You tell only the parts that propel the joke forward. It’s like telling a joke: You don’t go on detours about what the chicken was doing for the last three weeks before it crossed the road. Extraneous information slows a story down and can have people wondering about the ultimate point. But every story is really just a sequence of events that need to be told in the right order. You need emotion to make a story compelling. If you don’t care about your story, why will anyone else? You simply have to signpost your feelings and motivations, and share them authentically with the audience.Īs the old saying goes, you have to be interest ed to be interest ing. You don’t have to go into great detail or be histrionic. In fact, taking a second to say something as simple as “I couldn’t believe it!” or “At this point, I was terrified” gives your story the emotional charge it needs to connect. This doesn’t always have to be deep or complex. The more emotion you can impart in your story, the better. Consistently return to your experience of what is happening in the narrative. Structurally, you want to find opportunities in your story to weave your feelings and motivations into its events. What was motivating you? What troubled you? How did you feel about your surroundings? How do you feel now about what happened then? If you can express that, you can create connections with your listeners, and trust that they’ll be hanging on every word. So think about how you felt when your story actually happened. Carlin creates empathy for real people, drawing the listener into his narrative.Įvery story has an emotional core, and that emotional core is how the storyteller feels about the events they’re describing. You learn what people were thinking, what they were worried about, what emotions motivated them and drove them. You don’t just get a sense of what happened and when. Carlin makes history captivating by connecting historical moments with people and feelings, not just dates and events. What makes the difference is the emotion the storyteller puts into their narrative.įor example, I’m a big fan (along with three million other people) of Dan Carlin’s Hardcore History podcast. While we tend to look for exciting stories, the actual story material isn’t what separates a good story from a bad one. One captivates, while the other has the audience checking its watch. Two people can tell the exact same story with wildly different results. Good storytellers inject emotion into their stories. In this piece, we’ll be talking about those key behaviors and principles to up your storytelling game. With some attention and consistent practice, you can have people hanging on every word of your story - in bars and clubs, at professional networking events, and on dates. That’s because storytelling, like so many other skills, is just a series of behaviors and principles you have to learn. But anyone can learn the craft of storytelling. It’s true that some people have more natural storytelling ability than others. The difference between people who seem interesting and people who don’t is their ability to turn their experiences into compelling stories - which is why we make storytelling such a big part of our bootcamps. James Joyce once said he never met an uninteresting person. Everyone has a storyteller inside them, and everyone has a story to tell.
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