

The same occurs with market placement ambitions. Brands striving

to position themselves as leaders in the market understand well
that there are specific steps the brand needs to take to get there
because, in essence, it’s also disrupting a culture: an industry one.
Brand positioning has become such a crucial contributing factor to
the achievement of business goals because, as we keep learning, the
digital age has moved aside traditional brand placement efforts,
empowering customers instead to make and share their
independent assertions of the brand, which has shown itself to be at
independent assertions of the brand, which has shown itself to be at
times more influential in the market than the proclamations of the
brand.
After the brand story has captured your audience’s hearts, just as
you intended, and they react to it, engage with it and convert by it,
the imperial consequences of culture movement and thought
leadership will be yours to enjoy (Table 11.3).
Similar in many ways to measuring brand equity, the definitive
telling that your brand story is doing what it set out to do in the
market and with all your stakeholders is when it becomes apparent
that your audiences now have an emotional association to the
brand and brand story. This ultimately results in consumers
choosing to do business with you and not the competition.
Remember, ‘our emotions influence and shape our… thoughts and
behaviours’ and there is nothing more emotional than a well-told
story.
Table 11.3 Lasting action metrics for stakeholders
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Audience Culture Thought Leadership

Internal Looking at the culture transformation At this point and stimulated by
stakeholders: plan above (and really, any other culture transformation, your
owners, iteration), you will notice that these internal stakeholders are living
employees, types of core business transformation the brand story. Through
partners, plans always start with commitment established content hubs
vendors, and communication from top (mentioned in Chapter 4),
shareholders, leadership. They have to. The beauty systems and programs such as
investors about culture activation with employee advocacy in place, this
storytelling is that it is the audience will not only know and
communication from leadership about live the brand story, but be
the culture they want to have. wholly equipped to tell it.
You’ve worked incessantly to design a Because these stakeholders are
brand story that creatively captures also professionals in their field
and delivers the essence of the brand and have activated the brand
mission – the very objectives top story as part of their individual
leadership defined and established for messaging, they will
the brand. And unless you took this subsequently begin to get
opportunity to make a full brand recognized as an authority in
refresh (which would also need their specific field or discipline.
alignment with leadership), the content Their brand storytelling will
you’re sharing with your stakeholders evolve them into trusted
is purely the brand’s core value…in sources that inspire others and
story form. In essence, you have they will inherently be seen as
managed to emotionally transfer the thought leaders.
brand’s mission to your constituents
and as a result, you can expect that
their reaction to it will propel a lasting
outcome.
Culture activation with brand
storytelling happens naturally when
stakeholders begin to integrate
themselves as part of the allegory
because they have understood that
they very much are a part. This is a
fundamental change in mindset and
behaviour whereby internal
stakeholders recognize that the brand
 story showcases the brand and the
brand is its people. No longer is the
brand story seen by this audience as an
independent approach to connecting
with external customers but instead, it
is collectively believed to be the
blueprint of how business is carried out
operationally and communicatively
internally. And as a result, culture shift
occurs.
External: It is true, culture shift also occurs in Concurrent with internal
consumers, industries. The ‘tech giants’ that once stakeholders becoming thought
society, roamed through the tech landscape leaders in the industry, the
government such as IBM, RIM and Motorola, brand also has great chance of
contributed to a set of standards and becoming recognized as a
behaviours in their own time. Today’s thought leader itself. While
tech world looks and feels much many brands may still be trying
different thanks to new kids on the to tie core messaging together,
block. And the tech culture as a whole bridge internal communications
will continue to rapidly evolve when silos and induce culture shift
the Robopocalypse is finally here. while navigating the ambiguous
To external stakeholders, the shift in digital transformation journey,
your brand’s behaviours also causes a your company would have
shift in their own conduct. As internal evidently demonstrated its
stakeholders take ownership of the innovative ability to modernize
brand story, the brand’s universal truth itself with a meaningful and
will permeate and resonate with unifying narrative, and that will
audiences in a way it can never do from make the company (and you) an
a marketing approach. The message expert in your field.
will be shared from internal
stakeholders’ personal convictions and
this external audience will finally
customer a part of the brand story, but
that they are the very heart of it.
This will be the greatest legacy your
brand story will have in the market.
12
Villains and antagonists
The bad guys who want to tear down
your brand story

Why villains and antagonists?

The bad guy archetype
Your one and only offensive weapon

What’s a story without a villain? Most storytelling experts will tell

you that though not every hero necessitates a villain, a great story
will include an anti-hero or bad guy because these characters
instigate conflict – and tension typically tends to make the narrative
more exciting.
If your brand story has a hero (your customer) and sidekick (your
brand), it makes sense to have an opposing or complementing
character actively working to create obstacles and challenges that
the hero needs to overcome in order to win. The struggle that
villains or antagonists provide in the narrative add an extra layer of
empathy from the audience towards the hero and sidekick. The
more conflict heroes and sidekicks experience brought on by
opposing characters, the more enthralled the audience becomes
with foreshadowing the outcome and story ending.
The brand story content can include – but is certainly not limited
to – your brand’s history, mission, purpose and core values. Sharing
to – your brand’s history, mission, purpose and core values. Sharing
bygone accounts to create nostalgia is a great way to entice your
audience and can likewise serve as an opportunity to introduce
those contending characters that are very much a part of the
narrative. What challenges did the brand face in the beginning?
Which competitors gained market share in the industry that
propelled a complete rebrand or product extension?
Nevertheless, villains and adversaries are not narrowly reserved
to condemning the actual storyline. These rival characters can and
will be found in the unlikeliest of places, anywhere they might be
an opportunity for negative outcome to the brand, brand story and
the entire process of storytelling, including its design. Even you as a
storyteller unknowingly may become an anti-hero to the narrative.
So in the interest of landing a well-told account, we must leave
nothing to chance when exploring the challenges and obstacles
your brand and brand story have and may continue to encounter
throughout their life journey.

Why villains and antagonists?

You may be asking yourself why I chose to share insights about
villains and bad guys this late in the book. Well, for three simple
and obvious reasons:
If an opposing character had surfaced as a key part of your
brand story during the ideation phase, you would have
naturally included it already.
The purpose of bringing these bad guys to light is not to coerce
you into including them as part of your brand story (although
you may very well do so if you see fit), but to bring awareness
to existing opposing forces that may want to tear apart the
careful weaving of the narrative you’ve constructed.
If, after reading this chapter, you find it necessary to include
 some of these rivals in your narrative, by all means feel free to
do so. The beauty of prototyping stories is that the process
never ends.
I grew up scarcely watching television at the time you had to
inconveniently take turns with other family members to get up and
manually change the channel. Not that there were many channels
to choose from. We only had three. And barely two of those had a
good transmission signal. Children’s programming was sporadic
and there wasn’t a great selection of age-appropriate movies or
shows to choose from, but occasionally one of the local TV networks
would announce that a family movie was going to be shown on
prime time (8 pm) and this would signal a countdown for my sisters
and me to convince our mom to let us stay up late that day and
watch.
One of the first motion pictures I had the joy of watching was
Bambi, the story of a young deer who explores the dangers and fun
of life in the forest as he comes of age. I had seen but a few other
movies prior to this one, but for some reason, this specific feature
left me stunned for days. If you’re not familiar with the tale, the
movie begins with the abrupt killing of the buck’s mother by an
unseen hunter. Disoriented and alone, the fawn sets out to find
solace and new friends. It was the first time I had been stupefied by
such a dramatic moment so early in a narrative, and also the first
time I was exposed to a hidden or ‘ghost’ villain. Though the frame
quickly moves to develop the rest of the plot, my mind stayed
fixated on that one scene throughout the movie – and for days after.
This villain had changed the course of everything so early in the
record that I kept wondering how differently the story might have
unfolded had this tragic act never occurred.
Villains and antagonists give context to the plot in a way that no
other character can do, because they make us see the level of evil or
opposition through the eyes of the protagonist. In the case of Bambi,
opposition through the eyes of the protagonist. In the case of Bambi,
man is the villain, but we know well that, in general, mankind is not
all evil.
In the brand storytelling context, villains can range anywhere
from competing brands to siloed internal systems and processes
that disrupt the brand equity goals and unified brand voice and
message. When thinking about your brand story villains and
antagonists, it’s important to identify the amount of impact and
opposition each of these characters affords so that you can decide if
they should be given a starring role in the brand narrative, if any
role at all.
The choice of waving the magic wand to vulnerably share the
depth of challenges and obstacles your brand has encountered
throughout its life journey is none other than yours to make as the
story designer. But there is an unquestionable place for these
contesting characters to make a debut within your brand narrative
at some point or another, and I believe it benefits you to consider
doing so.
To have a little fun, I’d like to categorize these bad guys into
several villainous archetype categories, and offer some helpful tips
and tricks (‘weapon of choice’) you can use to help you confront
and, hopefully, defuse them. This list can also serve as a
determining factor when trying to decide which bad guy best fits
into your narrative as the story takes shape and form in the market
and expands into mini-stories. Truth be told, all opposing characters
fit into your brand tale, but not all may be suitable for your
audience.
Fundamentally, it’s important to understand the unique
differences between villains and antagonists.
The Merriam-Webster dictionary defines a villain as:
a character in a story or play who opposes the hero
a deliberate scoundrel or criminal
one blamed for a particular evil or difficulty
 one blamed for a particular evil or difficulty
while an antagonist is ‘one that contends or opposes another’. In
many cases, an antagonist is not necessarily a villain, or even a
character. It can be a force that brings conflict and opposition to the
protagonist, even within himself.
With that in mind, let’s take a look at our brand storytelling list of
bad guys. Please note, this is a general catalogue just to give you an
idea of some of the characters that may be playing against your
brand and brand story. You can certainly have more than these in
your own narrative and I truly hope you get creative enough to
keep adding to it. The more contention you uncover for your brand
story, the more insight you gain about what may be militating
against its success.

The bad guys archetypes

The company
Bad guy type: Antagonist
Your company may very well play an enemy to the brand story if
its current culture is not entirely aligned to storytelling principles
or not yet ready to implement the strategy. While the organization
as a whole may recognize the importance of this engagement
innovation, the company’s core behaviours can oppose the overall
notion and indirectly choose against assimilating brand story as a
business impact strategy.

Level of opposition impact

High. Company culture evolution is an ongoing battle for brands
seeking to transform today. Legacy (old timer) internal stakeholders
can bring frustrating, palpable resistance to this induced change,
especially when the type of adjustment requires an added level of
ambiguity, such as prototyping and testing stories during a time
ambiguity, such as prototyping and testing stories during a time
when brand transformation already brings its own set of nuances.

Defence weapon
Consistency. As you set out to launch your brand narrative to
internal stakeholders first, it is vital that they receive a consistent
message outlining the how, what, when, where and why of
storytelling. This will indicate to stakeholders across the company
that storytelling is indeed the way the brand is going in its efforts to
modernize communication across the board.
A reimagined integrated marketing approach (explained in
Chapter 4) can assist in the swift modernization and assimilation
strategy and help brand storytelling integration.

Leadership
Bad guy type: Antagonist
Assuming you began your brand storytelling efforts because you
were able to pitch it to top leaders and were given the green light
and support from them to start experimenting with storytelling as a
strategy, it may be difficult to get full buy-in from peer senior or
mid-level leaders across the rest of the organization.
Storytelling naturally induces a culture shift, forcing stakeholders
to reflect and think differently about how they are currently
engaging and communicating with their audiences. The fact that
presently established communication strategies may no longer be
as relevant as they once were for the brand is an uncomfortable
truth to accept, to say the least, and this can result in adverse
reaction.

Level of opposition impact

Moderate. Like any disruption, this business plan alteration can be
met with some conflicting opinions from frontrunners and
met with some conflicting opinions from frontrunners and
influencers in the organization who may not truly understand the
capacities of brand storytelling, storytelling in general, or may
simply not want to align to these cutting-edge engagement
principles.

Defence weapon
Top leaders. Leverage top leadership to help communicate and
evangelize the new strategy to your internal stakeholders. In
essence, they are the ones that ultimately spearhead this effort and
you will not only need their agreement and verbal support to
establish this ground breaking plan but their commitment to hands-
on influence integration.
Don’t forget your best storytellers: employees! A well-thought-out
employee advocacy program can help in tandem with leadership.

Business functions
Bad guy type: Antagonist and villain
As opposed to the brand and its leaders who may be
understandably contending against the brand storytelling approach
because this modern method agitates conventional norms,
discipline functions can not only be an obstacle to effectively
incorporating brand storytelling into the business, but also serve as
a direct malefactor when attempting to unify the brand message
from every angle of the organization.

Level of opposition impact

Depends. Mid-size to large corporations will have a harder time
successfully implementing brand storytelling techniques in the
various disciplines. For the most part, the majority of business
functions act as stand-alone entities, and this siloed model often
creates hard-to-bridge gaps within an organization.
creates hard-to-bridge gaps within an organization.
If your brand is just starting out or small in size, it will be easier
for you to implement brand storytelling as a business goal and
bring these disciplines close together. But in general, it’s important
to keep aware that these organizational models, notwithstanding
the size of the brand, traditionally operate under a fixed mindset
approach, which is always detrimental to seamless execution of any
brand strategy and culture shift activation.

