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Keith Reynold Jennings

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Articles on Success, Significance and the Evolving Role of Work

Is Your Story Missing This Key Ingredient?

Trekking above Pheriche. Photo by Didrik Johnck

What makes a story a story?

Have you ever asked yourself that question?

What I’ve discovered is that there isn’t a lot of agreement or consistency out there on what a story actually is.

Some say it’s a plot with characters. Dictionaries say it’s an account of incidents or events. Others propose it’s a comedic, tragic or dramatic device used for entertainment purposes.

In his book Story Proof: The Science Behind the Startling Power of Story, Kendall Haven argues —with far too few stories over far too many pages — that a story is “a detailed, character-based narration of a character’s struggles to overcome obstacles and reach an important goal.”

Yet one of my favorite films, Lost in Translation, doesn’t fulfill this definition. Nor does flash fiction. And these tell vivid stories.

My working definition of “story” is an account of a being’s struggle against itself, others, a system or nature. The account can be written, spoken and/or visual. And the being can be human, animal, alien or god.

Conflict makes a story a story.

Screenwriters and playwrights get this. Fiction writers and songwriters get this. Journalists and marketers — well, the good ones anyway — get this.

We are drawn to stories in which someone faces conflict. The greater the conflict, the deeper we connect and care.

The most popular reality television shows use profile stories built on conflict to connect viewers with the contestants. Watch an episode of The Voice, American Idol, Chopped, American Ninja Warrior, The Biggest Loser or Shark Tank and study how they package each person’s story with their performance.

Here is an example:

Conflict exists internally (inside our heads and hearts) and externally (in the world around us). It is broken into four types of struggle:

  1. Man vs. Man
  2. Man vs. System (or Society)
  3. Man vs. Nature
  4. Man vs. Self

Business or Literature?

It was a college football weekend in 1990. My folks were in town for the game and I was being torn apart inside.

That Monday was the deadline for me to declare my major. And I didn’t know what to do.

I had gone to college to study business. I had taken all the prerequisite business courses. But I felt like I was selling my soul. The things that made me come alive were literature, psychology and creative writing.

It was clear that not pursuing a business education would greatly disappoint my parents. Especially my dad, who thought I should be positioning myself for employment.

What would you have advised me to do?

Conflict is an essential ingredient in storytelling.

It reveals the incompatibility between two forces. And revels in our innate need for resolution.

Even though I didn’t invest a lot effort in connecting you emotionally with my college story, I did introduce conflict — me having to choose between my head and my heart, myself and my parents.

What makes businesses and brands so boring and one-dimensional is the lack of conflict in their manufactured marketing stories.

Their case studies pose plastic problems with predictable solutions (using their proprietary process or product, of course). Their testimonials shine like a blurb on a book cover — “Riveting,” says J. Williams Dunkin, founder of AmeriCopy Technologies. Their products are cost-effective, innovative solutions using next generation, real-time technology guaranteed to increase profit and market share.

Where’s the conflict? Where’s the care?

So what does this mean for you? How can you inject conflict into the narrative of your company, cause or career? And how can you accomplish this in a genuine way?

1. Start with how you answer the questions, “Who are you, what do you do and why?” Tell a story that pits you, your company or product/service against a system or others out there doing something wrong.

2. Tell stories that show you understand those you serve. Show how your clients or customers are up against others, a system, nature or themselves. And how others like them have overcome it.

Let’s imagine you’re company provides massage services to local businesses.

You might start your story with the adverse impacts working all day in a cube has on associates — tension, fatigue, distraction, mistakes. Then tell the story of a skeptical cube warrior who decides to try a 15-minute onsite massage. And how much better they felt the rest of the day. You might even tell how it impacted how they felt about their job and employer.

And here’s the catch. This story doesn’t have to be about your services. Maybe it was the story that inspired you to start your massage business. You do what you do because you want companies in your region to be better at what they do.

Do you embrace conflict in your stories? Or do you feel stuck telling one-dimensional success stories?

For a story to change us in some way, it must engage us in a deep, emotional way.

Stories that embrace conflict — stories in which people like us overcome others, nature, a system or themselves — are connective agents for our businesses and brands.

I still remember that crisp Autumn Monday during college, when I walked into the administrative offices and signed my intention to major in English (with an emphasis in Literature) and minor in psychology.

That decision changed my life.

I spent the next two years learning about what makes people tick as well as how the world’s greatest stories are designed.

