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The Leader's Guide to Storytelling. Mastering the Art and Discipline of Business Narrative

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TheLeaders’GuidetoStorytelling:MasteringtheArtandDisciplineofBusinessNarrative
StephenDenning
Storytellingandleadershiparebothperformanceartsandlikeallperformancearts,they
involveatleastasmuchdoingasthinking.
Intersectionofleadershipandstorytelling.
Only10%ofallpubliclytradedcompanieshaveprovedthemselvesabletosustainfor
morethanafewyearsagrowthtrajectorythatcreatesaboveaverageshareholder
returns.
Mergersandacquisitionsonlysucceedintermsofaddingvaluetotheacquiring
companyof15%.
Whatifyourairline’sflightsonlyarrived1015%oftime?Orifsurgicalprocedureswas
onlysuccessful1015%oftime.
Managersthushavelittlereasontobecomplacentabouttheircurrentmodeofgetting
results.
Thechoiceisnotaboutusingstorytellingornot.Butrathertouseunwittinglyand
clumsilyorintelligentlyandskillfully.
Storytellingisasizablepartoftheeconomy.Persuasionconstitutesmorethan¼ofthe
USGNP.IFstorytellingishalfofpersuasion,thatamountsto14%ofGNP,ormorethan
atrillion$s.
Differentnarrativepatternsareusefulforthedifferentpurposesofleadership.
Learningtotellstoriesisnotsomuchataskoflearningsomethingasitisreminding
ourselvesofsomethingwealreadyknowhowtodo.
Storytellingismorethanonetool:it’sawholearrayoftools—toolsthatcouldhelp
achievemultiplepurposessuchassparkingpeopleintoaction,communicatingwhoyou
areorwhoourcompanyis,transmittingvalues,sharingknowledge,tamingthe
grapevineandleadingintothefuture.
Disciplineofstorytellingdealswithleadershipmorethanmanagement.Leadership
dealsmorewiththeendsthanthemeans.Concernsissueswherethereisno
agreementonunderlyingassumptionsandgoalsorwherethereisabroadagreement,
buttheassumptionsandgoalsareheadingforfailure.
Leadershipisessentiallyastaskofpersuasion—ofwinningpeople’sheartsandminds.
Adifferentkindofleader
Thecaseismade,stepbystep,thatifyouconsistentlyusethenarrativetoolsdescribed,
youwillacquirenewcapabilities.Youcommunicatewhoyouareandwhatyoustand
for,otherscometoknowyouandrespectyouforthat.Becauseyouareattentivetothe
worldasitis,yourideasaresound.Youspeakthetruth,youarebelieved.Youmake
yourvaluesexplicitandyouractionsareconsistentwiththosevalues,yourvalues
becomecontagiousandothersstarttosharethem.Youlistentotheworldandthe
worldlistenstoyou.Youareopentoinnovationandhappyaccidentshappen.
Narrativepatternscanbelearnedbyanyonewhowantstoleadthem—CEO,middle
management,onthefrontlinesofanorganizationoroutsideanyorganizations
altogether—anyonewhoseesabetterwaytodothingsandwantstheorganizationto
change.
1—TellingtheRightStory
Analysismightexcitethemind,butithardlyoffersaroutetotheheart.
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Eightdifferentstorypatterns:
o Sparkingactiondescribeshowasuccessfulchangewasimplementedinthe
past,butallowslistenerstoimaginehowitmightworkintheirsituation.Avoid
excessivedetail.“justimagine”,“Whatif”
o Communicatingwhoyouareprovidesaudienceengagingdramaandreveals
somestrengthorvulnerabilityfromyourpast.Providesomedetails;ensure
audiencehastimeandinclinationtohearyourstory.“Ididn’tknowthatabout
him!”,“NowIseewhatshe’sdrivingat.”
o Transmittingvaluesfeelsfamiliartotheaudienceandwillpromptdiscussion
abouttheissuesraisedbythevaluebeingpromoted.Usebelievablecharacters
andsituationsandensurethestoryisconsistentw/youractions.“That’sso
right!”“Whydon’twedothatallthetime?”
o CommunicatingyourbrandIsusuallytoldbytheproductorserviceitself,or
thecustomerwordofmouthorbyacrediblethirdparty.Besurethebrand
deliversonthepromise.“Wow!I’vegottotellsomeoneaboutthat.”
o FosteringcollaborationRecountsasituationthatlistenershavealso
experiencedandpromptsthemtosharetheirownstoriesaboutthetopic.