Defence weapon
Top leadership. Same weapon as for ‘Leadership’. Your leaders are
your best ammunition when it comes to tearing down silos in your
quest to integrate the story narrative within each and all of these
functions. Using the IMC Reimagined idea and encouraged by top
leaders, discipline members can tap into a set of brand storytelling
resources that will serve individually within their space.

Systems and processes

Bad guy type: Villain
Just as with discipline functions, long-standing as well as newly
implemented systems and processes within the organization can
play an anti-hero part in your brand story owing to the complex
and sometimes disparate functions these perform. Think about a
marketing or sales leads tracking or conversion system such as
Salesforce, for example. As your sales teams begin to assimilate and
even tell the brand story in their own space to their individual
audiences, this technology can be simultaneously telling a disparate
and contradictory account to those same customers.
Remember that brand storytelling is not just about designing a
narrative told from the brand’s perspective, but also about
‘speaking it’ to your audience through the end-to-end experience
your customers have at every touchpoint with your brand.
your customers have at every touchpoint with your brand.
If internal systems and processes that enable customer
transactions (both internal and external) do not align to what the
brand is saying its mission, core values and behaviours are, your
story hero (the customer) will become frustrated and confused.

Level of opposition impact

Moderate. There’s a reason ‘systems and tools’ always come high on
the list of areas for improvement in most employee surveys: they
usually suck. The main complaint we have about them is that they
don’t ‘talk to each other’, so how can we expect them to cohesively
deliver the brand message to your customer?
It’s important to recognize the impact these mechanisms can have
on your customer as you tell the brand story and find ways to close
the gaps between the promises the brand story is making and what
is actually being delivered.

Defence weapon
Digital transformation. The good news is that even if your brand
has not yet started to integrate digital technology into the business,
it will have to do so very soon. This will compel a makeover of most,
if not all, systems and processes within all areas of the business. If
the business has already started in the digital transformation
process, chances are you still have a while to go (all of us do).
Therefore, in either case, you have a great opportunity to use the
brand story as the North Star for driving customer experience
through these modern mechanisms.

Technology
Bad guy type: Antagonist
Technology can be a great ally to your brand story, but if misused,
it can also be an opposing influence. If you don’t take the time to
it can also be an opposing influence. If you don’t take the time to
carefully choose adequate technology to deliver your brand story,
your story may not land as intended with your audiences, creating
the opposite effect to the one you were aiming for.
Earlier in the book we learned that the story form (video, podcast,
immersive), or really, the technology you use to tell the story, is
defined at the prototype phase. As you have already learned, any
and all elements in storytelling ought to consistently and
empathetically consider your design audience above all.
In today’s rapidly evolving digital landscape, technology can
become obsolete in a matter of months or weeks, making your story
seem antiquated if you fail to flexibly recognize and stay on top of
this progression.

Level of opposition impact

High. In the next chapter I will share additional details about
predictions of the impact that the impending and much-anticipated
Robopocalypse (machines, AI and automation) will have on brand
engagement and communication efforts. But at the very least, your
brand should consider moving towards a nimble approach to
changes led by technological advances.
Systems, processes, leadership, the company and the brand story
can all become victims of today’s digital revolution, paralysing
efforts at customer engagement if not assimilated and addressed
properly.

Defence weapon
Empathy and flexibility. Having the privilege of personally
experiencing fast-paced evolution, both internal and external,
brought on by our own technological advances at Microsoft, I can
attest to the importance of staying empathetic and flexible to keep
relevant as a brand.
Technology is not a villain so it does not need to be combatted. It
is a driving force that instigates reform and the most sensible way
to confront it is by adapting to it, embracing its metamorphic
powers and continuing to integrate its new offerings into the brand
story.

Competitors
Bad guy type: Villain
If your brand story’s ultimate goal is to effectively engage your
customers and win their loyalty, competing brands fighting to gain
market share and ‘steal’ your customers are your number one
brand story villains.
These merciless mischief-makers are out to discredit the message
you have meticulously designed and shared. They are ruthless and
unsparing in their approach and will go to war with you for the
ultimate prize: your brand hero (the customer).

Level of opposition impact

State of emergency high. Your competition is out to get your
customers and inflict pain on your bottom line through a calculated
and utterly destructive attack on your brand story.
Once you go out there to tell your audiences in a very emotional,
authentic and perhaps even vulnerable manner what your brand is
about, your competitors will waste no time in shamelessly
attempting to steal not only your customer, but your brand story
content to misuse, forge or even break apart and take it out of
context to use it as a weapon against your brand.

Defence weapon
Consistency. You’ve learned that brand storytelling is a long-term
indoctrination process, and while competitors will do what they do,
if you remain consistent in telling the brand message over and over,
your audience will begin to recognize and embrace its universal
truth. While you should keep track of your competitors’
whereabouts and tactics, it’s important not to get distracted in the
game of telling stories. Stay focused on steadfastness and pay more
attention to your customer’s reaction than to that of your
competitors. In the end, if you find competitors mounting a full-
frontal attack on you, you know you’re on the right track to
engaging your customer base.
My life and business rule is: love your enemy. If you have none,
you’re doing it wrong. A great sign that your brand story is
resonating in the industry is when your competitors are paying
attention.

Storytellers
Bad guy type: Antagonist
In Chapter 9, we took a deep dive into your brand’s best
storytellers. But, as you know, there are plenty more reciters out
there telling your story, officially – and unofficially. Storytellers are
the most organic and vivid way your story is told.
Storytellers are individuals who assimilate the story and
regurgitate it back with their own spin. It is through them, and the
personal flavour they add to the narrative, that accounts come to
life in many forms and shapes, independent of the functional and
emotional job you gave the narrative.
Though scientists have yet to completely understand the manner
by which the human brain retains information, we do know that as
we receive information, we incorporate our own lived experiences
and biases to assimilate it, so every piece of information we capture
is seen through our particular lenses.
This cognitive consumption of stories can be both a blessing and a
curse, if not planned for.

Level of opposition impact

Low. In the last chapter, I shared that brand mentions are
indicators that your brand story is resonating with stakeholders
and other audiences. If the brand story lands well, you can expect
individuals to consume and naturally want to share it, obviously
from their own perspective.
All of us love a good story and love to share a good story. It’s an
actual positive to learn that your brand story is emotional and
memorable to your audiences. But it is important to remain mindful
of any possibility of distortion of the storyline.
Human tendency is to add on, distort or take away from baseline
information. The impact storytellers in general can have on your
brand story is that it may get distorted over time, if left unchecked.

Defence weapon
Consistency. Once again, while audiences may inherently distort the
brand narrative with their own biases and assertions, the best way
to keep your brand story intact is by making your brand the only
source of truth to the brand story through solidly remaining
consistent in the messaging. I know you are beginning to recognize
a pattern here: consistency is brilliancy and the strongest weapon
your brand has in ensuring that the narrative stays intact. This is
why having a well-planned launch strategy for both internal and
external stakeholders is crucial when deciding to land the story.

You
Bad guy type: Antagonist
Bad guy type: Antagonist
As the story designer, you are the best case of a supporting
character evolving into an antagonist of the brand story. You’ve
worked so hard at creating prototypes, testing and redesigning
narratives that when one of the stories finally lands, and lands well,
it may seem very plausible to stop the design thinking cycle. This
logic is not only dangerous but destructive to your brand narrative.
I cannot stress enough how the many forces that play against a
compelling account (new technologies, demanding audiences,
evolving products and services) force the continued cycle of story
prototyping.
You should never get too comfortable with the brand story. It’s
important to remember that this narrative is always in prototype
mode and can and should be continuously modified, evolved and
adapted so that it does not become stagnant.

Level of opposition impact

Low. The hope is that by learning the principles of UX and design
thinking applied to storytelling, you’ve developed an ‘eye’ for
keeping your story relevant and a taste for continuing the design
thinking process. Just like my friend, Gregory, the maniacal UX
designer who is never satisfied with his designs, my aspiration for
you as a storyteller is that you will continue to iterate the brand
story because you will never be fully content with your product.

Defence weapon
Prototyping. Periodically continue to submit the storyline through
different possible iterations based on benchmarking metrics and
overall industry and technology trends. This will ensure minimal
impact to the integrity of the brand story.

Society
Bad guy type: Antagonist
As an indirect stakeholder, we’ve learned that society does play a
part in the success of the brand story. In Chapter 5, I spent some
time sharing non-obvious trend ideas primarily led by societal
behaviours that drive marketing trends.
As with all villains and antagonists, it’s essential to acknowledge
how any and all behaviours can influence assimilation of the brand
story and put a plan in place to contain possible antagonistic
responses from extended audiences when the story hits the market.
Neglecting to do this can negatively impact on the narrative.

Level of opposition impact

Depends. Societal behaviours can truly be unpredictable. Anything
can happen at the time you decide to launch your brand story.
Independent of your planned efforts, a movement of some sort (eg
social justice) could be brewing and the narrative can find itself
intertwined in these messages. Misinterpretation of the brand story
content is likely to occur, breaking apart the essence of the story.

Defence weapon
Social listening. As you learned in Chapter 10, launching your brand
story is really testing it. To diminish possible impact to the brand
story mandated by societal behaviours, it is recommended to
continuously listen for clues as to the stance that members of
society may currently have on specific topics and how the brand
story could be interpreted if launched during specific times. Though
your intent is to reach a design audience, society as an extended
stakeholder ought also to be considered when marketing content,
because it can influence the overall effectiveness of brand
positioning in the market.
Your offensive weapon
All in all, as with any story, the villain or antagonist can only be as
strong as its opponent. Otherwise, we couldn’t consider them a rival
force. With each of these bad guys, I shared specific defence
weapons you may use to combat their possible aggression, but did
you know that you do hold one offensive attack armament that is
sure to proactively assail each of these characters, protecting your
brand story in the most powerful way?
This weapon is none other than training.
When my ‘storytelling with design principles’ model began to
resonate with other colleagues at Microsoft, I started to receive
dozens of requests from teams all over the world asking me to train
their specific groups. Even though Microsoft as a company was
already leading the way in storytelling efforts, where Chief
Storyteller Steve Clayton and his team strategically set out to unify
the Microsoft story from the top down through creation of a central
hub of guidelines, assets, online training courses, hosting an annual
storyteller summit at headquarters open to anyone who wished to
learn more, and sharing Microsoft Story deck templates, it was still
difficult for anyone who did not consider themselves a storyteller
(the rest of the employee base and internal stakeholders) to feel
ownership of these incredible resources and apply them in their
own space. More so, there was so much information available that
these stakeholders didn’t know where to start.
It may seem obvious that by creating so many resources people
will innately self-teach, feel like a storyteller and go out and tell the
story. But by now you have learned that storytelling is not just
about telling the story. It is an all-encompassing approach to
connectedness, business transactions and communication.
Therefore, training on storytelling goes way beyond fundamental
teaching. It is an act of transmitting the brand story in such a way
that your stakeholders feel proprietorship over it and can also see
that your stakeholders feel proprietorship over it and can also see
themselves as part of it.
So far, I have lightly touched on training in Chapter 4 as part of
the resources your brand should offer in the reimagined integrated
marketing plan and in Chapter 6 as an open door for employees to
build their vulnerability muscle when telling stories, but was
waiting to get to this chapter in order to deep dive into how to best
train your stakeholders so they can feel empowered to take
ownership of and tell the brand story as the choice weapon of
attack against maleficent forces wanting to tear down your story.
As American author, salesman and motivational speaker Zig
Ziglar once pointed out, ‘There is only one thing worse than training
employees and losing them, and that’s not training them and
keeping them’.
A few tours around the sun as storyteller and hundreds of
storytelling training sessions later, I can personally attest to the
sheer omnipotence a good storytelling training session can have.
Sitting in the trainer seat, I’ve learned much over the years about
what does and doesn’t resonate with audiences, and from those
learnings I want to offer some practical wisdom so that you can
build up your army of storytellers in the most effective manner and
hopefully diffuse much of the antagonism and villainous assaults.

Attack mode: training internal stakeholders

Notice that I am purposeful in calling out internal stakeholders, not
just employees, as your offensive battalion. Everyone that is closely
working with or for the brand and committed to the organization at
some level or another should be regarded as part of this mighty
army that is going to enthusiastically protect the integrity of the
brand narrative. Once you have armed them with a set of resources
and brand story assets, the training begins. Aside from the regular
capacity training best practices you may already know, below are
three wisdom training rules you can leverage to successfully
accomplish this mission.

