| Even before primitive societies put chisel to stone and | | | | • What is the story’s climax or key success |
| began writing, one group held a special place in these | | | | point? |
| communities because of their communication skills: | | | | • What is our happy ending? |
| storytellers. | | | | Only when we have mapped out the story are we |
| By weaving compelling narratives, storytellers | | | | ready to begin the storytelling. As one of my editors |
| preserved communal history, entertained their fellows, | | | | used to tell me when I was in journalism, “good |
| and delivered motivation when it was needed. Over | | | | thinking makes good writing.” You can’t just |
| time, their words moved armies and inspired | | | | begin spinning tales if you don’t know where the |
| achievement. | | | | story will go. |
| Today, storytelling may seem quaint. It’s not. | | | | For example, a new product that creates a new |
| Thanks to technology, some of the largest and | | | | product category may need a first chapter that |
| savviest organizations in the world are discovering that | | | | focuses on the issue or problem that the product |
| storytelling is even more important today — and | | | | solves. Only after key audiences understand the issue |
| more powerful. | | | | can the storyteller introduce the new, revolutionary |
| Storytelling is so powerful that it should be the primary | | | | solution. And only after the solution is properly |
| goal of all your public relations. In fact, banish the words | | | | introduced can its story be told in detail. |
| publicity and public relations from your vocabulary. | | | | In public relations, storytelling is not only about a good |
| Focus on storytelling, and tap into an essential human | | | | script, but also, good execution. |
| motivator that has propelled humankind for thousands | | | | Like performers on a stage, interacting with the |
| of years. | | | | audience, PR storytelling is dynamic, involving two-way |
| When I say “storytelling,” I mean with a capital | | | | communication. Good PR storytellers adapt the story |
| “S.” Small “s” storytelling is well | | | | for each audience. They tailor staging, scenery, even |
| understood by journalists and the professionals who | | | | the actors, to deliver success. |
| work with them. I am talking about a bigger view of | | | | Like a good book, successful PR storytelling may have |
| your story than what a journalist crams into a | | | | many chapters. And while it may incorporate |
| 500-word story. | | | | unforeseen drama or plot twists, as with crisis |
| Think instead of great films, plays or books. In these | | | | communications, that doesn’t mean there isn’t a |
| larger works, a “story” unfolds. Key components | | | | happy ending. |
| are essential to a successful story: characters, | | | | This is the most important measure of PR storytelling: |
| including a hero (and maybe a villain), a plot, at least | | | | You and your organization have a goal — a happy |
| one climax, and yes, a happy ending. | | | | ending. Your happy ending is not the same as that of |
| Successful PR storytelling relies upon similar key | | | | a competitor. So how will you make sure your happy |
| elements. When working with my clients, we develop a | | | | ending is the one that defines your story? By thinking |
| “script” or plan that answers these vital | | | | like a storyteller rather than someone who is simply |
| questions: | | | | chasing the next newspaper clip or broadcast |
| • Who is the audience? | | | | interview. Remember your capital “S” story, and |
| • What do we want the audience to do or feel? | | | | your small “s” stories will come by the bucket |
| • Who are the key characters in the story? | | | | load, with more and more of them bearing your happy |
| • What is the plot or plot lines for the story? | | | | ending. |