Ensurethatasetagendadoesn’tsquelchthisswappingofstories—andthatyou
haveanactionplanreadytotaptheenergyunleashedbythisnarrativechain
reaction.“Thatremindsmeofthetime…”“I’vegotastorylikethat.’
o Tamingthegrapevine‐Highlightsthroughgentlehumorsomeaspectofa
rumorthatrevealsittobeuntrueorunreasonable.Avoidsthetemptationtobe
meanspirited.“Nokidding!”“I’dneverthoughtaboutitlikethatbefore.”
o SharingknowledgeFocusesonproblemsandshows,insomedetail,howthey
werecorrected,withanexplanationofwhythesolutionworked.Solicit
alternativeandpossiblybettersolutions.“Gosh!We’dbetterwatchoutfor
thatinthefuture.”
o LeadingpeopleintothefutureEvokesthefutureyouwanttocreatewithout
providingexcessivedetailthatwillprovetobewrong.Besureofyour
storytellingskills.“Wheredowestart?”“Let’sdoit!”
Differentcombinationsofstorycanbewoventogetherasanintegrativenarrative
tapestry.
TheROIofstorytelling.Oftentherequesttoquantifybenefitsismerelyapretextfor
takingnoaction,orapolitewayofmakinganegativestatement.
Mintzerg’sclassicNatureofManagerialWork,showedthattalkingcomprises78%ofa
manager’stime.
Whenstorytellinggetsthemessageacrossmoreeffectively,itsincrementalcostis
zeroorclosetozero,andsoitsROIismassive.
Mostchangeprogramsunsuccessful.Studyof40companiesinvolvedinmajorchange.
Eachprojectinitiatedbyseniormgt,e.g.,SixSigma,businessprocessrevamps.
Remarkablehowlittlesuccessthecompanieshadwiththeirchangeprograms.Key
findings:
o 58%ofcompaniesfailedtomeettargets;
o 20%capturedonlya1/3rdorlessofwhatwasexpected.
o 42%whoweresuccessfulnotonlygainedexpectedreturns,insomecases
exceededthemby200300%.
o Storytellingwasakeysuccessfactor.Withoutastorytellingcapacity,the
chancesofsuccessweresignificantlylower.
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Thereisnosimplecauseandeffectrelationshipbetweenintroducingamanagement
techniqueandgettinganimprovedbusinessresult.
2—TellingtheStoryRight
Fourkeyelementsinstorytelling:
Style‐Tellthestoryasifyourweretalkingtoasingleindividual.Avoidhedges.Don’t
givealternatepointsofview.Keepthestorysimple,focusedandclear.Presentthe
storyassomethingvaluableinitself.LouGerstner,“cleartohimandtomanyothers.”
Beyourself.
TruthDon’twastertimewithgrindingpersuasion.Offerlistenersanunobstructed
viewofthetruthandlistenerswillseeitandrecognizeitforwhatitis.Anyreasonable
personwouldhavetoagree.Don’targue,present.Makethestorytellingexperiencea
sprint,notamarathon.
PreparationBerehearsedbutnotspontaneous.Choosetheshapeofyourstoryand
sticktoit.Showonlythefinalcut,likeamoviedirector.
Deliverya1973findingatonly7%ofthemeaningofacommunicationcamefromthe
contentofthewordsspoken,while93%ofmeaningcomesfromnonverbal
communication.
Toconnectwithyouraudience,youapproachthetaskofstorytellinginteractivelyand
modelyourbehaviorontheconceptfconversation—adialoguebetweenequals.You
proceedonthebasisthattherelationshipbetweenyouandyourlistenersis
symmetrical.Youtalkasifthelistenerscouldtakethenextturnintheconversation.
3—MotivateOtherstoAction
Leadershipiscentrallyaboutinspiringpeopletoimplementnewideasinthefuture.
Andnotjustgrudginglybutenthusiastically,becausetheybelieveinit.
It’snotjustanystorythatresultsinpeoplebuyingintomajorchange.