Training rule 1. Teach them ‘the ways’, not just the story
The reason many training sessions fail to produce long-lasting
results is that as a common practice and to maximize resources,
companies tend to saturate trainees with information. Statistics
show that ‘after one hour, people retain less than half of the
information presented’ and ‘after one day, people forget more than
70 per cent of what was taught in training’.
The best way to teach anyone is through hands-on practice. Take
time to walk your audience through the art of prototyping the
brand story. Instead of telling them what the story is, give them the
raw materials (brand mission, core values, universal truth) and
walk them through a quick session of what it means to be
empathetic, guide them as they themselves define the story
characters and, on the spot, ideate and prototype the story, later
‘testing’ it with the same audience in the room.
I have been able to practically train audiences in design thinking
steps in as little as one hour. Obviously, I have had much practice at
it, but you, as the story designer and master storyteller, have
already been intimately acquainted with the design thinking
process. Leverage this mastery to teach others. Whether in person
or via video, the steps used in a hyper-engaged and creative session
are the same:
Introduce and share the brand story and story mission with
your audience.
If training is in person, I highly recommend that a physical
printout is handed out so that trainees can write on and
review the story in a palpable manner.
The brand story can be told in many ways, but the most effective
way for this training session is a ‘meet the company’ walking
presentation deck that not only provides the narrative but also
statistics and milestones as extra content:
1. Introduce and explain the design thinking principles applied
to storytelling (Chapter 2) and break down each phase.
2. Empathize. Explain the importance of building empathy as a
soft skill.
3. Define. Ask them to define their own audience (who will they
be telling this story to?), then give them five minutes to review
the materials and identify as many characters in the story as
they can. Finally, share the list of characters designed in the
story so they can compare.
4. Ideate. Get a volunteer to take the materials and make the
story theirs (eg My Brand Story) through inserting their own
lived experience with the brand into the main narrative. (If
training is on video, you can act the same volunteer scene with
the help of other trainers or colleagues to illustrate practical
steps.)
5. Prototype. Get another volunteer to share how they intend to
tell the story to their particular audience using the assets the
brand has created.
6. Testing. After they have defined their own audience, ideated
and prototyped their brand narrative using the resources you
provided, get a final volunteer to showcase the final prototype
to their audience.
This will prove to be a very fun and dynamic storytelling training
session. Teaching your audience how to prototype stories instead of
what the story is will give them an invaluable skillset on their way
to also becoming a storyteller.

Training rule 2. Explain, don’t just make resources

Training rule 2. Explain, don’t just make resources
available
Just because you’ve created a great set of storytelling assets and
resources does not mean your audience knows how and when to
best use them. Take time to walk your stakeholders through all of
the assets available: what they are, how they can be used and, most
importantly, which they can best leverage within their own spaces.
The power of brand storytelling increases exponentially when your
internal stakeholders not only understand the narrative and are
able to identify their own audience and take ownership of the story,
but can also strategically select the elements of the story that are
best suitable to their audiences. This transforms the story into a live
source of content that adapts to every internal aspect of the
organization. Dumping content and resources in an information
hub without giving it context will be a waste of time for you and
your stakeholders. Take time to create storytelling guidelines that
explain the non-negotiables and negotiables when telling the story.
A suggested list is:
Non-negotiables (no one can deviate from these)
My story deck
Story mission and universal truth
Storytelling elements
Negotiables (storytellers can pick and choose whether and
how to use these, based on their specific audience needs)
Storytelling techniques, ways to tell the story
Brainstorming session resources

Training rule 3. Train again and again and again

Need I spend time expanding on this rule? Smile. This rule is simple:
every time the story evolves, your stakeholders will need to be
trained.
My wish for you and your brand story is that it will thrive in the
most improbable environments and surpass all attempts by
malicious forces to discredit it in front of your audiences. Your
brand story is a masterful piece of art and should be able to
withstand villains, antagonists and any other offensive bad guys….
But, will it survive against the machines?
13
The future of brand storytelling
How AI, machine learning and
automation can tell only one side of the
story

Enter: the machines

The race against the machines
AI technology trends

As we near the end of this brand storytelling guide, I would be

remiss if I didn’t acknowledge the very thing that sparked the idea
of writing a book on brand storytelling for the digital age:
technology – and its rapid advances.
I’ve mentioned once or twice how lucky I consider myself to be on
many counts… and not necessarily because I’ve never missed a
connecting flight to this day. Knock on wood!
I’m thankful to have been born in one of the most strikingly
beautiful and culturally rich countries in South America: Venezuela.
To have had the opportunity to immigrate and build a life in the
United States of America, the Land of Opportunities, where hard
work and tenacity remain the fabric of forging new chances and
innovation, even for those of humble beginnings, like myself. Most
importantly, I am richly blessed with people. People in my network.
importantly, I am richly blessed with people. People in my network.
People in my family. People who have become family. Those people
have shaped the person I am today and, in some ways, influenced
parts – if not all – of this book. Some more than others.
The year was 2015 and, as part of a learning series at Microsoft, I
received an invitation to watch a live webcast of a Distinguished
Engineer (that’s a real title) sharing insights on storytelling. The
name of the talk alone was good enough to catch my attention (‘The
Art of Storytelling’), but it was the fact that this was an engineer,
albeit distinguished, who was teaching the course that made me
look twice. Now, you may not know much about engineers. But if
you thought marketing folks like you and me have a hard time with
story crafting and telling, you may find solace in the idea that just
by you being able to post an Instagram story, these computer
scientists deem you a master of digital communications. It became
clear why this storytelling talk was filled to capacity, both in the
actual room and online. It was by an engineer to engineers.
I didn’t have much time to google Dr James Whittaker prior to the
session. So, without much context, I went in expecting nothing.
What came at me through the screen in the 45 minutes that
followed was so unexpectedly fascinating that I was left with the
impetuous desire to do the exact thing I’ve been telling you story
does: act. But how? My first thought was to send him a short and
sweet email, simply thanking this brilliant Master of the Story Art
for the illuminating talk. My next thoughts were:
Boring and without consequence.
Everyone else is probably already doing that right now.
He won’t even respond.
Did I want him to respond? Of course, I wanted him to respond!
But why do I want him to respond and for what? Who is this
person anyway?
I googled.
 I shouldn’t have googled. That made me even more intimidated
and confused as to how exactly I should act, and why. But this data-
scientist-turned-oratory-guru and his stories were so compelling
that I needed to do something. Anything.
It occurred to me that my colleagues too needed to hear the
secrets and importance of evoking stage presence sorcery and the
hacks of inflecting your voice when sharing a narrative for deeper
impact, among other storytelling incantations. So, without
hesitation, I offered James an invitation to share his talk with my
colleagues in Florida within the upcoming months, sometime in the
Fall. Just so you know, in the States, nobody ever turns down a trip
to the Sunshine State of Florida. I mean, ever. Especially coming
from Seattle.
As expected, he said yes, and all was good in the world. Until
months later – and with only a few weeks leading up to the much-
anticipated event – to my huge disappointment, James decided to
cancel the trip owing to a work conflict.
Disenchanted, but not defeated, I leveraged our second
communication (his cancellation notice) to extend yet another
invitation to give a future talk. This time the session would be for a
more intimate audience (my immediate discipline team during an
offsite event in Seattle). I also nonchalantly threw in a request for
him to become my storytelling mentor. He accepted the first
request, then flat-out rejected the latter. ‘I have too many mentees
and too little time,’ he replied dryly. But life has taught me that ‘no’
is the beginning of negotiations, so I pressed a bit further. ‘How
about I just stay in touch with you via email and periodically ask
questions on a particular topic, as needed?’
And thus began our beautiful mentor relationship.
In just a few years, Doc James has taught me an innumerable
amount of storytelling wisdom and I owe much of my current stage
platform to his patient dedication and teachings. I consider one his
most important teachings to be the way he has personally and
extremely successfully been able to bridge the gap between the left
and right hemispheres of the brain, wondrously marrying the
insightful and creative with the logical and analytical in order to
deliver enchanting tales of data, cloud computing and bathtub
Internet of Things (IoT), proving not only to his peers and other
highly technical audiences around the world, but also to those of us
in marketing and communication disciplines on the other side of
the pond, that the mastery of story is a free and attainable gift for
all who truly desire to pursue it. In tandem, he taught me the
importance of learning code (something I promised him I’d start
doing soon) and having a deeper understanding of how technology
will continue to evolve to something greater than we can ever
envision – and perhaps scarier than we will ever imagine – because
that is in essence what makes storytelling an even more pervasive
idea for businesses today.

Enter: the machines

I would be lying if I said that I know a good amount about
technology because I’ve worked in the tech industry for a while
now. Whereas, from the very start, I could understand the basics of
computer science and the products that big tech companies serve
and continue to evolve, it wasn’t until I became a storyteller within
the engineering discipline at Microsoft that I actually had the
chance to get my ‘hands dirty’ with technology. There were three
storytellers in total in my immediate group, each of us assigned to
two functional areas or business pillars of the company; one of
mine included AI and Data (told you I was lucky). Hence my job was
to find relevant and exciting stories anywhere in the organization
where these categories took place. And exciting I found. After
successfully breaking my first story rooted in design thinking
principles, I went on with a newfound confidence to unearth
remarkable tech tales that had been secretly waiting to be shared
with the rest of the world in an empathetic manner. Words,
acronyms and ideas such as containerization, intelligent cloud and
intelligent edge, which had theoretically been a part of my
fundamental knowledge, became tangible models that ‘real live’
people I was talking to were actually building or contributing to in
one way or another. I had the chance to hold in my hand an IoT
device the size of a smartphone that was more powerful than a
mainframe. I interacted with a very friendly robot roaming the
hallways that was kind enough to point me in the right direction
when it learned I was lost and trying to find a conference room. The
machines were no longer a fable or futuristic fantasy. They were
real things cohabitating with me and they looked very different
from that clunky, metallic intruder that invaded my living room
only a couple of decades ago.
‘Does it talk back?’
You better believe it. But that’s the wrong question to ask.
According to Doc James, in his James Whittaker’s Little Book of
The Future, the question today is not if machines will talk back,
rather what will the machine say?
Alluding to the supremacy of IoT and how data – fuelled by
machine learning (ML for short) and AI capabilities – enable
connected ‘things’ to become more intelligent, Doc James makes a
case for a not-so-far-from-now future when the relationship
between humans and machines will turn bidirectional, information
will be shared between both sides and the machines will never
cease to learn human patterns of behaviour in their quest to offer a
more personalized customer experience… in record time.
Here’s an excerpt:
For example, if a conference room could talk, what would it say?
With that as the guiding question, it’s time to brainstorm.
 With that as the guiding question, it’s time to brainstorm.

First, a conference room would understand its schedule and know who was
attending each meeting. Seems simple enough, right? Those data are, after all,
readily available in employee calendar apps.
Collectively, the conference rooms in any building would know each other’s
schedule and guide any employees with the intent to meet to a free room
suitable to their group size, purpose and time requirements.

One could ask a conference room: ‘Is everyone here?’ The answer is
discoverable based on the meeting invitation and recognizing the faces of the
people in the room. Furthermore, a missing person might be geo-located using,
say, their phone (they are, after all, employees of the company) and their
estimated time of arrival could be established.

Predictions of a close integration between humans and futuristic

technologies abound. An MIT Technology Review article in 2017
revealed the effects every industry will begin experiencing within
the next four decades alone. In the next few years, intelligent
machines will be able to:
write high school essays (2026)
drive trucks (2027)
work in retail (2031)
work as a surgeon (2053)
write a bestselling book (2049)
Wait, did they say write a book? You mean… tell stories?
Indeed, they just might.
Through stochastic processes (a mathematical theory of
probability) and as we speak, machines are learning to collect key
data insights to build algorithms that can mimic not only the way
the human brain works (AI) but also the way humans learn.
AI capabilities are well positioned to outsmart us in many big
ways and in very little time because, unlike humans, the machines
are awake and working on finding these pathways 24/7. They don’t
need to pause and grab a meal or deal with an untimely
relationship breakup. They don’t spend time doing other ‘human’
things like going to the gymnasium to maintain their bodies or the
things like going to the gymnasium to maintain their bodies or the
cinema to refresh their minds. Their entire job is to get smarter and
better at whatever craft they’ve been created to do. And smarter
and better they will get.
But rather than comparing how much more physically powerful
those ubiquitous, agile, ever-working superbeings might be against
our lesser, hungry, tired and needy species, I’d like to point out the
true determining factor in genus superiority when it comes to
telling stories. It’s the place where no robot can ever outdo, outwork
or outshine us. A wild and untamed landscape where autonomous
human emotions wrestle, reconcile and most times direct us,
whether we like it or not: the human heart.
You see, the stories machines might be able to tell may be good on
paper. They may be perfectly crafted, grammatically correct and
might even have some built-in algorithm where the best choice of
vocabulary, punctuation marks and stances will yield a flawless
manuscript for market share. Sure, a robot might learn to skilfully
put its ‘thoughts’ or data sets together and come up with a
bestselling romance novel after quickly acquiring understanding of
the mechanics and formulas it takes to write a top-ranking fiction
book.
But will it speak touchingly, with wisdom and empathy towards
its human readers, drinking from a fountain of personal lived
experiences, possibly rooted in past agonizing heartbreak? Will its
eyes well up with tears while it recounts and reflects on personal
clandestine moments with that special someone who became the
inspiration for and bears striking resemblance to a particular
character in the story?
Machines may soon be able to pen stunning accounts of
character, plot and conclusion in remarkable storyworlds and even
learn to mechanically simulate the emotional transfer factor a great
story commands – but only because they’ve been told to, and not
because stories inevitably come as a result of the desires and
recesses of their soul or spontaneously birthed from illuminated
recesses of their soul or spontaneously birthed from illuminated
imagination. Because they possess neither – and they never will.

