Archives for posts with tag: importance of stories

Peter GuberWith Tell to Win, Peter Guber throws his hat into the growing ring of people who understand that sometimes the distance between success and failure is a story. From the first page, Guber demonstrates both his mastery and his awareness of what makes a story work.

Tell to Win focuses on “purposeful” stories. These are stories with a mission, not just entertaining anecdotes. Guber writes, “They cleverly contain information, ideas, emotional prompts, and value propositions that the teller wants to sneak inside the listener’s heart and mind.”

Having stumbled into the field of organizational narrative many years ago, I jumped at the chance to review the book. Developing my own practice, I’ve learned from a string of intelligent, articulate practitioners. So I’m happy to report this new entry in the cannon lives up to expectations.

For one thing, it’s fun. That’s high praise. A book that doesn’t capture my interest quickly joins the pile of books I sample and pass on. This one kept me reading to the last page. I laughed, shuddered, and nodded my head as Guber spun tales of Michael Jackson’s mouse-devouring snake, Michael Milken’s “Keep dad in the game” campaign, and the New Guinean tribesmen’s plan to protect their tourists from the 9/11 terrorists.

Anyone with Peter Guber’s breadth of life experience has fascinating stories to tell, but not everyone knows how to relay them. Guber does. If the book were only a collection of his memories, it would win a place on my shelf. But Tell to Win is more than that because the author has stopped to analyze why the stories he tells, and the best he hears, are so powerfully effective.

He did not just rely on his own considerable powers of observation. He questioned people whose training and experience he could trust, people like Robert Rosen, Dan Siegel, Steven Denning, and many more. He hosted conversations at the UCLA School of Theater, Film and Television, where he is a full professor. And then he reflected, synthesized, and wrote.

Tell to WinThe result of this thorough examination will lead even the most tentative storyteller to become more adept at engaging an audience. Tell to Win starts with the “why” and leads readers through the “how”, illustrating every point and every technique with compelling stories—the kind of purposeful stories Guber believes are game changers.

These stories are game changers because they have a purpose. They are not just entertaining stories, though that is a pre-requisite. They are stories that climb into the hearts and minds of listeners, planting a seed that can grow into action.

When asked if people who aren’t natural storytellers can learn the skill, Guber replied: “Every single person who has watched television, gone to a movie, read a book, listened to a speech, read a newspaper, talked to their family is a story listener. You just turn it on its head and recognize that the same tools for listening done the other way are for telling.”

Tell to Win demonstrates this premise from the first story to the last. Along the way Guber reveals what goes into a good story, how to tell it compellingly, how to connect with an audience, and how to motivate action. Whatever sector you work in, the book will help you learn how to do what the subtitle promises: “Connect, persuade, and triumph with the hidden power of story.”

Peter Guber, Chairman and CEO of Mandalay Entertainment Group, has been a force in the entertainment industry for over thirty years. He has told memorable stories in the films he personally produced or executive produced, including Rain Man, Batman, The Color Purple, Gorillas In The Mist, and Flashdance which have resonated with audiences all over the world, earning over three billion dollars worldwide and garnering more than 50 Academy Award nominations. Guber oversees one of the largest combinations of professional baseball teams and venues nationwide and is the owner and co-executive chairman of the Golden State Warriors.

Peter Guber and Dalai Lama

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No way I could resist checking out a company that calls itself Storytellers for Good. I first learned about them through a short video that had me crying from the start. The story of the founding of Mama Hope caught me from the first shots of Kenyan women and children, dancing and singing, but I was hopelessly engrossed when a young sponsored student began talking about the woman who gave him hope.

A link from there led to the stories4good YouTube channel. Curious about the video makers, I followed a link to Storytellers for Good. Their slogan rolls easily off the tongue: “Promoting goodness…inspiring greatness”.

In the best spirit of “show, don’t tell”, they promote their work—which is helping organizations tell their stories—by highlighting the stories they have created for clients. Links to their videos are the first thing that appears when you click on their home page.

Those wanting to dig behind the videos, to understand the company and how they approach clients’ stories can click on the News/Blog link.

This is a site that will inspire anyone wanting to tell a better story of a project or initiative, but it’s also a full-meal deal for anyone with an open heart and a love of a good story.

