My quest for the secrets of corporate storytelling

By Barb Sawyers

I have been telling corporate stories for many years, often about average employees riding to the rescue in the face of natural disasters, terrorism, system crashes and floods of red ink.

I’ve done it so many times it’s become automatic. But after I listened to Donna Papacosta’s presentation on storytelling to last June’s IABC Conference, I realized I’d better start thinking about how I do it.

It would have been easier to stay in my comfort zone. But fellow communicators were crying out for help. My skills needed sharpening. And I just had to add a section on storytelling to my book Write like you talk—only better.

From my feeble attempts at novels and movie scripts, I know I’m no master storyteller. But I do understand the unique rewards and challenges of corporate stories.

With the same mix of exhilaration and fear you probably feel when you venture beyond the routine to pursue the newer or better, I summoned my inner Amazon Queen and set out on a quest to discover the secrets of corporate storytelling. Those who don’t have enough time or interest to read my mini-epic can scroll down to the end where I reveal my wisdom.

Level one: anecdotes

Earlier I had written a post about anecdotes and other very short corporate stories. My thinking was that most corporate communicators were best to weave elements of storytelling into their writing. Stay away from actual stories, I warned, unless you are a Stephen King-level storyteller. You don’t want to end up sounding like your great great uncle droning on about the war when one dramatic scene would do.

Realizing that many business communicators could, and should, do more, I took another stab, a post on the magic of corporate storytelling moments.

Level two: conflicts

I called Donna and persuaded her to do a podcast together. We agreed that many organizations hate to admit they have problems, obstacles and other vulnerabilities. But without conflict to drive the plot, there is no story.

To continue the quest, I figured I should take a break from telling other people what to do and get better at doing it myself. I wrote some stories about my most difficult topic, me, including a compressed life story, driven by the conflict of competing with my genius brother.

I planned to use this as the new intro for my book. But something was missing. Few people would buy a ticket to this show.

Then a friend sent me a story she’d written for her cycling newsletter, about how the guys at her local store caught her bicycle thief. As you probably know, it’s easier to see the flaws in someone else’s work.

Level three: identification

Like so many others, my friend had confused chronology with story, starting at the beginning, then explaining what happened. I opened her story with the turning point of the conflict, discovering her best bicycle had been stolen. Then I asked the readers to imagine how they would feel. Ah-ha! The key to the next level.

I went back to my story. I realized that many people would not identify with my sibling-rivalry conflict. Even if they did, it would not motivate them to buy the book, the point of my story. I revised. Instead I opened with me turning 50 and realizing I had only 50 more years to fulfill my potential. I related it to my readers’ need to fulfill their potential through better writing.

Hollywood is not knocking on my door, but I think that more people will identify and possibly buy the book.

This part of my quest also helped me identify with the corporate folks who are reluctant to talk openly about their conflicts, obstacles and vulnerabilities. After all, what woman wants to admit she’s older than 50?

But I have to open up if I want people to identify with me. I have to admit to obstacles, vulnerabilities and issues, if I want people to be moved by my story.

Level four: happy ending

If you meet me at a chapter event and tell me I don’t look a day over 40, I will be your friend for life. So will Donna. And we’ll happily chat about the five secrets of corporate storytelling, revealed through my quest.

1. Lead with the conflict, to draw in your audience.
2. Immediately introduce a hero who people can identify with.
3. Describe only details required for character or plot development.
4. Have the hero surmount obstacles on the way to resolving the conflict.
5. Set up the point of your story in the introduction, develop it in the plot and hammer it in the conclusion.

The quest will continue, when I listen to Donna’s upcoming podcast with Microsoft’s new senior director of story telling.

Writer and trainer Barb Sawyers blogs about communication at StickyCommunication. The new edition of her book, Write like you talk—only better, will be available soon in print and for e-readers.