The race against the machines

For a while I gave a popular storytelling keynote talk entitled
‘Empathy: The race against the machines’ where I would spend the
first few minutes warning audiences about the impending
Robopocalypse, later to put them at ease with my personal
conclusion that these heartless cyborgs will never own the
empathy, vulnerability and ethics required to tell an authentic and
emotional allegory. The truth is that this talk was originally
intended for those very engineers who are precisely contributing to
the cataclysmic digital doomsday. It was to serve them as a poignant
reminder of the importance of working on the empathy soft skill on
a daily basis, because as ‘creators’ of these cyborgs, the future
would look frightfully dire if they weren’t intended to make
compassion the cradle of these smart machines. The talk later
evolved into that notion of ‘Storytelling 2.0’, gifted to me by the
spiritual significance I felt at Machu Picchu, where empathy rises as
the evergreen fabric of not only story, but everything ‘human
connection’ we do to ensure our own survival amid the digital age.
Ironic as it is, empathy was once an enemy to the human race’s
existence. Experts may not agree on the final number of emotions
humans have, but they do agree that our primal ancestors were
mostly driven by anger and fear so that they could stay alive.
Otherwise, they might have been left behind while feeling bad for,
and trying to assist, a neighbour with lesser physical, mental or
resources capacities.
But times have changed. And empathy is becoming an
increasingly crucial factor not only in our species’ survival but in
that of our businesses too. How lucky are we to be able to draw
from our own feelings and emotions to successfully adapt to the
from our own feelings and emotions to successfully adapt to the
ever-changing elements that threaten us?
‘Humanizing the brand’, ‘connecting at the human level with
customers’, ‘doing H2H (human to human) business’ are all slogans
you’ve heard in recent years and will continue to hear more and
more as companies persist in making strides along the digital
transformation journey through tapping into the inescapable truth
that humans have an ingrained desire to stay engaged with one
another at the very ‘heart’ level and even so more now as we face
the Robopocalypse.
Try explaining that one to Siri or Alexa.
This is why we don’t care as much about perfectly crafted stories;
instead we’d rather hear tales of flawed and broken people. Stories
sprinkled with a little bit of defect, so we, as humans, can intimately
relate to those characters… and even the storytellers and story
designers behind them.
Then again, that’s not to say the up-and-coming highly intellectual
android community can’t bring value to our brand stories. Au
contraire! I know that in the last chapter I listed technology as one
of the brand story’s antagonists. But I did also mention that,
matched with human empathy, technology can actually serve as a
powerful catalyst to the narrative. And it absolutely should.
If we do it well, our machines will serve to speed up the story
design process and ensure they reach our intended audiences faster
than we’ll be able to creatively think up more ideas.
Most of the android prophecies lean towards the notion that
machines will ultimately exist to make our lives better, less
cluttered and less busy by taking on routine operational minutiae
and nuances. Today, my house is not considered a ‘smart home’ by
any means, but I do live alongside a few AI friends that ease up on
annoying house chores such as automated floor and carpet cleaning
and small tasks like dimming the lights or ordering pizza through
voice command. I’d be surprised if you weren’t doing the same.
voice command. I’d be surprised if you weren’t doing the same.
Machines have seemingly made their way into our homes and
offices and we have slowly but surely adapted and welcomed their
convenient presence.
Given that these AI companions have gracefully infiltrated parts
of our everyday lives to bring about a new set of advantages for
practical modern living and working, and that machines have
already disrupted the marketing and communication industry to
enable a more rapid and targeted approach to storytelling, we’d be
short-sighted not to vigorously and intentionally fuse them with our
own human intrinsic powers to bring about brand stories the world
has never seen before.

AI technology trends
Trends involving AI, ML and automation are defining new business
strategies and competing priorities. The 2019 Enterprise Technology
Trend report revealed the 10 top tendencies in IT that are driving
business for consumers and B2B models today.
Though these trends are rooted specifically in technological
offerings, we have already seen the beautiful synergy that
innovation and storytelling can have if companies are empathetic
and flexible enough to integrate them: advancing technology
provokes the use of story, story is empowered by the use of
technology, and round and round it goes.
For this reason, I’d like to quickly dive into these latest trends and
leave you with some final instructions that along with design
thinking principles, magic tricks, wands and ethics will take your
brand story to places that you or your AI storyteller could only ever
hope for.

Trend 1. Cutting-edge customer experience is a must-

have
If it hasn’t started yet, your company will most likely soon begin
updating systems and technologies, increasing reliance on cloud-
based innovations in order to provide a competitive customer
experience. This is the time to pitch storytelling as yet another
innovative approach to reaching customers. It is in essence a new
technology. Leverage this momentum to propose your storytelling
plan as part of the digital transformation efforts.

Trend 2. Increasing investment in employee experience

Companies are placing more focus and resources on talent
retention and satisfaction. Take advantage of this growing tendency
by suggesting implementation of employee advocacy efforts as well
as the Reimagined Integrated Marketing Plan.

Trend 3. Enhanced developer support

Low-code or no-code tools are on their way out for organizations,
while serverless computing continues to rise. This means your
company’s developers’ lives will get a little easier, providing an
opportunity for you and your storytelling team to engage in
conversations about how your brand’s story can become more built
in and not bolted on as part of the organization’s overall internal
and external customer satisfaction strategies.

Trend 4. Mobile workplace

‘Sixty-three per cent of the workforce uses their mobile devices for
work tasks as much as personal tasks.’ This raises the question:
How can you leverage employee mobility to help your brand story
reach them?

Trend 5. Connected systems

Trend 5. Connected systems
While connected experiences remain a lofty goal for organizations,
brands are making concerted efforts to integrate their systems,
especially customer relationship management (CRM) systems.
Again, this is a great opportunity to begin getting involved and
collaborating with teams leading this process from a brand
storytelling platform and ensuring the systems are telling the brand
story well too.

Trend 6. AI adoption and expansion

I dedicated an entire chapter to this very trend (Chapter 8) and
hope you can truly capitalize on this ever-growing movement.

Trend 7. Voice technology for customer engagement

As AI enables voice- and text-first customer experiences, begin to
brainstorm the possibilities of how this ‘AI storyteller’ will sound
and align to your brand story attributes.

Trend 8. IT staff skillset diversification

This is a big one. I can personally attest to the increasing investment
companies from every industry are making to help their engineers
sharpen in-demand skills such as teamwork, collaboration and…
you guessed it, storytelling. This is your stellar moment to make
yourself available and train IT employees in the story craft. Prepare
your materials. This opportunity is coming faster than you think.

Trend 9. Blockchain adoption

Still in its infancy, IT leaders believe that this new type of internet
will play an important role in industries and companies in the near
future, and, while its overall effects remain to be seen, the idea of
future, and, while its overall effects remain to be seen, the idea of
more secure digital transactions is already a winning attribute in
this record-keeping technology. From a storytelling perspective it is
important to keep an eye on how this innovation will disrupt
customer experience and transactions, as it will surely change the
narrative for the brand once it’s implemented.

Trend 10. Expanding the security mandate

A top priority for companies today is that of providing a
trustworthy and secure digital environment for customers to
connect and transact. So much so that 54 per cent of organizations
in almost every sector have a dedicated IT security team. This trend,
and the attention your brand is likely giving to it, is a great
opportunity to add a layer of trust in your brand story. By
incorporating evidence of how important security and trust are to
your brand as part of the story, you will proactively help alleviate
customer concerns and build trust.
The dawn of new technologies has brought forth incredible and
exciting new opportunities for us as humans to evolve ourselves,
our practices and our ingenuity. Today, we not only get to ‘talk’ to
computers, but we can converse, play and cohabit with them. The
machines are here. But perhaps they’re not here to disrupt
everything we’ve ever known about effective marketing and
communication in business.
Perhaps they’re here simply to take on the boring, robotic,
operational parts of marketing and communications while we get to
disrupt. Let’s let the robots be robots and put them to work
tirelessly on the mundane and mechanical things we actually don’t
enjoy, while we take back some precious hours of our ever-fleeting
days and invest them in ourselves, our communities and our legacy,
unlocking deeper levels of imagination, creativity and empathy.
 Google ‘storytelling’ a few years from now and I hope you will
find your name, along with that of your Sous Storyteller, listed
among the great disruptors who in the tech era ventured to pioneer
new and unchartered paths to marry the art and science of story –
both for your organization and yourself.
And just to be clear, the paths aren’t roads. Because as Doc
predicted in Back to the Future: ‘Where we’re going, we don’t need
roads.’
I’m an 80s kid. I know. Lucky.
14
Inspire your brand story
Interviews with leading storytellers
around the world
In this final chapter, it is my true honour and pleasure to invite
some of the most talented and prominent allegorists from different
walks of life and industries, who I also consider friends, to share
their insights and fascinating stories about brand storytelling. I
hope you enjoy their exquisite wisdom, witty humour and
vulnerable personal accounts and that these serve to inspire you
and your brand story as you go forward to tell it.