Following college, I learned business and marketing in the real world, working under the mentorship of some amazing entrepreneurs. One even turned out to be an English major like me.

And I’ve found myself at a time and place — in today’s digital, post-modern world — where I possess a combination of skills very few professionals have. I am a writer and storyteller with deep experience aligning stories with business strategies that grow companies and launch careers.

These days, I’m up against a system that values facts, figures, features and fear over stories. Even though the evidence is crystal clear that stories are scientifically proven to engage people and move them to action.

What about you? Where is the conflict in your story? In your customers’ stories?

Are you up against others? Nature? A system? Or yourself?

I would love to hear your thoughts. Feel free to email me, comment or reach out on Twitter or Google+.

Photo by World T.E.A.M. Sports on Flickr. Used under Creative Commons license CC BY-NC-SA 2.0.

What Job Are You Hiring Your Website To Do?

This is one of the first questions I ask the executives I advise.

The second question I ask sheds light on their strategy from an equally important direction: What job are your customers hiring your website to do?

These two questions help bring to the surface important — often unspoken — stories we tell ourselves about the identity, role and purpose of our brand or business.

In this post, I want to focus on the job you hire your website to do.

Did You Say “Hiring” a Website? Yep — Here’s Why

In the brilliant Harvard Business Review article, Marketing Malpractice: The Cause and the Cure, Clayton Christensen et al argues that we essentially “hire” products and services to do specific jobs for us.

A morning commuter may “hire” a milkshake to make it to work and lunch with minimal effort, while a parent may “hire” that same milkshake to bond with a child.

I hire Amazon to buy books and other stuff. And I hire my truck to get me to kids’ activities, my office and trailheads. You may hire a film or dinner for a date night. Or hire a certain brand of shoes for running.

Once we see the world through this mindset of “hired jobs” it changes the way we approach our strategy.

We are hiring our website to do a specific job for us, while prospects, clients, partners and job seekers are hiring our website to specific jobs for them.

The 3 Jobs Your Website Can Do For You

You can hire your website to essentially do one of three jobs:

1. Build trust. This is the least expensive and time-consuming type of website to build, because it uses content to inform and inspire. As leads are identified in the field, this type of website reinforces the stories the sales folks are telling.

Most professional service firms and creative freelancers need a website that simply supports their sales efforts, which are primarily relationship-driven and occur offline.

2. Generate leads. This type of website requires a greater investment of time and technology, because the site’s architecture needs to be built to effectively learn about and lead each new visitor.

Staffing firms are a good example of businesses that need websites to generate leads. While sales teams are calling on clients to win bids for job placements, they must also be amassing a large database of active job seekers to fill those jobs as they come available. Job boards, especially, can serve as terrific lead-generation websites.

3. Transact with customers. The most expensive and complex websites are commerce sites. Think Amazon and Walmart. Of course, your site can be a commerce site on a much smaller scale. But a lot of thought, work and service must go into creating and maintaining a safe, reliable user experience in which people make purchases.

Of course, there is a fourth option, but I don’t recommend it — you could “hire” your website to be your website.

I’ve seen too many companies and creatives do this. They need a website, so they hire a team to build a website. Which, of course, turns out to be a digital brochure on how awesome the company, product or service is. And how bad we need their also-ran solution.

A business’ website is a connective agent. It is not a channel for self-expression. It is not a campaign of what I call the 4Fs — facts, figures, features and fear.

It is a place for you to serve people. For their benefit. Then yours.

StudioPress hires its website to transact with WordPress theme buyers. eHarmony hires its website to transact with people looking for relationships.

David Meerman Scott “hires” his website to build the trust of event coordinators and corporate planners looking to hire him as a keynote speaker. He hires his blog to generate leads. Jay Baer takes a similar approach by splitting his agency’s website from his personal brand’s website.

Leah Hewson “hires” her website to build trust through showcasing her artwork for potential commissions.

What job are you or your business hiring your website to do? If you are currently hiring it to do a) the wrong job, b) more than one job or c) no job at all, then it’s time for a new strategy.

I sincerely hope something I’ve written here helps you get started. If I can answer any questions, feel free to email me or comment.

The Stories We Tell

Screen Shot 2014-06-30 at 3.16.41 PM

That image, above, is a line from the letter John Adams wrote his wife on July 3, 1776.

The previous day, the Second Continental Congress approved the resolution of independence. In this letter, Adams wrote, “The Second Day of July 1776, will be the most memorable Epocha, in the History of America.”