MainElementsoftheSpringboardstory.
o Changeideabehindthestoryiscrystalclear.
o Storyisbasedonanactualexamplewherethechangewassuccessfully
implementedthatis,it’satruestory.
o Storyistoldfromthepointofviewofasingleprotagonist.
o Theprotagonististypicaloftheaudience.
o Thestorygivesthedateandplacewhereithappened.
o Thestorymakesclearwhatwouldhavehappenedwithoutthechangeidea.
o Storyistoldwithlittledetailinminimalistfashion.
o Storyhasapositivetone–ithastohaveanauthenticallyhappyending.
o Storyislinkedtothepurposetobeachievedintellingit.
ClearPurpose.Thefirststepisgettingclearonthechangeideathatyouaretryingto
getacross.
Foreachoftheotherstepsintheprocess,ask:isthispartofthestoryrelevantto
communicatingmypurpose?Ifthestorytellerisn’tclearonthepurpose,thestory
usuallyfails.Thechangeideahastobespecificenoughsothatpeoplecoldseewhether
theyaremakingprogresstoimplementitornot.Ifyou’rehavingpersistentdifficultyin
comingupwithastorytocommunicateachangeidea,checktheclarityofthechange
idea.Putyourchangeideainwriting,preferablyasinglesentence.
Thesecondstepintheprocessistothinkofanincidentwherethechangeideahas
alreadyhappened.
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Foraspringboardstory,statethedateandplacewheretheeventhappened.Theright
way,thenormalway,tosignalthatyouaretellingatruestoryistogivethedateand
place.
Whoisthesingleprotagonistofyourstory?Theheroorheroine?Notagroup,ateam,
acompany,acountry.Asingleperson.
Youtellthestoryfromtheperspectiveofsomeonewhowillinspireyouraudienceto
say,“Iknowthatsituation!I’vebeenthere!I’vehadthatproblem!”Andsothey
identifywiththeprotagonist.INeffect,theystarttoliveasimilarstoryfor
themselves.Theymaybelisteningtothestorythatyouaretelling.Butthey’re
startingtotellthemselvesanewstoryinwhichtheybecometheprotagonist,inwhich
theyundertakethehero’sjourney,inwhichtheyencounterandovercomeobstacles,
andinwhichtheyattainthegoal.(Wipeout—Benistheprotagonist—letthereader
alsobetheprotagonist)
Invitetheaudiencetomakelargeandrapidleapsofimagination.Inabusinesssetting,
stripoutallunnecessarydetail.Theminimaliststyleleavesplentyofspaceforthe
audiencetoimagineanewstoryintheirowncontext.
Foreachmemberoftheaudience,youactuallyhavetwolisteners.There’sthephysical
personyouseeinfrontofyouandthere’salsoasecondlistenerknownas“thelittle
voiceinthehead.”
Whatmakestheminimaliststorysopowerfulisthatisresolvesafundamental
conundrumoftransformation.Transformationmustbebothpersonaltoallparticipants
andcentrallydirectedinordertobecoherent.
Aspringboardstorytoldinaminimalistfashionresolvestheparadoxbycreatinga
vehiclethatencouragesalllistenerstocraftsimilarstories,eachofwhichisstillthe
listener’sownstory.Theresultispersonalizedcoherenceacrosslargenumbersof
people.
Inastoryaimedatsparkingaction,youhavetohaveahappyending.
Howtogiveenoughguidancebutnottoomuch?Usethemagicphrasesof“Whatif”
and“Justthink”
Negativestoriesgetpeople’sattention,buttheydon’tsparkaction.Theactioncomes
fromapositivestorythatshowsthewayforward.Sousethenegativeknowledge
sharingstorytoconveythemessagethatthesituationisindeedgrim,butfollowitwith
thepositivespringboardstorythatshowshowtosolvetheproblem.
Twowaystogettheaudience’sattention.Oneistotalkabouttheaudience’sproblems.
Talkabouttheissuesthatarekeepingthemawakeatnight.Theotherwayistotell
themwhoyouare.Tellthemastorythatcanbegintogeneratetheinterestandtrust
youwillneedasaplatformtospringthemintothefuture.
TemplateforSpringboardstoryp.75.
4—BuildTrustinYou
Thefirstreasonyoutellastoryistoshowpeoplewhoyouare—tostopbeinga
stranger.