Interview with Dux Raymond Sy, CMO of AvePoint

Hi Dux. It’s such a pleasure chatting with you today. Could you
introduce yourself to our readers and tell us something curious
about you they may find fascinating?
Hi, Miri – first off, I am very thankful for this privilege to share
my story. I appreciate you including me in this much-needed
brand storytelling guide.
I was born and raised in Manila, Philippines, by a wonderful,
multicultural family. I have fond memories of loud conversations
over dinner with my parents, five sisters and brother, learning to
speak multiple languages and telling stories to keep my younger
siblings occupied. Growing up in a big family, I’ve learned to
easily adapt and pivot as the challenge (or opportunity) calls for
it.
 it.
These days I serve as the Chief Marketing Officer of AvePoint.
Over 16,000 customers and 6 million cloud users worldwide trust
AvePoint software to migrate, manage and protect their data in
the Microsoft cloud, on-premises, and in hybrid environments.
In my over 20 years of business and technology experience, I’ve
supported digital transformation initiatives of private,
educational and government organizations worldwide. I’ve had
the opportunity to author the book SharePoint for Project
Management; been recognized as a Microsoft Regional Director
(RD) and Microsoft Most Valuable Professional (MVP); and
delivered interactive presentations at leading industry events
worldwide. I live in Washington, DC with my amazing wife and
two children. In my free time, I frequently run along the Potomac
River and sample the most exotic foods available (grilled
scorpions, anyone?).
As you may have surmised, I am technical – in fact, I have a
bachelor’s degree in Telecommunications Engineering. I started
my career as a developer, became a tech consultant and
eventually a Chief Technology Officer. In 2016, I took on the role
of Chief Marketing Officer. While I don’t have a formal marketing
background, this once in a lifetime opportunity is something I
didn’t want to pass up.
Since moving to the US in 1996, I’ve learned to embrace change
– as it’s inevitable and encourages personal development. That’s
why I can be coding in Assembler one day, pitching our software
solution to a government customer the next and in a blink of an
eye, be up on stage at a technical conference opening for Bon Jovi
– essentially performing as the front act in front of 12,000 people.
Having these experiences enriches my journey and offers a
wide variety of stories that I can tell.
The modern CMO today plays many roles, including brand storyteller.
Can you share some insights on how you integrate storytelling in
your day-to-day work and to drive business forward?
Have you been to Antarctica, Miri? It’s actually on my bucket
list. Other than being able to brag that I’ve been to seven
continents, I am keen on visiting Scott Base. It’s New Zealand’s
only Antarctic research station, perched on a low volcanic
headland called Pram Point at the southern end of Ross Island.
You see, Scott Base does a lot of amazing research work and we
had the great opportunity to address their needs. We provided
them with a low-bandwidth data replication solution that allowed
them to quickly access information that’s based in Christchurch,
New Zealand, which in the past they couldn’t do efficiently as
data connection is spotty in that part of the world.
It’s stories like this that excite me every day – how we make an
impact throughout our customers’ business transformation
journeys. While our software can certainly help, the challenge I
pose to my peers is: how can we effectively surface these
customer successes and translate them into compelling stories?
We came up with three core components for integrating brand
storytelling in our business:
1. It’s critical that we integrate our core values in everything we
do. From how we promote our brand, to how are products are
sold, to how we ensure customer satisfaction – we must be
authentic in demonstrating agility, passion and teamwork.
By centring on these three core values as our North Star, it
allows us to have a shared set of values and ideals. It lets us
focus on why AvePoint exists – it’s not about our products, but
it’s all about the people we work with and the customers we
serve.
2. We identify brand storytelling initiatives based on our
business goals. It’s critical for marketing organizations today
 to be in complete alignment with the overall corporate
priorities. For example, our software helps customers migrate,
manage and protect their data in the Microsoft cloud, on-
premises, and in hybrid environments. But what does that
mean? How can we translate that to a compelling brand story?
When we deconstructed how our software helps our
customers, it came down to ‘we make it easy for people to do
the right thing’ with their Microsoft investments – plain and
simple. As a result, every story that we highlight in our blog,
marketing collateral and customer case studies revolves
around that.
3. We take a multi-channel approach in telling our brand story.
We position ourselves as industry experts with relevant
content we produce in the form of blogs, ebooks, webinars and
videos. We engage with customers and industry peers via
social media platforms and regularly participate in global
industry events. This keeps our brand top-of-mind and
relevant in this fast-paced industry.
What piece of advice would you give new brand storytellers who need
to convince their own CMOs (and top leadership) about the
importance of implementing storytelling as part of their brand
marketing and communication strategy?
In the age of increased business competition, constant streams
of advertisements and social media feeds – people are suffering
information overload, and fairly few messages are able to stick.
Brands need to find better ways to cut through the noise to
generate interest, engage their audience and compel them to take
action. This is where storytelling is critical.
Storytelling isn’t just about telling customers why your product
or service is the best. It complements existing marketing
initiatives and makes the ‘picture complete’. Stories can move
 people. Stories can humanize, inform and inspire. Telling an
authentic story can be the difference between a customer
choosing your brand or your competitor’s.
You don’t need to look hard for proof that storytelling works –
top organizations like Microsoft, Disney and Ritz Carlton have
harnessed the power of storytelling as a key strategy in growing
their businesses.
You’re a real busy guy. How do you stay creative when designing
stories and content? (What is your creative process?)
First, it’s critical that I stay on top of industry trends and
customer needs. Without a thorough understanding of the
business I am in, I cannot be an effective storyteller. I keep up
with who’s who, the latest innovations and challenges that
organizations face. For example, if you are a car salesperson for
Honda, isn’t it essential for you to know everything about Elon
Musk, the latest car models from BMW and maybe developments
on driverless vehicles? This enables you to understand where
your potential buyer is coming from and craft your story that’s
relatable and with empathy.
Next, I design stories around the universal framework: Your
Challenge, How We Can Help, Call to Action. By keeping it simple
and concise, it helps me frame the story where the audience can
genuinely feel that I know what they’re going through, offer a
solution that works and guide them to do something about it right
away. By the way, I typically think about this when I go running.
Lastly, I work with my colleagues to A/B test stories to see
which is really resonating with our audiences. We will typically
test new stories in media that require less time investment and
are quicker to market, like blogs or social media. We will build
out the best-performing stories in longer-form content like
eBooks, interactives and webinars. This allows us to be creative
 and make surprising discoveries but also maximize our efforts.
By the time I tell a story on stage in front of hundreds of people,
oftentimes it has been tested in front of multiple different types of
audiences.
As one of the best brand storytellers in the industry I know, what tips
can you offer our readers to also be successful when telling their
brand story?
For me, three things I’ve learned that are critical when telling
my brand story:
1. Ensure authenticity: Make sure every story you tell is not a
marketing or sales pitch. It should always be in the best
interest of your audience even if in some cases it may not
seem like it’s beneficial for you/your organization. Being
authentic, transparent and showing vulnerability humanizes
your story and is much more relatable than the constant chest
thumping on how great you or your products are. For
example, in my industry, I represent my personal brand, the
AvePoint brand, and the Microsoft brand. I’ve spent time
thinking about the overlap between the three, how these three
separate but related aspects of my life can align to
demonstrate value to the audience that I am speaking to.
2. Exude excellence: From ideation, to testing and promotion of
your story – always aim for being the best in a world of
compromise. If it means repurposing your PowerPoint slide
into a video to make it more effective, do it! Every single detail
matters when designing and delivering your story. Everyone is
telling a story; for yours to be memorable, it needs to be
excellent.
3. Develop standout public speaking skills: In order to be an
effective storyteller, one of the first steps is to develop your
public speaking and presentation prowess. Beyond that, make
 sure you stand out from the rest of the pack.
It took me over 10 years to learn these lessons the hard way.
However, once I intentionally worked on being a better
communicator, it greatly enhanced my storytelling abilities. In
addition, I wanted to be memorable yet not cheesy – people’s
attention is more scarce than ever. I make sure that I ‘edutain’
every time I deliver a presentation – you can make a lasting
impression when you educate and entertain at the same time.
Here are some tips/tricks that you can get started with: http://dux.
ai/rockstarpresenter (archived at https://perma.cc/E7NU-DY53)

Interview with Luz Maria Doria, two-time Emmy

winner and Executive Producer of TV show
Despierta America
Hello Luzma! Can you start by telling our audience who you are?
I am a Colombian immigrant who always dreamed of living the
life I live today. As a child, despite being very fearful and
insecure, I wanted to become a journalist. But I knew that
journalists did not look like me. Then at age 13, I learned about a
journalist named Cristina Saralegui, who at the time was the
Editor-in-Chief for Cosmopolitan magazine and in it, she told
many stories that helped and empowered me as a woman. At age
16, I graduated from high school and made the decision to move
to Miami, Florida to study journalism. Shortly after graduating
from Barry University and through a common friend, I asked
Saralegui for an interview and she offered me my first job as
editor of the same magazine I had always dreamed of working
for. Cristina became my mentor and when she crossed over to
television to host a talk show (eventually becoming the ‘Latin
Oprah’), I had the honour of serving as Editor-in-Chief of her
 magazine and continued to work alongside her for the next 10
years. I later made the jump to television myself, becoming an
executive producer. I have been at Univision television network
for 18 years, eight of which I have served as executive producer
for the number one Spanish-language morning talk show in the
United States: Despierta America. At age 50, I decided to give
thanks to God and life for allowing me to become the woman I
had always dreamed of, so I wrote my first book: The Woman of
My Dreams. Writing this book changed my life as it propelled me
from behind the cameras to a forefront platform where I was
encouraged to share my stories with others. Soon after, I felt
inspired to write a second book called Your Starring Moment and
found myself travelling around the world, proving to myself – and
others – that I could truly achieve anything I set my heart to, I just
had to dare pursue it.
With your incredible background and pedigree in journalism, writing,
magazine columnist and TV producer, you have certainly acquired
a set of particular storytelling skills. Can you share with us what
these skills are, how you acquired them and what have been your
greatest challenges during this stunning career journey?
I’ve always been fascinated by stories. When I was a child, I
refused to eat unless someone would tell me a story. My nana,
Tatati, would share stories with me about her family. Then on my
way to school, I’d ride the bus, imagine a narrative and share it
with my friends. Every time someone caught my attention, I
would pause and curiously imagine what their life was like. What
I’ve always enjoyed most about journalism is the art of
uncovering people’s personal accounts and the ‘life formulas’ or
methodologies they have employed throughout their lived
journey that have served them well.
In order to tell a good story, you have to be curious because
 good stories require good research. However, it’s important to
investigate with sensitivity, being careful to touch the fibres of the
human heart in the process so that the stories are captured in the
most genuine way. To achieve this, you must remain respectful,
persistent and diligent (apply yourself to learning and read a lot).
When I was younger, I knew my biggest handicap was the fears
that made me a timid person. Since I was fearful, I decided to
combat those fears through learning. The more you learn, the
more fearless and daring you become.
It’s important for our readers to understand the power of storytelling.
When I first met you, you told me something that really resonated
with me. You said that you believe every person should write a book
about their personal life story. Tell me, why do you have this
conviction?
I believe we all are storytellers and have a story to tell, but not
many people take the time to evaluate their life, the signs the
universe sends them, the doors that have been closed for them or
the coincidences they have lived. They miss out on the taste of the
journey and lose sensibility to be able to tell the story. I always
learn something from every person I meet. I learn that sometimes
we sabotage our own stories. We lessen their importance of
allegory and only focus on negative pieces of it, on what went
wrong instead of the lessons learned. Imagine if every person
would take time to share with others those life formulas that have
endowed them with remarkable wisdom. The world would be a
better place!
Besides encouraging our readers to write their own life story, what
other advice would you give those storytellers who are just starting
to design brand stories to take their business forward?
Your brand story must create a need in your audience. You
should have a clear purpose for the brand. What are your brand’s
differentiators in the market? What is your brand’s true mission?
 differentiators in the market? What is your brand’s true mission?
What will you do to ensure brand awareness with your
stakeholders? What will you tell them about your product? Who
will help you tell the story? Today we have a great tool called the
internet. Social media serve as among the best platforms for
audiences to consume stories. My books would not have been
successful had it not been for my personal Instagram account.
Leverage social media!
Before you go, is there a personal storytelling rule you never break
and would like to share with the audience?
I always combine three key elements in story:
1. Real information and data. That requires in-depth research.
2. An emotional angle: stories have to make you cry, laugh, think.
You decide. But it must reach and stay in the heart of your
audience.
3. It must be compelling. Boredom is prohibited.
These three rules set the base and then the story can be
constructed from there. It’s futile to have a great message to share
but the way you choose to share it is unengaging. The way you tell
the message is as important as the message itself.

Interview with Derek E Baird, writer, social media

expert and youth culture trend spotter
Hi Derek! I’m so excited you’re sharing insights with this audience. To
get started, can you tell me more about yourself?
Thanks for the invitation, Miri. So happy to be chatting with
you today.
I help some of the biggest kidtech, education and entertainment
brands in the world tell stories, build products and experiences,
and gain credibility with youth audiences by aligning their brand
 with youth culture. In addition to my work in the kids and teen
space, I’ve worked as an Adjunct Professor at Pepperdine
University Graduate School of Education and Psychology (GSEP),
advised early-stage education technology and kidtech start-ups,
hold patents focused on child trust, safety and privacy (COPPA),
and I’m the recipient of the Disney Inventor Award.
Impressive! You yourself are a brand storyteller and recently co-
authored a book, The Gen Z Frequency – what inspired you to do
this and can you offer our audience some highlights/insights of the
book that they can apply to their brand storytelling?
The motivation to write The Gen Z Frequency was rooted in a
desire to build a generational bridge between brands, educators,
and anyone working with youth. While there has always been
cultural tension between older and younger generations, the gap
seems to be wider today more than ever. Our hope is to provide a
path forward for intergenerational dialogue. In the book, we
share key insights, strategies and tactics that any organization can
deploy to build credibility to tune in with the unique cultural
preferences of Gen Z. We conducted hundreds of interviews with
Gen Z kids, tweens, teens and young adults and have distilled our
findings into a youth culture playbook.
Because Gen Z (b. 1997–2010), and the Gen Alpha (b. 2010–2025)
cohort right behind them, consume so much digital content, it’s
increasingly difficult for brands to reach them. This brings me to
a Gen Z myth that I’d like to dispel – and it ties directly back to
brand storytelling.
You often hear older folks say that younger people have ‘the
attention span of a goldfish’. This belief isn’t exactly true. Every
day younger people are processing an incredible amount of
information – everything from tweets, news alerts, TikTok, texts
and watching videos. As a result, they’ve become experts at
quickly filtering the digital content that is filling their screens.
 quickly filtering the digital content that is filling their screens.
This is often chalked up to having a ‘short attention span’.
And this is where I’ll tie it back to storytelling: If you want to
reach Gen Z and Gen Alpha, you need to tell stories that capture
their attention and make them stop scrolling. The scary part for
brands is that you have mere nanoseconds to get them to tune in,
or with a small flip of a thumb – you’re off their radar.
What would you say is the most important thing storytellers need to
consider when building a story and why?
Here are a few rules to keep in mind when building a story and
creating content:
Rule 1: authenticity. If your audience doesn’t trust you, they’ll
‘ghost’ your brand. This is why creating content and stories
that resonate is so crucial to building credibility with your
audience. Trust is at the heart of authenticity. The best way to
make sure your stories and content are aligned with the
culture of your audience is to involve them in the process of
creating it.
Rule 2: persona and voice. Create stories that resonate with
your audience by identifying and then consistently applying
the same voice, tone and persona. The most effective way to
make sure the tone of your story is hitting the mark is to let
your target segment co-create and participate in the creative
process.
Rule 3: platform. If you’re spending resources on creating and
producing content, you want to see a return on that effort.
Choosing the right platform and embracing the native
platform features to help you create compelling stories is
paramount. For example, if your goal is to reach tweens,
putting your content on Facebook isn’t going to help you
reach your KPIs. Why? Because tweens and teens find
Facebook inherently and completely uncool. To reach tweens,
 your content should live on Snapchat, TikTok or Instagram.
Conversely, if you’re trying to reach 40-something moms,
you’re not going to use a predominantly youthful platform
like TikTok, you’re going to use Facebook or Pinterest.
Rule 4: get creative. Your content and message must capture an
audience’s imagination and get them to tune in to your brand
frequency. Your content can be as short and simple as a
meme, GIF or Instagram Story, or as developed as an episodic
video series, but needs to present relevant messages through
themes, formats and platforms in moments that matter (see
Rules 1–3). Marketing is not only about what you make, but
about the stories you tell.
Any other storytelling ‘musts’ readers should consider when facing
these challenges?
Stories must feel inclusive and diverse. When someone engages
with a story, they need to see something reflected that looks like
them. If they don’t see themselves in your story, your brand won’t
become a part of their story. Representation matters.
Diversity means walking the talk. Diversity is showing an
LGBTQ+ couple in a marketing campaign in February, not just
during Pride Month in June. Identify and reach out to subgroups
and build relationships with them. Develop content and
experiences that connect them to their passions. Diversity is
showing a Sikh wearing his turban. Diversity is including people
in wheelchairs, in all social classes or ethnicities.
Stories are based on emotion. This human connection helps us
to develop true cultural alignment, which fuels the most effective
strategies for reaching consumers.
Any last piece of advice to our readers?
Look to new technologies such as augmented reality or new
social content platforms such as TikTok or PopJam as places to
experiment with storytelling. Push the envelope, and you might
 experiment with storytelling. Push the envelope, and you might
yield unexpected results.
Telling other people’s stories can be messy. Even if you’ve
included them in the creation process, things can go sideways. If
you mess up or don’t read the room right, apologize.
And then, listen.