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For years friends teased me about my unwavering loyalty to Macs. They’d brag about the prowess of PCs, their market dominance, their cheaper and more plentiful software.

They were right on all counts, and I didn’t give a fig. Not when the PC world copied Apple’s more user-friendly style. Not if my bank account was flat when it was time to buy a new computer. Not when Apple’s sales appeared to be on a terminal, downhill slide.

And I was right to hang on. The little company that could is such a power house it keeps raising the bar in the consumer electronics world. I think storytelling has played a major role.

Check out the 1984 ad that introduced the Apple Macintosh computer. Gives me the willies even today, but it became a topic of conversation and a launching pad for sales. People who saw themselves as iconoclastic, rules-breaking creatives had a new toy that set them apart from ordinary geeks.

Years and many computer versions later, the Mac vs. PC ads played on the story all faithful Mac users believe: that PCs are a sorry excuse for a computer by comparison with our beloved Macs. Here are two that tell the Mac story with humour. The first focuses on the security issues that plague PCs, the second on the long history of buggy Windows operating systems.

Mac enthusiasts have their own stories to tell. Here’s a short video comparing a 2007 PC with a 1984 Mac.

And if imitation really is a form of flattery, all the Mac ad parodies are ample indication of the power of Apple’s storytelling. A Google search on YouTube turns up dozens. You’re on your own here. I sampled quite a few of them but didn’t find any worth sharing.

While PC users were crowing about all the games and cheap software they could use on their machines, Apple’s innovators were dreaming up new ways to persuade consumers to part with their cash. The iPod was followed by the iPod Touch, the iPhone by the iPad. The company’s stories became upbeat, modern, fun. One narrative remained, and it’s been an underlying story from the start: Apple/Mac products are for the in-crowd, for those more savvy, more insistent on quality.

Never mind that the graphics argument (superiority of Macs) no longer holds as much weight, that Microsoft Office is the heavyweight champion next to Apple’s iWork (which I use and prefer), that PCs still rein supreme in the personal computer world (in spite of their susceptibility to viruses), or that other companies are coming out with competitive products (such as the Blackberry and Kindle).

My only stake in the company is as a consumer, but, I confess, I’m one of those smug Apple users. I bought the Apple story years ago and never stopped believing it, even when the company was on shaky grounds. I believe it still.

That’s a successful story.

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Missing a chance to shine

“Sol’s” story is true, though I’ve changed his name out of deference for the young hero. I met him while working as Storytelling Director for Stagebridge, the US’s oldest senior theatre company

Marijo Joseph, a talented performer who often worked with Stagebridge, was teaching Sol and some of his classmates to be storytellers. The day of their school performance, Sol nearly missed his chance to shine.

When I stopped by the office to sign in, Sol was there on “house suspension”.

“Why are you here?” I asked.

“The teacher said I was talking, but it wasn’t me.” Whatever the case, at that moment Sol was about to miss one of his few chances for positive recognition.

Marijo set off to persuade his classroom teacher to give him a reprieve long enough to perform. I chatted with him briefly, then went to the auditorium.

Sol becomes the story

Minutes before he was to take the stage, Sol hurried into the room. When his turn came, he gave a first-person narrative of a slave who had rowed hundreds of others to freedom. Sol was a natural storyteller. When he performed, he was the story. Though he was the only white child in his class, Sol crawled so completely into the character his skin color didn’t matter.

My eyes were on Sol so I didn’t notice a few classmates lifting their arms to sniff their armpits in a gesture of disdain. The mockery was cruel, but Sol often did reek of unwashed clothing on an unwashed body. His home was a van with no electricity. If he did homework it was by the glow of battery-operated tap lights. Baths and clean clothes were luxuries.

The children’s teasing was not surprising. I’d seen turkeys do the same thing. They’d spot a bit of blood on another turkey and keep pecking at it, sometimes until the victim died. In this case it was Sol’s spirit they were pecking.

Sol was one of those children who talk easily with adults but have trouble finding a niche with their peers. He was one of the few white children in the school, but deep poverty and a lack of age-appropriate social skills were what isolated him from his classmates.