It appears many historians believe the Declaration of Independence was signed on August 2nd.

Yet we celebrate Independence Day in the United States on July 4th. Not the date of our country’s independence. Not the date of the signing of the Declaration. But the adoption of it.

What’s also interesting is that, years later, both Jefferson and Adams wrote of that time spent drafting the Declaration; however, their stories are contradictory.

It seems the best stories are messy. They’re remembered and re-told in different ways.

A Film Worth Watching

This past weekend, I watched Sarah Polley’s film, Stories We Tell.stories_we_tell

Have you seen it? It’s incredible.

I promise not to divulge any spoilers, but it’s a look at how we remember and retell the past. It’s about how a group can experience the same event and recall it differently. It’s told through the story of Polley’s mother.

It is masterful storytelling.

The big aha moment for me was when Polley’s dad reads an extended quote from Margaret Atwood’s novel, Alias Grace:

When you’re in the middle of a story, it isn’t a story at all. But only a confusion. A dark, roaring. A blindness. It’s only afterwards that it becomes anything like a story, when you’re telling it to yourself or someone else.”

Stories must be told.

They exist in the past or future, never in the present. The present is simply fragments of information.

Think about what you’ve done so far today. Woke up. Maybe sipped a cup of coffee while checking email or reading the news. Got ready and went to the office. Or local café. Had a meeting.

This isn’t a story. It’s fragments.

Think about the three most important and impactful narratives told to us and by us:

  1. Genesis (or Creation) Narratives — These tell how something came to be. The founding of America is a Genesis narrative. So is the story of Steve Wozniak building the Apple I computer in Steve Jobs’ parents’ garage.
  2. Quest (or Promised Land) Narratives — These tell of a journey by a hero or people. Either in the past, like Moses leading the Israelites out of Egypt. Or in the future, like John F. Kennedy’s “Man on the Moon” speech.
  3. Root Cause Narratives — These tell how and why things happened the way they did. Why things went wrong. Or why they went right. Listen to the commentary before, during and after sporting events. They are predominantly root cause narratives. And the stories emerge as the event fragments pass.

Stories exist in either the past or the future.

They tell us what happened. Or what will happen. Why. And how.

They are a mixture of facts, opinions, myths and nostalgia — unique to the teller.

They are the brain’s way of finding meaning and connection in the fragments.

They help us make sense of things.

They help us cope, hope, overcome and remember.

On the surface, Polley’s film appears to be an expression of her family’s history. But, as it is with all great stories, a magic trick is happening.

It’s not really about Polley and her family. It’s not an act of expression. It’s an act of connection.

It’s about us. It’s about family. It’s about how we all tell stories.

It embraces each person’s unique weaving together of the event fragments in their lives.

If only we could embrace this in the business world.

Too often, we’re trying to force-feed manufactured narratives to those we serve. And it feels unnatural. We all know it, but we mistakenly believe that’s what marketing is supposed to be — acts of perfectly packaged self-expression.

What if we designed stories to be connective agents? Not only between our business and its customers. But what if our stories connected our customers to themselves and each other?

Questions for You to Consider

  • What is your Genesis story? Do you have one?
  • What about your Quest story? Where are you headed? When do you expect to get there? Why is it so important to you?
  • How do you share what’s working and not working in your business life — your root cause stories?
  • Is your story limited to you? Or is it bigger than you?

I encourage you to listen carefully to the stories around you. The way you become a better storyteller is to immerse yourself in the stories people tell. And the ways in which they tell them.

If you find yourself looking for something to watch over the weekend, check out Polley’s film. Watch the trailer below and see if it connects with you.

As always, I love to receive your feedback and questions. Your stories are the reason I write this blog.

What’s His Dog’s Name? A Servant Leadership Story

Article in Brief: You’ve probably heard, “It’s not personal, it’s business.” Well, that’s wrong. Business is personal. This article shares a story to help you better serve your employees, partners and clients through servant leadership. [Read more…] about What’s His Dog’s Name? A Servant Leadership Story

Instead of Using Stories to Change Someone’s Mind, Use Stories to Change This…

The movements which work revolutions in the world are born out of the dreams and visions in a peasant’s heart on the hillside.” ― James Joyce, Ulysses

5325950997_04b0003562_zLast October, a surprising study was published in the journal, Science.

Social psychologists at the New York City-based New School for Social Research recruited people from 18 to 75 years of age for an experiment.