Interview with Gregg L Witt, youth marketer and

public speaker
Gregg! We met telling stories at National Geographic headquarters in
Washington, DC. I was immediately impressed by your background.
Can you share with our readers?
Always stoked to catch up with you and exchange ‘stories’! For
everyone else, I’m Co-Founder and Chief Strategy Officer at
Engage Youth Co. where I lead brand strategy and consumer
engagement programs for companies targeting youth audiences.
It’s a real privilege to be helping build and sustain some of the
most successful youth-focused brands of today. In 2016, I was
fortunate enough to be named a Top Youth Marketer To Follow
by Inc. magazine, and in 2017 made the Forbes list of leading Gen
Z experts.
When it comes to my relationship with this work, I never fall
back on the ‘know it when I see it’ approach. I have always
preferred a more immersive examination of the wisdom and
authenticity inherent in today’s youth culture, and encourage
others to have the same respect for and curiosity about this
powerful cohort.
Personally, I’m the father of four teens and pre-teens; as a
former professional skateboarder, I still – against doctor’s
recommendations – actively play with skateboards on giant
ramps and bowls, and am truly inspired by a long family history
 of entrepreneurship.
In this Brand Storytelling book, I talk a lot about the importance of
empathy and authenticity to be able to reach your intended
audience effectively. As a youth marketer you do the same but focus
on specific insights about a younger cohort. Can you share some of
those insights?
Absolutely! Empathy and authenticity are foundational,
unignorable starting points to understanding and defining your
relationship with any audience. The key word here is
relationship. They are not a faceless target; your audience should
be a group of people that you establish a rapport with. When it
comes to Gen Z and the emerging Gen Alpha, they are particularly
tuned in to that feeling of connection over need, and they want to
be understood and heard.
The challenge is on us. We need to ask ourselves if our internal
perceptions of our audience are accurate, and learn how to rise
above our bias or preconceptions, so we can be open to the reality
of how our product or service may be received by that audience.
By getting ourselves out of the way, we can see what young
people want and need more clearly. In order to do this, we need
to know what informs their perceptions of the world. Once we
understand what fuels youth opinions and preferences, we can
better understand what motivates them. If we want their
attention, we need to figure out how to appeal to them from their
perspective. This is how you tell brand stories that work in reality
and not just in cubicles and conference rooms.
To help brands focus on empathy and authenticity with
younger audiences, use the following insights as a guide. Youth
audiences:
tend to reject companies without a clear and specifically
relatable brand story and content;
 want to be listened to and respected by brands and be able to
trust in the reliability of those brands they choose;
are woke and demand to have their privacy protected;
seek brands that connect with their passions and interests and
contribute to their lives or support them in what they are
trying to do;
want more brands that inspire them to push forward, to reach
further to achieve their dreams, and to find and inspire new
and unique solutions that empower them;
look for brands to provide experiences that create community,
a place of belonging, or something for them to be part of and
share.
What do you think is one of the biggest challenges marketers and
communicators face today when it comes to storytelling, and how
should they tackle it?
One of the biggest challenges that brands face is to identify and
discover the inherent cultures most aligned with their brand, and
then finding ways to authentically cultivate relevance.
Unfortunately, too many brands default to demographic data that
lead to fabricated storytelling and poor audience connection.
Brands often think they have solved this problem with highly
sophisticated social and digital targeting tools, but the accuracy
and precision of age groups or geography still doesn’t bring us
close enough to the cultural nuances that drive effective
storytelling. When brands or organizations align their stories
with and contribute to youth culture, that’s when the magic
happens.
Carhartt Work In Progress (Carhartt WIP) is a great example of
a successful apparel brand that has struck a balance between
cultural relevance and commercial viability. Their approach to
storytelling is unique and somewhat unconventional, with the
 story arc being a continued work in progress. Youth culture
insiders who are part of the WIP family document and share their
stories as they take place, weaving them into various
collaborations, event experiences and products, so the audience is
legitimately part of the story, rather than it being told to them. In
order to maintain this organic style of storytelling, they have built
strong relationships with unknown, inspiring, provocative and
upcoming figures in music and sports, becoming an iconic and
well-respected brand in underground scenes, from hip-hop to
skate, graffiti to cycling, as well as working with labels such as
APC, Neighborhood, Patta, Vans, Junya Watanabe and many
more. Staying true to its roots of ruggedness, collaboration,
survival and friendships, Carhartt WIP has built a fan base that is
as strong to this day as it was years ago when it was originally
established. Today it has grown beyond clothing to incorporate an
in-house music label, European Skateboard Championships in
Basel, Switzerland, and a Carhartt Skate Team, all successful in
their own right, and relevant to the brand because they all
contribute to the convergence of cultures that Carhartt WIP
represents.
That takes a lot of creativity. We know creativity is something you
can develop as a skillset. Can you share with our readers some tips
and tricks on how to become more creative?
Oh yeah!
Explore what’s happening in other fields and genres, to help
your brain get out of its habits and thought patterns.
Constantly seek inspiration from relevant sources in and
outside of your insular group of friends and colleagues.
Playing is the key to creativity. It’s how everyone learns most
effectively. Allow your brain some no-stress, no-consequence
time to have fun making mistakes and experimenting.
 Try singing about the things and events in your life or work,
real and imagined. You may be surprised about where your
mind goes when you mix the disciplines of music and words,
and it might even get you out of a thinking rut. Plus, it’s fun
and hilarious.
Have some guts when creating; sometimes you just need to be
bold and brave. Learn to tune out those who laugh at you and
be confident in what you’ve come up with, whether it leads to
something or not. Question the status quo and find ways to
responsibly break rules if needed.
Know when you are most creative and protect that time. Give
yourself a little extra time to ease into the creative process as
well.
Anything else our readers should consider?
The brand’s story is about the relationship between the brand
and the audience. A brand’s identity must be relevant to the
audience, and consistently connected to that audience as the
relationship evolves. To find that identity, you need to go far
beyond the service, product and packaging, and really determine
who you are and what you represent. It’s the differentiator
between successful brands, with strong audiences and proven
staying power, and those that struggle to find their path. If you
can build an identity that your audience cares about, you will
have taken a significant first step towards the bigger goal of
brand–audience alignment.
Second, find relevant ways to make the audience an active part
of the story. What you build together will be more compelling and
authentic than anything built in isolation.

Rapid-fire questions with Cindy Coloma, bestselling

author and storyteller at Microsoft
Cindy, you’re an award-winning author who’s written over 25
critically acclaimed fiction and non-fiction books, some of which
have been translated into eight languages. What are your best
practices for storytelling?

Be a story hound
Always have your ears open for story wherever you are and in
whatever you’re doing. And ask questions. When someone is
willing to ask questions and really listen, stories will be shared.
Now this isn’t always easy for me. Like many writers, I have an
introvert nature, so sometimes it’s difficult for me to step out of
my comfort zone and talk with people I don’t know or to follow
through to get a story. But when I do, I’m never disappointed.
Stories are everywhere: people around you in the market, the
elderly man across the street, your co-workers, and often with old
friends and family members whom we think we know and then
discover are far more complex than we expected.

Know what makes a great story

What makes you engaged in a story? Why are others captivated
by certain stories whether spoken, on a TED Talk, in an Academy
Award-winning film? What are the engaging pieces and how are
they woven into the structure of the beginning, middle and end?
Write out what are your favourite stories, and then write down
the harder part – why? And then practise, examine, iterate, and
practise again. You will certainly see your storytelling skills
develop and grow.
So, your best practice for storytelling is to practise storytelling. OK. I
finally found a story, what do I do next?

Get the details

 After you find great stories and know how to structure them
and what makes them compelling, bring them further to life with
details. You get details from a variety of ways:
Museums, local historians, eyewitness interviews, biographies
and memoirs, historical or location research.
Interviews are a great way to get the details of a story. Record
them if possible (with two devices), to preserve important
details while you get to be an engaged listener. Take some
notes, but do so carefully, while really paying attention and
making eye contact as a listener should.
Conduct interviews in a comfortable location. Bring props to
help when things get tricky. One time I interviewed a Second
World War veteran who encountered a lot of emotion when
talking about their experiences. I brought an atlas of Europe
during the war and when they seemed distressed, the map
helped give them direction. I could see their expressions
change and memories seemed to become more focused. Props
such as maps, old photos, documents, books are among things
that can serve as keys to a specific place and time. It also
brings out the details.
Bring along a friend. Having multiple angles to the story is also
helpful, whether it’s an interview or researching a location, a
museum or event. Another person can capture a nuance or
find something that you missed.
Have a list of questions longer than you’ll ever get to. Have the
top 3–5 that must get answered. The rest are for backup. But
be ready to ask detailed questions connected to the five senses
as you get answers. Follow your gut and be specific. ‘What did
that smell like?’ ‘How did that feel?’ ‘I can only imagine what
that smelled like?’
Always consider the five senses when gathering details. Stories
 come alive when people feel like you’re really there.
Carry a notepad. Always. You never know when you’ll
encounter a story or details you’ll want to jot down.
Just a little warning: don’t add too many details so that they
drag your story down. Go have fun and see how storytelling
changes not only the people listening, but how they’ll change you
most of all.

Rapid-fire questions with Park Howell, advertising

industry veteran and owner of Business of Story
Park, you went from being a lead in the ad industry for over 30 years,
including owning your own ad agency for 20 of those years, to
becoming a full-time brand storyteller. Tell me more.
Well, Miri, I found in around 2006 that the brand marketing
world stopped working the way we knew it. Brands owned the
influence of mass media (the channels of TV, radio, print) but
technology and the internet completely handed over control to
the masses who have now become the media, and those folks, all
of us, now own part of the brand stories. So, I set out to guide
leaders and communicators at the brand level to leverage this
direction and use the power of brand storytelling for business
growth.
You have a saying that goes: Stop looking for your story, start finding
scenes. What does that mean?
As you’ve seen, Miri, everybody nowadays is talking about
storytelling. Everybody thinks they have to have this big ‘tale to
tell’ in order to compete… and I say the opposite. Stop looking for
the big story, and instead, go back and find the small moments
that began the tale. When you knit those moments together, the
story then finds you. Whether you’re telling a brand or personal
story, it’s those stories of origin that really connect with people
 story, it’s those stories of origin that really connect with people
because they understand you at the human level.
One last tip for our readers.
Fuel your curiosity! Think back to the time you were a child or
teenager and find a moment when your curiosity grabbed you
and took you down a rabbit hole and you were so fascinated by it,
that perhaps it surprised you but it took you to a whole other
realm or world of understanding something. See if that curiosity
is still alive at the same level today… if not – awaken it!

Rapid-fire questions with Candy Rasmijn-Reino,

marketing and PR agency owner
Hi Candy. You’ve been in the marketing industry for over 18 years
and currently lead a very successful PR agency in Aruba today,
representing brands from all over the world. How are you using
storytelling in public relations to enable the brand story in this
medium?
Well Miri, first, you know well that the digital age has changed
many things from what we now call ‘traditional’ PR and
marketing strategies. In the past, you’d start by creating a
communications and marketing approach and then you’d pitch it
to television or newspapers to disseminate the messages. But
honestly, there was no true way of measuring campaign success
or if the content really landed with intended audiences. Today,
digital channels have provided a platform that gives us visibility
to instant responses from the audience so we can rapidly change
the direction we’re going with the message, if needed. Second,
brands are now creating their own stories and PR is becoming
more of an integration of new brand marketing trends, such as
influencer marketing to reach target audiences. So, take time to
find the right influencer in the market who will successfully help
you take your story to market.
 you take your story to market.
If I were to build my brand story from scratch and use it as a PR pitch
to enlist influencers, what advice would you give me?
Tell a real story. Consider every aspect of what makes up your
brand and insert the story of origin as part of the narrative. How
did the brand get here? What were those lived experiences and
learnings the brand had along the way? It is those little details
that make the story human and connect us to the story.