Youruniquenessasanindividual—yourveryidentity—doesn’tlieintherolesyoufillor
theabstractvaluesyouclaimtohave.Itresidesintheoneofakindpersonthatyou
havebecomeasaresultoftheexperience4syouhavehad.
HowtoTellYourStory
Astorythatcommunicateskeychoicesyouhavemadeinyourlife.
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Formostofus,ourownhopesandfearstendtogetinthewayofrealisticassessmentof
whoweare.
Oneoftheunderlyingprinciplesofmostpsychotherapy:Creatingasituationthat
requirespersonalstorytelling,participantsseemtodiscoveradegreeofcoherencethat
wasn’ttherebefore.
Peoplelookforsomeonewithaselfimagethatislargelyconsistent.Itistherefore
importantforyouasaleadertohaveaclearviewofapersonallifestorythatisaligned
withthefactorsofyourlife.NewtGingrichasanexampleduringBillClintonpresidency.
Ittakescouragetotellastrongpersonalstory,becausethestoryimpliescertainvalues
thatyouwillholdtoeveniftheworldchanges.
Afruitfulsourceofstoriesofwhoyouareconcernstoriesaboutturningpointsinlife,
momentsofdisruptionwhenyourworldasitappearsonthesurfaceisdisturbedby
someincidentthatgivesaglimpseoftheseregionsofdeeperfeelingandhowthey
affectedyou.
Makingsuretheaudiencewantstohearyourstory:
o Firstencounter
o Adifficultdecision
o Coachingorcounselingdecisions
TemplateforWhoYouArestoryonp.99.
5—BuildTrustInYourCompany
Tellingthestoryofyourbrand.
6—TransmitYourvalues
Distinguishingthedifferenttypesofvalues
o 1.Valuesoftherobberbaronsbarefacedgreed;
o 2.Valuesofthehardballstrategists½stepawayfromrobberbarons.The
heirsofMachiavelli;theyliveinanamoralworldandhavenoworthwhilevalues
totransmit;
o 3.ValuesofthepragmatistsCostcoexample.
o 4.GenuinelyethicalvaluesStarbucksandSouthwest;
Somecompaniesfacea“valuesbankruptcy”eventhoughfromafiscalstandpoint,they
aresolvent.
Althoughitmaynotbeclearwhethergoodenvironmentalandsocialpracticesalways
createvalueforshareholders,itisnowevidentthatbadonescandestroyit.Sincethe
brandisoftenthemostvaluableassetonthebalancesheet,firmsareparticularly
vulnerabletobadnewsabouttheirvalues.
Peoleoftenhavedifficultinansweringquestionslikethese:
o Sotellmewhatyourvaluesare?
o Onaonetofivescale,doyouvaluethis?Orthat?
Valuesliveintheactionsthatpeopleengageinandthestoriesthattheytellaboutthese
actionstotrytomakesenseofthem.
Herearetopicsthatcanbeusedtopromptstoriesthatrevealvalues:
o Occasionswhereyoufacedadversity;
o Timeswhentwovaluesconflicted;
o Whatyoufindmostsatisfyinginworkingwithyourfirm;
o Somethingthatshowedyouwhatyourorganizationisreallygoodat;
o Theworstthingthateverhappenedtoyouinyourorganization;
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o Howaclientwasbadlytreatedbutiteventuallyturnedoutwell;
o Yourhappiestdayatwork;
o Somethingthatyourorganizationisgoodatbutfewpeopleknowabout;
o Somethingthatshowedyouwhatyouhavetodotogetaheadinyour
organization;
Sometimestoomuchtoaskapersontotellastoryaboutthemselves.Soaskthemto
shareastoryaboutsomeonewhomadeadifferenceintheirlife.Couldbeabout:
o Someonetheyknewwhentheyweregrowingup;
o Someoneintheorganizationwhohasmeantalottothem;
o Thepersontheyadmiremostinyourorganization;
o Thepersonwhoisclosesttothemintheorganization;
o Someonewhodidbetterintheorganizationthananyoneexpected;
o Someonewhoreallytaughtthemtheropesattheorganization;
7—GetOthersWorkingTogether:UsingNarrativetoGetThingsDoneCollaboratively
Workgroupsarethetraditionalsubunitsinanorganization:departmentsordivisions.