The participants were paid to read stories or articles, then take computerized tests in which they predicted and measured a person’s emotions, expectations or beliefs in a specific situation.

Some read award-winning literary fiction. Others read popular best sellers, romance novels and science fiction. Others read nonfiction, like Smithsonian Magazine.

The study found that those who read literary fiction scored higher on empathy, social perception and emotional intelligence than all of the others. Why? They believe it’s because the complexities in literary fiction require readers to make inferences through use of their imagination.

Think about it. With most of the stuff we read (yes, even including this post), the author tends to drive, while the reader plays a more passive role. But with literary fiction, the reader plays a more active, participative role.

I led this post with James Joyce in the hope of opening your mind and heart to the idea I want to share. Plus, that particular passage tees up this post’s topic rather well.

Change. Innovation. Transformation. Revolution. These begin as stories we tell ourselves.

So what is it about certain stories that drive people to change, while most information comes and goes with no real impact whatsoever? Is it that certain stories change minds?

I used to think so. I don’t now.

A “mindset” is a mental attitude or inclination, according to Merriam-Webster. The medical definition of mindset extends on this description to say it is a tendency or habit.

It’s a relatively new word, not appearing until the 1920s. It took off in the 1980s, according to Google’s Ngram Viewer, and continues to rise in use today.

Mindset change is a big idea. It describes a shift in how you perceive something in the world. It reframes it.

Seth Godin says most companies (and marketers) waste obscene amounts of time, energy and money trying to find customers for their products and services — trying to change minds with gimmicks and advertising. Instead, he says, they should find products and services for their customers.

That’s mindset change. It starts with the story we tell ourselves.

Instead of using stories to change minds, use stories to change mindsets.

Mindset change is what stories do best. They help us see the familiar in unfamiliar ways. They also help us see the unfamiliar in familiar ways. They put us in other’s shoes. Help us see the world through their eyes. Feel what they feel.

I think that’s what that study discovered about literary fiction’s impact. In a world in which most of the things we read are topic- or plot-driven — not to mention dumbed down and packaged for popularity — a rich, complex story can feel risky. Because it will only resonate with a few who deeply care.

But isn’t that who we most seek to serve? What if we revealed our deep care for those we serve by giving them stories and information about which they deeply care? What if we helped them change in some transformative way?

Mindset change can impact lives, companies, industries and even communities.

Which leads to an obvious question: Aren’t mind change and mindset change essentially the same thing? I don’t think so.

Mind change is episodic — short-term. You can change my mind today, but I can change it back or let someone else change it tomorrow.

Mindset change is systemic and long-term. When you see someone or something through a new frame, it perpetually changes the way you feel, trust and respond.

I like to think of it as state-of-mind change (mind change) versus frame-of-mind change (mindset change).

In last week’s post on why stories matter, I shared Jacqueline Novogratz’s story about her blue sweater. She’s not trying to change people’s minds so they’ll donate a few bucks. She’s trying to change our mindset about solving third world problems, so we will invest in sustainable solutions.

Same with Mister Rogers. He wasn’t trying to change Senator Pastore’s mind. He was trying to change his mindset about childhood development in the era of television.

Jerod Morris is working to change mindsets through Primility — a word he coined to communicate how balancing pride and humility helps you achieve the thing you love and are capable of achieving. Read how he tells the story (and helps others tell the story) of what the word “primility” means.

Randy Elrod is working to change mindsets through his story and organization. His mission is to pour into and renew creatives serving as ministers — a role notorious for burnout and broken families.

I am working to change mindsets about the role stories and other forms of content play in our work life. They are not a marketing thing. Stories and content are a leadership thing. And I’m on a search for leaders, executives, entrepreneurs, creatives and influencers (you?) who get this.

What is the mindset change you seek? What stories and information are you sharing to change the mindset of those you serve?

In the entertainment world, the job of a story is to entertain. But in the business, social enterprise and nonprofit worlds, the job of a story is to change people. Blow their minds. Open their hearts.

And like a dream or vision by a peasant on a hill, the most important job of a story is mindset change. The heart quickly follows.

So how does this make you feel? What’s going through your mind right now? Please share in the comments. I promise to reply.

Would you email a link to this post to someone it might help you help? It could be someone starting out or over in their career or business. Or someone looking to take their career, company or cause to the next level.

Thank you so much for reading!

(Image in this post by Sarah Horrigan — Attribution-NonCommercial 2.0 Generic (CC BY-NC 2.0)

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