The Structure of Storytelling or The Art of Storytelling

The Structure of Storytelling or The Art of Storytelling

It seems that with this Social Media and the new Internet marketing tools want to drive us crazy with these rare words … and now what are we talking about when they refer to  Storytelling ?

We stick to the definition of Christian Salmon that defines it as “The machine of making stories and formatting minds“. According to this idea we can consider Storytelling one of the most important tools to capture users, because the “art of storytelling” is the key for the user to share an emotional bond with brands.

The Structure of Storytelling or The Art of StorytellingThe Storytelling approach is not to persuade talking about the characteristics and virtues of a product to capture users, as was raised in advertising a few years ago, but the goal is to connect with the user’s emotional part.

The result: to  achieve loyalty with the brands and the people  behind each of them, in other words, to achieve an emotional bond based on:

  • Create interactive experiences
  • Generate relavant and useful content
  • Meet the communication objectives raised
  • Plan and follow the results

For  Storytelling it  is essential to have a structure and, on this occasion, we would like to mention that of Werner Fuchs, an expert in neuromarketing:

  • Overriding theme: Life and death, arrival and departure, love and hate, good and evil, security and fear, truth and lies, strength and weakness, loyalty and deceit, wisdom and foolishness, hope and despair.
  • The strength of the imprint: Stories can appeal to events in our lives that marked us, there are events of childhood, adolescence and youth that are part of the common pattern of growth.
  • The anchor points: The story must be linked to some of the great summaries of stories, such as the Bible, stories or sayings, where we can evoke other stories or social legitimacy that are recognized by the audience to which it is addressed
  • Structure: It must maintain a beginning, development and high point and aim.
  • Hero: People who are the audience need to project themselves into the hero. The hero in that way gives meaning to the audience.
  • Adversary: Every hero, must have a villain, but, neither is hero nor is anything
  • Escudo: Stories of solitary heroes no longer seduce the audience, currently a hero accompanied by others who complement the actions of the hero and also show contrasts in style and character, are much more accepted and can identify in different ways with the leadership of the Hero but with more of a style and personality.
  • Postponement: The emotion to produce in the audience is key to define when to brake or not.
  • Ornaments: the story to be true to the audience required to show and show some details and authenticity increases, give certainty to the stage. It reveals details that allow a better understanding of the story.
  • End: The story requires having an end fully connected with the beginning of the story, but it must allow the audience to identify and feel, but also allows them to recreate their own story.

About author

Leave a reply

Your email address will not be published. Required fields are marked *