Theyentailpeopleworkingonthesamesubjectandsometimesinthesamespace.
Teamsareorganizationalgroupingsofpeoplewhoareinterdependent,whoshare
commongoals,whocoordinatetheiractivitiestoaccomplishthesegoals,andwhoshare
responsibilityfortheperformanceofthecollectivity.
Whileworkgroups,teamsandcommunitiesareconceptuallydistinct,inpracticethey
tendtooverlap.
CollaborationRestsonSharedvalues
Oftenthebasicsaren’tinplacetoenableteamworktohappen.
There’sadeeperrootcause—collaborationrestsonvalues.Andtheespousedvaluesof
collaborationandtheoperationalvaluesatworkoftenexistonoppositesidesofadeep
gap.
Growingnumbersofpeopleareinterestedinmovingfromaworldof“me”toaworldof
“we.”
Theviabilityofahigherperformanceteamorcommunityisgoingtodependonits
members.Forthemtogettofirstbase,theymusthaveaminimumdegreeof
understandingofthenatureoftheentitytheyarecreating.
Highperformanceteamsarerareandtheirnonhierarchical,passionatemodusoperandi
anddistributedleadershipruncountertothepervasivehierarchicalthinkingin
organizationstoday.
12—ADifferentKindofLeader
Implicitinallthisisadifferentideaofwhatitmeanstobealeader.Theinteractive,
Tolstoyanleaderworkswiththeworld,ratherthanagainstit.Interactiveleadership
bothaddsandsubtractselementsfromtheleadershippalette.
Interactiveleadershipbuildsonpersonalintegrityandauthenticity.Becauseyoucan
communicatewhoyouareandwhatyoustandfor,otherscometoknowyouand
respectyourforthat.Becauseyouareattentivetotheworldasitis,yourideasare
sound.Becauseyouspeakforthetruth,youarebelieved.Becauseyoutreatothersas
endsinthemselves,notmerelyasmeanstoyourownends,peopletrustyou.Because
youmakeyourvaluesexplicitandactinaccordwiththosevalues,yourvaluesbecome
contagiousandothersstarttosharethem.Becauseyouareopentoinnovation,happy
accidentshappen.Youbringmeaningintotheworldofwork;youareabletoget
superiorresults.Interactiveleadershipdoesn’tdependonthepossessionofhierarchical
authority.
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LeadershipThatParticipates
Onceleadersadopttheinteractivemodeofthinkingandbehaving,theworldisno
longerseparate.Theyescapefromtheillusionofpassionlessobjectivity,whichmayaim
atclaritybutinevitablyendsupdistortingtheworldbystrippingawaythedimensionof
humanviewpoints,emotionsandgoals.
Ifyouaretoachieveappropriateconnectednesswiththepeopleyoulead,youneed
preciselythosecapacitiesforunderstanding,trustandrespectthattheNapoleonic
modeofmanagementsuppresses.Choosingtofeedcompassioninsteadofdetachment
isoftenridiculedinbusinessasbeinginsufficiently“hard”—insufficientlyfirm,hard
nosed,toughminded,aggressiveandultimatelyhardhearted.
Inmostleadershipsituations,trustrespectandcollaborationaresimplymoreeffective
thanpreemptivedomination.
Fortheinteractiveleader,thesituationisverydifferent.Theinteractiveleadercomes
withamessageandanagenda,butalsoseekstointeractwiththeaudienceandlearn
fromtheirviewpoints.Forthispurpose,storytellingisanextraordinarilysuitabletoo.
Sinceallgoodstorytellingbeginsandendsinlistening,thesessionisinherently
participativeandinteractive.
Evenbeforethepresentationhasbegun,theinteractiveleadersshowanappropriate
rapportattheoutsettoenhancethechancesoftheaudiencebeingresponsive.Thus
theleadermightwelcometheaudienceindividually,shakinghandsorotherwise
physicallyacknowledgingtheirpresence.Theinteractiveleaderdoesthisbecauseit’s
difficulttobeutterlyunresponsivetosomeonewhoisactivelysignalingresponsiveness
andreciprocity.
Sotheinteractiveleaderusesastoryandtheresponsivenessoftheaudiencetothe
storyiscontagious.