Rapid-fire questions with Dona Sarkar, author,

fashion designer, engineer and principal manager of
Windows Insider Program at Microsoft
Dona, when we met for the first time, I was so curious about how you
manage to do so many things at once. And do them well! In my
mind, you truly embody what a master storyteller is because I know
and believe the best storytellers are a ‘jack of all trades’. But how
do you keep a balance?
I fail. I’m really good at failing. So, I learn from the failures and
do it better the next time. I also don’t keep myself in a box. I think
it’s important for people to realize that we’re all ‘and’ people.
When we’re young, we draw, we paint, we write, we play, we tell
stories. As we grow up, we put ourselves in boxes: I’m a maths
person, I’m a computer scientist, but actually, at the core, we
remain ‘and’ people. So, do the thing that looks fun, and find that
‘and’. Otherwise you are not being authentic to yourself or the
story.
You’ve successfully published a total of eight fiction and non-fiction
books. What’s your secret for landing a good story? How long does
it take for people to begin assimilating it?
Figure out which form and type of content works best for your
niche audience. If your audience is visual, spend extra time
 building visual elements for your story. Choose your topics and
stick to them. Choose what you want your brand to be known for.
Don’t be random, then people will automatically begin associating
those topics to your brand. It happens really fast, in as little as
three months! It happened for my personal brand in three
months. I went from not knowing a lot about mixed reality and
holograms. Then I started working on that team, so naturally, I
talked about it every day for three months and suddenly I found
out I had been included in a list of ‘Fifty Top Influencers of Mixed
Reality in the World’, and wondered why am I on that list?
Because I talked about it consistently for three months.
Last piece of wisdom to close us out.
Your brand story will continue to evolve. So, think ahead of
time about what you want your brand to be next.
Further reading
Chapter 1

Microsoft Corporation (2014) Microsoft Board Names Satya Nadella as CEO, https://ne
ws.microsoft.com/2014/02/04/microsoft-board-names-satya-nadella-as-ceo
(archived at https://perma.cc/79R9-CTJQ)
The Walt Disney Company (nd) About The Walt Disney Company, www.thewaltdisne
ycompany.com/about (archived at https://perma.cc/NZ38-VNGF)

Chapter 3

Hartson, R and Pyla, P S (2012) The UX Book: Process and guidelines for ensuring a
quality user experience, Morgan Kaufmann, Waltham, MA
Liedtka, J, Ogilvie, T and Brozenske, R (2011) Designing for Growth: A design thinking
tool kit for managers, Columbia University Press, New York
Walker, T (2018) The effect of typography on user experience & conversions, CXL htt
ps://conversionxl.com/blog/the-effects-of-typography-on-user-experience-conversio
ns (archived at https://perma.cc/22EB-K9B4)

Chapter 4

Baggs, M (2019) Gillette faces backlash and boycott over ‘#MeToo advert’, BBC News
www.bbc.co.uk/news/newsbeat-46874617 (archived at https://perma.cc/TZ37-57VU)
Bhargava, R (2016) Non-Obvious 2017 Edition: How to think different, curate ideas and
predict the future, IdeaPress Publishing, Washington, DC
Ogilvy, R (2013) Ogilvy on Advertising, Multimedia Books, Singapore

Chapter 5

Agrawal, A J (2018) Millennials want transparency and social impact. What are you
doing to build a millennial-friendly brand? Entrepreneur www.entrepreneur.com/a
rticle/314156 (archived at https://perma.cc/G3DA-H6EJ)
Bhargava, R (2016) Non-Obvious 2017: How to think different, curate ideas and predict
the future, IdeaPress Publishing, Washington, DC
CMO Council (2014) Mastering adaptive customer engagements, CMO Council https://
cmocouncil.org/thought-leadership/reports/mastering-adaptive-customer-engagem
ents (archived at https://perma.cc/2BVM-8MMY)
Edelman Earned Brand (2018) Brands take a stand, Edelman www.edelman.com/sites
/g/files/aatuss191/files/2018-10/2018_Edelman_Earned_Brand_Global_Report.pdf
(archived at https://perma.cc/VDM4-GZR9)
Fagan, L (2016) Three ways to make your brand your consumer’s best friend,
DigitalSurgeons, www.digitalsurgeons.com/thoughts/inspiration/make-your-brand-
 your-consumers-best-friend (archived at https://perma.cc/52Z6-AQRE)
Feldman, B (2019) How to reach Millennials – your 2019 guide to effective millennial
marketing, Taboola Blog https://blog.taboola.com/marketing-to-millennials
(archived at https://perma.cc/7NDN-9NT9)
Fromm, J (2018) How much financial influence does Gen Z have? Forbes www.forbes.
com/sites/jefffromm/2018/01/10/what-you-need-to-know-about-the-financial-impact
-of-gen-z-influence/#6778ab3f56fc (archived at https://perma.cc/M23F-ED6Z)
Giani, S (2019) Neuro-Insight’s Shazia Ginai: Gillette example shows how socially
conscious ads can be double-edged, More About Advertising www.moreaboutadver
tising.com/2019/04/neuro-insights-shazia-ginai-gillette-example-shows-how-socially
-conscious-ads-can-be-double-edged (archived at https://perma.cc/8A5R-DPUU)
Gibbons, G (2009) The social value of brands, in Brands and Branding, ed R Clifton et
al, pp 45–60, The Economist, London
Korschun, D (2017) Companies that stay silent on political issues can pay a hefty
price, Fast Company www.fastcompany.com/3067944/political-neutrality-can-be-co
stly (archived at https://perma.cc/2YYH-M6JH)
Pearl, D (2018) As more consumers than ever make belief-driven purchases, it’s
worth it for brands to take a stand, Adweek, www.adweek.com/brand-marketing/as
-more-consumers-than-ever-make-belief-driven-purchases-its-worth-it-for-brands-t
o-take-a-stand (archived at https://perma.cc/8C6N-YVNB)

Chapter 6

Brown, B (2015) Daring Greatly: How the courage to be vulnerable transforms the way
we live, love, parent, and lead, Averly, New York
Tran, L (2016) Innovation: Better problem solving with the SCAMPER method [Blog],
InLoox Blog, 1 April www.inloox.com/company/blog/articles/innovation-better-pro
blem-solving-with-the-scamper-method (archived at https://perma.cc/YZ2Z-AVJ6)

Chapter 7

Murphy, P et al (2007) Ethical Marketing, Routledge, London

http://ethicsupdates.net/theories (archived at https://perma.cc/BC5W-RKTW)
>www.wikihow.com/Develop-a-Code-of-Ethics (archived at https://perma.cc/29GH-9R
GC)

Chapter 8

Petrock, V (2018) Augmented reality marketing and advertising 2018, e Marketer ww

w.emarketer.com/content/augmented-reality-marketing-and-advertising-2018
(archived at https://perma.cc/K8CG-54D3)

Chapter 9

Influencer Marketing Hub (2018) 20 Employee advocacy statistics that will blow your
mind, Influencer Marketing Hub https://influencermarketinghub.com/20-employee-
 advocacy-statistics-that-will-blow-your-mind (archived at https://perma.cc/D5WC-
WR7B)
Influencer Marketing Hub (2019) The State of Influencer Marketing 2019: Benchmark
Report [+Infographic], Influencer Marketing Hub https://influencermarketinghub.co
m/influencer-marketing-2019-benchmark-report (archived at https://perma.cc/4X2
G-G24U)
Hartson, R and Pyla, P S (2012) The UX Book: Process and guidelines for ensuring a
quality user experience, Morgan Kaufmann, Waltham, MA
Kunsman, T (2019) 31 Eye-popping employee advocacy statistics that matter the most,
EveryoneSocial https://everyonesocial.com/blog/employee-advocacy-statistics
(archived at https://perma.cc/B86E-A2EK)

Chapter 10

Stone, T (2019) The psychological reason why brand consistency is so important,

Endeavor Creative https://endeavorcreative.com/brand-consistency (archived at htt
ps://perma.cc/46RN-9ZVN)
Lucidpress (nd) The impact of brand consistency, www.lucidpress.com/pages/resourc
es/report/the-impact-of-brand-consistency (archived at https://perma.cc/6GKV-
CEP5)
de Bono, E (nd) Six Thinking Hats, The de Bono Group www.debonogroup.com/six_th
inking_hats.php (archived at https://perma.cc/BB2F-5JSU)

Chapter 11

Andrivet, M (2015) What is branding? The Branding Journal www.thebrandingjourna

l.com/2015/10/what-is-branding-definition (archived at https://perma.cc/356Z-TP46)
Scherer, K (2009) The dynamic architecture of emotion: Evidence for the component
process model, Taylor & Francis Online www.tandfonline.com/doi/abs/10.1080/026
99930902928969?journalCode=pcem20 (archived at https://perma.cc/6ALR-ERLM)

Chapter 13

Whittaker, J (2018) James Whittaker’s Little Book of the Future, self-published,

Washington State
Emerging technology from the arXiv (2017) Experts predict when artificial
intelligence will exceed human performance, MIT Technology Review www.technol
ogyreview.com/s/607970/experts-predict-when-artificial-intelligence-will-exceed-hu
man-performance (archived at https://perma.cc/PJ3Q-6D55)
Halber, D (2018) The anatomy of emotions, BrainFacts/SfN, www.brainfacts.org/Thin
king-Sensing-and-Behaving/Emotions-Stress-and-Anxiety/2018/The-Anatomy-of-Em
otions-090618 (archived at https://perma.cc/MD8T-J7BL)
Salesforce Research (2019) Enterprise technology trends, Salesforce Research, https://
c1.sfdcstatic.com/content/dam/web/en_us/www/assets/pdf/platform/salesforce-rese
arch-enterprise-technology-trends.pdf (archived at https://perma.cc/S74A-UZZY)
INDEX

A/B testing 191

achievement pillars (Microsoft) 26–28
adaptation 17, 20, 85, 168, 183, 188
Adobe 115–20
advocacy 29, 109, 113, 115–23, 126–27, 128–29, 184
affordances 123–24
African culture 89, 90
Airbnb 50
Alaska Airlines 42–43, 44
ambassadors 82–83, 85, 115–20
Angelou, Maya 22
antagonists 161–76
Antarctica 189
Apple 80, 111
‘Art of Storytelling’ (Microsoft) 177–78
artificial intelligence (AI) 42, 148, 168, 180, 181, 183–87
assets 48–49, 56–57
attention span (attention-keeping) 8, 30, 32, 34, 39, 196
attributes see brand attributes
audience 13, 15, 123, 140–42, 150, 156, 160, 201
see also design audience; Gen Alpha; Gen Z; millennials; younger audiences (youth
culture)
augmented reality (AR) 100, 104, 109–10, 197
authenticity 76, 81, 99, 107, 113, 192, 196, 198–99
automation 56, 168, 183, 184
availability 57, 140–41
AvePoint 188–92

Baird, Derek E 195–97

Ballmer, Steve 6
Bambi 162–63
baseline setting 62, 116, 156
belief-driven spending 66–67
believability 13, 15
benchmarking 116, 132, 133, 146–60, 171
Bhargava, Rohit 53, 64
Big Idea, the 53–54
blockchain 186
blogs 47, 64, 79, 117, 190, 191
boundary setting 81–82
brain studies 7–8, 17, 45, 47, 68, 72
brainstorming 35–36, 38, 83–86, 102, 144, 176, 180, 185
brand, defined 80, 148
brand assets 48–49, 56–57
brand attributes 13, 15, 49, 51
see also logos; slogans; tone
brand consistency 54–55, 133, 136, 164, 169, 170, 205
brand culture activation journey 157
brand identity 25–26, 48, 201
brand mentions 149–53, 156, 170
brand mission statements 9–18, 25–26, 35–36, 39, 43, 44, 50, 57, 70
brand positioning 158, 172
brand purpose 13, 65, 85, 194
brand reach 149–50, 152, 153
Brown, Brené 78
business functions 166

Camacho, Jose-Andres 115–20

campaigns 52, 58, 81
Carhartt Work in Progress 199–200
case studies 31, 47, 190
character flow 138–40
characters 21, 26–34, 82, 122–23, 138–40
Chia, T P 146
Clayton, Steve 26, 83, 172
cloud technology 5, 56, 60, 79, 179, 180, 184, 188, 190
CMO Council (report) 69
Coca-Cola 16, 17
Coco 143
codes of conduct 66, 93, 94–95, 96–98
cognitive affordance 124
collaboration 101, 108, 115, 120, 185, 200
Coloma, Cindy 201–03
colour 45–46, 47
combined storytelling techniques 85
communication 58, 90
communications departments 58
companies 164–65
see also organizations
competencies 74, 108
competitive edge 51, 67, 116
competitors 168–69
conclusions 50
conflict 27, 29, 30, 161
consistency 54–55, 133, 136, 164, 169, 170, 205
content reach 149–50, 152, 153
contingency plans 137, 138
contractors 129
converging ideas 33
conversion metrics 155–56
Core Services Engineering and Operations (Microsoft) 16–17, 61
core values 66, 94, 137, 190
corporate social responsibility 65, 115, 120
cortisol 8
Cosmopolitan 193
courage 78–79, 97
creativity 35, 191, 197, 200–01
culture (cultural norms) 92, 164
see also African culture; culture transformation; Hispanic culture; Nordic culture
culture transformation 159–60, 165
curiosity 198, 204
customer-centricity 63–75, 123
customer chair 73–74
customer experience 184
customer relationship management systems (CRM systems) 185
customers 21, 27, 29, 63–75, 109, 123, 184
engagement 142–44, 152–53, 155–56, 185
see also UX (user experience)

defensibility test 132, 133, 135

design affordances 123–24
design audience 59–61, 76, 106, 175
design personas 114, 149
design thinking 21–38, 40, 58, 83–84, 86, 174
designers 170–71
Despierta America 193
detail 192, 202–03, 204
developer support 185
digital transformation 6, 56, 57, 59–60, 79, 104, 167, 184
Disney, Walt 11
Disney 11, 12, 16, 45–46, 139–40, 143, 191
Disney Animation Studios 45–46
Distinguished Engineers (Microsoft) 177–79
diversity 35, 197
Doc James see Whittaker, James
dopamine 8
Doria, Luz Maria 192–95