Theinteractiveapproachtoleadershipismodeledontheconceptofconversation—a
dialoguebetweenequals.It’snotimpossibletomaintainaconversationofequalswhen
dealingwithsomeonewhoadoptsasuperiorhierarchicalposition,butitisn’teasy—
thereisaninherenttendencytoslideintoanadversarialrelationshipofeither
submissionorrebellion.
ArethereCEOstodaywhoarerunningrealcompanieswithinteractiveleadership?A
casecanbemadethatLouGerstneratIBMwassometimesinthismode.BillBrattonof
theNYCpolice,TomChappellofTom’sofMaine,BillGeorgeofMedtronic,SteveJobsof
AppleComputer,HerbKelleherofSouthwest,AnitaRoddiceofTheBodyShop.The40
orso“ideapractitioners”TomDavenportandLarryPrusakciteinWhat’stheBigIdea?
There’slittletointhecollectivepsychethatmakesiteasyforpeopletounderstandand
slideintothismodeofoperating.Thismaybepartoftheproblem:societyistryingto
givebirthtoanewtypeofthehumanpsychethatwouldactuallyencouragegood
peopleandinnovationandstillsurviveandflourish.Likeanythingworthwhile,thebirth
pangsarenotpainlessoreasy.Neverthelesstheneedisthere.
InteractiveLeadershipThatIsNotforEveryone
Theinteractiveleadershipapproachwillnotappealtoeveryone.Tothosewhoare
comfortableinthecommandandcontrolmode,tohosewhoaretherobberbarons,the
hardballstrategies,theupwardlymobilelackeys,fawningaidesdecamp,commercial
mercenaries,paidforpoliticiansorschemingdemagogues.Suchpeoplehaveused
inauthenticnarrativeasatoolofmanipulationandcontrol.
Thesepropelledwillgoonpracticingtheircounterfeitleadershipinoffices,danglingthe
threatoflayoffsorotherdisastersoverpeople’sheadswhileincreasingthepaceand
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intensityofthework.Theywillgoonusingpseudoempiricalstudiescraftedtocontain
creativepeopleincagesofquietdesperation.Theywillspendtheirtimespeakingto
thosewhoobey,orinordertoforceobedience,ortoseducenewcomerswith
duplicitiousmaneuvers.
LeadershipthatIsRelativelyFreeofEgo
Theinteractiveapproachtoleadershipisnotconcernedmerelywithmakingthedeal.
Thisiskey,becauseifwhoyouaregetsdefinedaccordingtothecurrentrateof
exchangeinamarketplace,thentheaccommodationyoumakewiththeworldwill
distractyou,onedegreeatatime,fromwhatmatters.Thisishowthecommercialized
versionofwhatitmeanstobeapersonbringspeopleunderitsspell.
Byremovingegofromthegame,youchangethenatureofthegame,sincetheprincipal
leverofthoseinthecontrolmodeiseliminated.
Beingrelativelyfreeofegomeansneverexactingrevenge.Youropponentsare
oppressedbyalargerfoe—theirownfear.
LeadershipThatisLikeJudo
Whenyoutakeontheroleoftheinteractiveleader,awareofwhoyouare,confidentof
yourvalues,assuredofthesoundnessofyourmissionandcompetenttocommunicate
itthroughastory,youwillacquiresupporters.Youdon’tfightyouropponents:you
invalidatethem.Thosewhobearthetrappingsofpowerdon’tnecessarilyhavemuch
authority.
Bestingmeansnotfencingpeoplein—youleavethemroomtochangetheirminds.You
behaveasifyouropponentsareyourallies,demonstratingyourtrustinthemandgiving
themstrengthtodotherightthing.Yougivethemthecouragetochangebycreating
heroicexpectationsforthem.Thebiggertheexpectations,thehardertheywilltryto
achievethem.Achangeinrelationsoccursasallparticipantsrecognizetheneedfor
change.
LeadershipthatHasFeeling
Interactiveleadershipinvolvespassion—anotheringredientthatismissingfrom
commandandcontrolleadership.
Anotherreasonwhytheinteractiveleaderresortstostorytellingisitsauralcharacter.
Theearenjoysaprivilegedpassagewaytotheheart,asmaybeseenintheemotional
impactofmusic.