Earned Brand report (2018) 67

elimination, character 86
emails 9, 45, 54, 60, 179
embarrassment 24
emergent storytelling 107–09
see also gamification
emotions 8, 17, 46, 58, 124–25, 146, 147–48, 158, 195, 197
metrics 149–53
negative 68
and visual elements 47
see also happiness; love
empathy 22–28, 44, 59, 61–62, 70–73, 137, 141, 174, 182–83, 198–99
employee advocacy 29, 113, 115–23, 126–27, 128–29, 165, 184
Employee Advocacy Learning Series 119
employee experience 184
employees 58–59, 82–83, 150, 184
see also employee advocacy
empowerment 7, 21, 26–27, 61, 136
endorphins 8
Engage Youth Co. 198
engagement 142–44, 152–53, 155–56, 185
Enterprise Technology Trend Report (2019) 184–87
entertainment industry 11, 100, 107, 143, 195
see also Disney
ethics 92–99
EveryoneSocial 116–19
excellence 192
execution test 135
experience 114
see also customer experience; UX (user experience)
external audience 150, 156, 160

Facebook 81, 113, 117, 197

Fagan, Lauren 65
fail fast 68, 137
failure stories 80, 205
false starts 33–34
Fast Company (report) 67
feedback 36–37, 59, 61, 137, 138, 141–42
feedback loops 37, 61, 137
‘feel’ 49
feelings 12, 13, 15, 25–26, 28, 58, 92, 108
first-person point of view 47, 108
flexibility 86–87, 168
foundation, code of ethics 97
four pillars of achievement (Microsoft) 26–28
4D experiments 132
functional affordance 124
functionality 17–18

gamification 107–09, 118–19

Gates, Bill 6
Gen Alpha 196, 198–99
Gen Z 12, 53, 64, 65, 66, 195–96, 198–99
Gen Z Frequency (Baird) 195–96
Gestalt theory 47
Gillette 55, 68, 136
goal setting 35, 58–59, 62, 190
gold refining process 72
government 67, 92, 150, 156, 160
Gregory (UX designer) 41, 171

guidelines 57, 81, 98, 126, 175–76

Hahn, Don 45–46
hands-on practice 165, 174
happiness 11
Haunted Mansion ride (Disney) 139–40
Haystack Method 53, 64
heroes 21, 27, 63–75
Hero’s Journey 29, 64, 67
hierarchy of needs 24
Hispanic culture 76–77
‘How to Optimize your LinkedIn Profile’ (Adobe) 119
Howell, Park 203–04
human failure stories 80, 205
humanizing the brand 80

ideation 23, 34–36, 175

IKEA 104
IMC plan (Reimagined Integrated Marketing Plan) 51–62, 184
immersive storytelling 42–43, 100–12
imposter syndrome 90
in medias res 32
in medias res 32
inclusion 35, 70–73, 197
see also immersive storytelling
inconclusive conclusions 50
indirect stakeholders 95
industry code of ethics 94–95, 98
industry trends 106, 191
influencers (influence marketing) 110–11, 113–15, 120–23, 125, 127–30, 204
innovation 67–68
Instagram 81, 115, 118, 141, 178, 194, 197
integrated marketing plan 51–62, 184
interaction 43, 73–74, 107, 109
internal stakeholders (disciplines) 15, 44–45, 56–61, 94, 137, 150, 154–55, 159–60, 164–65,
172–76
see also employees
interviews 202–03
IoT (Internet of Things) 179, 180
IT staff 185–86

Jobs, Steve 80, 114

journalism 193–94

key assumptions model 132–33, 134– 35

key audiences 13, 15
key performance indicators (KPIs) 116–17
Korschun, Daniel 67

lasting action metrics 154, 157, 159–60

launch management task forces 138
laws 92
leaderboards (Adobe) 118–19
leadership 165, 166
see also thought leadership; top management
Life is Good 17
LinkedIn 4, 61, 117, 118, 119, 151
LinkedIn About section 151
Lion King, The 46
listening tools 37–38, 138, 141, 172
live streaming 110–12
lived experiences 35, 87, 104, 132, 134, 169, 175, 182, 204
logos 45, 48, 57, 136, 148
love 154
Love vs Hate game 102–03, 108
Lyft 67

machine learning (ML) 180, 181, 184

Machu Picchu 71
management 128
see also leadership; middle management; top management
Marceline to Magic Kingdom Tour 139–40
marketing 56–57, 58
influencer 110–11, 113–15, 120–23, 125, 127–30, 204
sports 118–19
marketing associations 98
marketing campaigns 52, 58, 81
Marvel Comics 50
Maslow, Abraham 23
master storytellers 22, 39, 174, 205
MasterCard 48
meaningfulness 12, 34, 38, 41, 47, 53, 112
measurement (metrics) 61–62, 116–17, 149–57, 159–60
see also benchmarking
Medium 153
memory encoding 68
mentions 149–53, 156, 170
#MeToo 55
micro influencers 122
Microsoft 6–7, 21, 136, 168, 172–73, 177–78, 179–80, 191, 205
audience 60–61, 123
‘customer chair’ 73
four pillars of achievement 26–28
immersive storytelling 100–03, 107–08, 111–12
listening tools 138
nested loops 31
personal stories 47
social media 152, 153
vulnerability in storytelling 79
see also Clayton, Steve; Coloma, Cindy; Core Services Engineering and
Operations(Microsoft); Nadella, Satya; ‘People of Action’; Sarker, Dona; Shared
Service Engineering (SSE) Studio
middle management 128
millennials 12, 36, 53, 65, 66
mission see brand mission statements; story mission
mixed reality (MR) 109–10, 205
ML (machine learning) 180, 181, 184
mobile devices 110, 185
modifications 85
‘Mom’ (‘Mother’) 7, 22, 24, 63, 91, 162
monitoring processes 81–82
monomyths (Hero’s Journey) 29, 64, 67
moral values 97
motivation, audience 123
Mount Rainier 42
mountain story structure 30
Murphy, Patrick 93–96
Myth, The 133, 134–35

Nadella, Satya 6–7, 73

napkin pitch model 36–37
National Geographic 115
negative emotions 68
nested loops 31
Nestlé 17
neurological studies see brain studies
Nike 17
Nordic culture 147
nostalgia 12, 161
notepads 203
Nowak, Lisa Marie 153–54

Ogilvy, David 53
opportunities charts 105–06
‘Optimizing Your Social Media Presence’ (Adobe) 119
organizations 93–94
see also business functions; companies; culture (cultural norms); internal stakeholders
(disciplines); leadership; processes; systems
Osborn, Alex Faickney 83
oxytocin 8

people-focused (personal) stories 31, 47, 82–83, 183

‘People of Action’ 27
persistence 75, 80, 194
persona affordances 123–24
persona identity 125–26
personal brands 71, 76, 77, 151, 192, 205
personal ethics 95–99
personas 114, 122–26, 149, 196
petals 34
photographs 47, 107, 151, 202
physical affordance 124
Pinterest 197
Place 104
planning, contingency 137, 138
see also Reimagined Integrated Marketing Plan (IMC)
playing 200
plot template 28
PopJam 197
posters 60
PR 204
Prada 25–26
Pram Point 189
preamble, code of ethics 96
presentation decks 174–75
Priceless (MasterCard) 48
printouts 174
processes 166–67
professional ethics (values) 98
prototyping 21 23, 36–40, 58, 101, 103–04, 137–38, 144, 171, 175
provisions of conduct 98
public speaking 89–91, 192
purchase decision-making 68
purpose 13, 65, 85, 194

Quechua 71
questioning 201, 202–03
see also ‘why’ question

Rasmijn-Reino, Candy 204

reach 149–50, 152, 153
reaction metrics 153–54, 155–56
recycling 144, 145
Redditt 153
Reimagined Integrated Marketing Plan (IMC) 51–62, 184
relationship-building 8, 56, 65, 66
religious beliefs 92, 97
research 195
resources 57, 175–76
reward experiences 109
Ritz Carlton 191
Robin to Batman effect 21
Robopocalypse 17, 168
role reversal 86
rules setting 35
rules setting 35

sales skills 74
Salesforce 166–67
Saralegui, Cristina 193
Sarkar, Dona 205
scalability 141
scale test 135
SCAMPER technique 83–86
Schultz, Howard 80
Scott Base 189
security, IT 186
self-calibration 71
sensory affordance 124
shareability 141
Shared Service Engineering (SSE) Studio 40–41
singing 200
skills 74–75, 82, 83, 185–86, 192, 193–94
see also empathy; vulnerability
Slack 60
slogans 45, 48, 55, 183
small moments 203
SMART goals 58
Snapchat 197
social activism (value) 32, 53–54, 55, 64, 65, 66–67, 68
social advocacy 109
Social Ambassador Youth Program (Adobe) 115–20
social media 6, 43, 54, 67–68, 100, 138, 190, 194
listening tools 37–38, 172
Microsoft 152, 153
see also Facebook; influencers (influencer marketing); Instagram; LinkedIn; Pinterest;
PopJam; Slack; Snapchat; Social Ambassador Program (Adobe); Twitter; Yammer
social network groups 117, 138
‘Social Value of Brands’ (Gibbons) 68
socialpreneurs 113–14
society (societal laws) 92, 95, 97, 106, 171–72
soft skills 74, 82, 83
see also empathy; vulnerability

sparklines 32
spherical video immersive storytelling 106–07
sports marketing 118–19
stakeholder conversations 132–33
stakeholders 36–37, 56–58, 59, 95, 132–33, 138, 150, 155–56, 159
Starbucks 17, 80
statement of professional values 98
status quo, challenging 200
stochastic processes 181
story arc 9–19, 30
story frameworks 191
story mission 13–15
story mission brief 13, 16
story setting 43–45
story structure 21, 29–34
storytellers 169–70
storytelling, defined 16
storytelling techniques 20, 57
Storytelling 2.0 72-73, 182-83
strategy 18
substitution 84–85
supervisors 129
Sy, Dux Raymond 188–92
systems 166–67

target audience 59–61, 76, 175

teams 35
technology 5, 106, 167–68, 177–87
cloud 56, 60, 79, 188, 190
see also artificial intelligence (AI); augmented reality (AR); automation; digital
transformation; IoT (Internet of Things); mixed reality (MR); mobile devices;
webinars
TED 17
testing 23, 37–38, 68, 81–82, 131–45, 175, 191
thought experiments 132
thought leadership 159–60
360°immersive storytelling 106–07
3D experiments 132
TikTok 196, 197
tone 13, 16
top management 128, 165, 166
‘Toxic Masculinity’ (Gillette) 55, 68, 136
training 74–75, 83, 172–76
TV screens 60
Twitter 113, 117, 118, 119, 151, 153
2D experiments 132
typography 36, 41, 46–47, 140
Uber 67
United States 98, 100–01, 177, 193
universal truth 11, 18, 24–26, 53, 56, 58, 78, 108, 136
Univision 193
unused storytelling ideas 86
upcycling 144–45
user-generated content 50, 120
UX (user experience) 40–42, 114, 123, 171
UX designers 40–42, 114

value tests 134

values 8, 66, 94, 97–98, 137, 190
Venezuela 177
videogames 107
villains 161–76
virtual reality (VR) 104, 109
visual elements 45–48
voice technology 185
vulnerability 76–88, 107, 137

Walt Disney Company (Disney) 11, 12, 16, 139–40, 143, 191
webinars 111, 119, 190, 191
Weiler, Lance 100–01, 103–04

white papers 31, 47

Whittaker, James (Doc James) 62, 177–79, 180–81
‘why?’ question 142
Windows Insider Program 153, 205
winning 64
Witt, Greg L 198–201
World Café 100–03
World Wildlife Fund 114

Yammer 60
younger audiences (youth culture) 143–44, 198–201
see also Gen Alpha; Gen Z; millennials

Ziglar, Zig 173

 Publisher’s note
Every possible effort has been made to ensure that the information contained in this book is
accurate at the time of going to press, and the publishers and authors cannot accept
responsibility for any errors or omissions, however caused. No responsibility for loss or
damage occasioned to any person acting, or refraining from action, as a result of the material
in this publication can be accepted by the publisher or the authors.

First published in Great Britain and the United States in 2020 by Kogan Page Limited

Apart from any fair dealing for the purposes of research or private study, or criticism or review, as
permitted under the Copyright, Designs and Patents Act 1988, this publication may only be
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accordance with the Copyright, Designs and Patents Act 1988.

ISBNs
Hardback 9781789660586
Paperback 9780749490478
Ebook 9780749490539

British Library Cataloguing-in-Publication Data

A CIP record for this book is available from the British Library.
A CIP record for this book is available from the British Library.

Library of Congress Control Number

2020931782.