Theinteractivemodeofleadershipisn’tsimplyaboutbeingemotionallyintelligent;it’s
aboutactingwithemotionalintelligence.Ifyouareemotionallyintelligentonlyinyour
thoughtswhileyouremaininthecontrolmode,regulatingandoptimizing,thenyouare
unlikelytobesuccessfulinengagingtheemotionsofothers.Itisgenerallythrough
narrativethatyouactivatepassionandchannelthepassioninothersforconstructive
purposes.Toachievetheproperbalanceinherentin“welltargetedandwelldeployed
emotion”,youalsoneedtoavoidbeingtoomuchinlovewithorder.
Thecontrolmodeofmanagementisdeadening.Youcanrecognizeitinthegrayfeeling
thatcomesoveryouwhenyouparticipateinadepartmentalmeeting,listeningtothe
voicethatdronesonwiththeannouncementsof“newfindings”thatcouldhardlybe
morebanal,orthelatestreorganization.Thesearestagnantwatersinwhichnoliving
thingflourishes.Thedrearinessofthemodernworkplace.
... Such storylines aim at evoking emotions and thus influencing consumer behaviour. Narratives are also used in marketing through customer testimonials-presenting real-life success stories based on satisfied customers' experiences enhances brand credibility and trust, thus providing social proof and persuading potential customers (Heikkinen, 2002a ;Ramzy, 2007 ). ...
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What does narrativity actually mean? The essence of narrativity lies in its ability to convey human experience through the telling of stories. In research, political rhetoric and everyday speech the concept of narrative has been used in a variety of ways, often ambiguously. The purpose of this chapter is to clarify the concepts related to narrativity, not only from an educational point of view, but starting from a broader framework with implications for society, politics and media. Drawing from a wide range of structuralist-narratological, epistemological and philosophical-anthropological views, we introduce the following six ways of understanding narrativity as: (1) an existential dimension, (2) an epistemological dimension, (3) a data dimension, (4) a methodological dimension, (5) a research report dimension, and (6) a practice dimension. These dimensions cannot be divided into exclusive categories. However, for analytical purposes we address each dimension in turn. We then move on to clarify the concepts related to narrativity by examining the central concepts of story, narrative and narrative discourse and their related concepts from a narratological point of view.
... Communicating complex information (Ramzy, 2007). ...
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This chapter discussed the responsible use of spatial data in decision-making and the need to balance ethics with decision-making. The role of spatial data in decision-making and storytelling is discussed. Ethical issues in spatial data storytelling such as privacy and confidentiality, bias and discrimination, accuracy and misinformation, accessibility and inclusivity, environmental and social impacts, data ownership and credit, and transparency are described, along with the strategies to overcome these issues. The different roles of storytelling in decision-making are elaborated on, along with the challenges and risks associated with using storytelling in decision-making. The chapter also discussed the challenges of striking a balance between ethics and decision-making, such as conflicting interests, cognitive biases, time constraints, political and legal constraints, and many more. Strategies to overcome these challenges, including developing clear ethical guidelines and engaging diverse stakeholders, are underpinned in this chapter as well.
... In addition, we find lines of conceptual development from different disciplines, such as business storytelling [Ramzy (2007), and Mañas-Viniegra (2017)]. There is also a consolidated ramification linked to media literacy and the use of storytelling to enhance learning, as we see in Yang and Wu (2012); Vu et al. (2019) and Scott (2019). ...
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Networked digital narratives are developed in a society marked by distrust in meta-narratives, liquidity and tension between Mass Media and New Media. This research aims to delve into these narratives from the creators' perspective, analyzing new formats, authors and creative processes that are put into practice. For that purpose, the applied methodology combines in-depth interviews with creators with discourse analysis, and arts based research with the technique of the research journal. The results reveal an overflow of the classical conception of narrative, a trend towards convergence, and the dominance of visual and sequential creative thinking over alphabetical-continuous thinking. It also shows a series of clues for the creation of digital narratives: interactivity, hyperme-dia, transmedia, virtuality and connectivity. Finally, we highlight that creators do not have preestablished guidelines and follow the procedure of trial and error for the construction of their narratives.
... Storytelling is increasingly used in business as an effective way of communicating a new idea to a skeptical audience. Denning (2005, p. 2) suggests that, " an appropriately told story had the power to do what rigorous analysis couldn't – to communicate a strange new idea easily and naturally and quickly get people into enthusiastically positive action " . ...
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Communities of practice (CoPs) are generally endorsed in higher education, but there are few examples of successful communities within the Australian higher education context. This paper articulates the experiences of members of a Faculty community of practice as they share their stories about collegial support, fellowship, inspiration, problem-solving, essential administrative backing and cheese! The stories reflect the response of a group of academics to the development of a community of practice around learning and teaching within the business faculty of a small, regional Australian university with a diverse student cohort of domestic and international on- campus and external students. We argue that CoPs provide a number of key professional supports for academic staff: real communication and ongoing dialogue across institutional barriers; a sense of trust required to open up a safe place to share common challenges and enable social learning; support and professional development for course leaders; and a model of strategic thinking and strategic action in a changing institutional environment.
... Electronic copy available at: http://ssrn.com/abstract=1874759 S. J. Kowalewski & L. Waukau-Villagomez | GJBR ♦ Vol. 5 ♦ No. 4 ♦ 2011 84 Denning (2000, 2005), Parkin (2001), Simmons (2001) and Simmons (2007) have written excellent books on storytelling in organizations. Parkin (2001) examined the resurgence of storytelling during the 1970s reporting that since this period there has been an upsurge in professional and semi-professional storytellers world-wide. ...
Article
Storytelling has a history as old as Aristotle and many cultures today have an oral tradition. Children grow up with stories, golfers entertain with accounts of wins and losses on the course, parents use them to regale “the good old days”. The use of storytelling in organizations has experienced significant growth during the last decade assisting in change management, formulation of short and long term strategy formation, and rightsizing (to name a few functional areas). This paper presents a brief history of storytelling, the uses in organizations, as well as an explanation of career narratives and how they can be utilized by both individuals and organizations to “tell their story.”
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Purpose This study aims to assess the impact of organizational storytelling on organizational performance by undertaking telecommunication companies located in the Middle Eastern nation of Jordan. Design/methodology/approach A quantitative design has been adopted to identify the impact of organizational storytelling on organizational performance, recruiting 460 employees at managerial levels from three telecom companies (Umniah, Zain and Orange). A step-wise regression analysis has been applied to analyze the data collected using a close-ended structured questionnaire. Findings A total of 284 male and 176 female employees took part in the study. The study has found a positive and significant impact of organizational learning, change management, corporate culture, training and development and leadership and indicated that these determinants positively related to organizational performance. Findings showed a positive and significant impact of organizational storytelling on organizational performance based on its components. Practical implications This study has contributed to identifying the impact of organizational storytelling on organizational performance in the telecommunication sector in Jordan. Originality/value This study is among the few to analyses the impact of organizational storytelling based on training and development, change management, corporate culture, organizational learning and development and leadership on the organizational performance of telecom companies in Jordan.
Article
Our chapter fits the theme, the interplay between creativity and control in organizations. Story is often claimed to be a way to elicit tacit knowledge from people, and their organization. We would like to suggest that this is impossibility. To story something is to shape it intuitively and willfully. Story shapes events into experience and into memory. Without story experience is just reenactment. To reenact is to relive the events, to feel the pain, fear, and terror.
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This article is critical of monological research accounts that fail to accommodate polyvocal narratives of organizational change, calling for more fully informed case studies that combine elements of a narrative approach with processual/contextual analysis. We illustrate how contrasting versions of the same change event by different stakeholders and by the same stakeholder for different audiences, raise theoretical and methodological issues in the analysis and presentation of data on organizational change. Our argument is that research narratives (that seek to develop understanding of change processes) are necessarily selective and sieved through particular discourses that represent different ways of engaging in research. They are authored in a particular genre and written to influence target audiences who become active co-creators of meaning. Organizational change viewed from this perspective is a multi-story process, in which theoretical accounts and guides to practice are authored consistent with pre-selected narrative styles. These, in turn, are purposefully chosen to influence target audiences, but this subjective crafting is often hidden behind a cloak of putative objectivity in the written and oral presentations of academic research findings. Copyright Blackwell Publishing Ltd 2007.
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