He adored Marijo, who inspired him to stand tall in spite of the stones life was throwing in his path. As we left the gymnasium after the performance, Sol came up to her. “Thank you,” he said. “Stagebridge has provoked my interest in storytelling.”

Wondering how to help

Lady Laura

Lady Laura performing at the 2004 Tellabration

Success in storytelling did not improve Sol’s classroom behaviour. When she couldn’t handle him any more, the teacher transferred him across the hall, to a classroom with a male teacher.

At Stagebridge we pondered how we could help the talented but troubled young man. We decided on a modest plan to focus his energy on something besides stirring up trouble.

Aside from Marijo, he also knew one of our skilled elders, Lady Laura. She had been his classroom’s special storyteller. She was the one who had first sparked his interest in storytelling. We decided to enlist her in our scheme.

Lady Laura was a retired black school teacher. She had dealt with every kind of challenge a student could throw in a teacher’s path. She graciously agreed to go into the school and let Sol interview her, then help him write a story about her good enough to record on radio.

With Lady Laura and Sol’s teacher both supportive, I drove to the school and spoke to Sol. I reminded him that we thought he was a very talented storyteller and asked if he would be willing to interview Lady Laura and write a story for radio. He would have to agree not to act out in class between then and the radio taping, and he would have to keep up with his studies in spite of the extra work. Sol was thrilled and promised to adhere to his end of the bargain.

A small success

I’d like to report the next few weeks were smooth sailing. They weren’t. Lady Laura found working with Sol challenging. His listening and writing skills were not well developed. And, to be honest, being in close proximity to a child with no washing facilities was not always pleasant.

But they both persevered, and on the day of the radio taping, Sol was one of nine children whose stories were recorded for future broadcast on KPFA.

As usual, I had loaded my van with children and adults needing a ride to the studio. My last stop on the return trip was Sol’s. A day earlier, when I offered to pick him up at the school and take him home after the taping, he told me I could drop him off at the bus stop. He’d catch the bus home.

So I was honoured when he felt comfortable enough to let me take him all the way to the beat-up van he and his mother called home. It was parked on a freeway overpass in a neighborhood so rundown the police probably didn’t bother with anything as insignificant as a broken-down van piled high with a family’s few worldly goods.

The school year ended shortly after the radio taping. Next fall Sol was no longer in the same school. No one knew where he had gone. I’ve no idea what happened to him and don’t kid myself his life was forever transformed by his brush with storytelling.

I do know that for at least a while he knew others saw him as talented and valued. For at least a few weeks he believed he was strong enough to draw gems from the rough stones of his life. I hope the memory was a source of courage on the rough path ahead.

And sometimes, when I think of him, my heart just hurts.

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No one was more delighted with the stories of Mohammed bel Halfaoui than the storyteller himself. He had learned them from his mother, in the rhyming phrases of Arabic folktales. He would recite them in Arabic, then in French. Though the stories delighted me in the language I could understand, Mohammed always rued how much they lost in translation.

Still, the stories are layered and rich, even in English. This one seems sadly appropriate for the week after a crazed gunman in Arizona opened fire on Congresswoman Gabrielle Griffins. As I type, she lies in a hospital, a bullet hole through her head. Six others died.

It’s the day of their memorial service. Sarah Palin is accusing her opponents of “blood libel” for objecting to her placing shooting targets, aka crosshairs, on a map of Democrats (including Giffords) who voted for health care. President Obama is flying to Tucson to attend the service. His 2008 election unleashed a flood of racism and rhetoric that heightened the pervasive fear broken open by the attacks of September 2011.

The tragic shooting is leading to a lot of soul searching in a nation where bombast has replaced rational discussion in all too many arenas. Mainstream and independent media are filled with discussions about mental health, gun control, political discourse, social justice, and the need for civility.

The simple tale of a mouse and a kitten is ostensibly about two creatures who are predator and prey by nature. Their coming to that realization is normal, in the scheme of things. However, folktales are never about the surface story. Children are not born knowing who is predator and prey. They are not born recognizing The Other as enemy. This little story points out the problem, not the solution, but perhaps it can lead to some open discussion about tolerance and accepting differences.

Here, from the storyteller who gave me Man with No Brain and Habra with the Lion, comes the tale of the little mouse and the kitten.

One day, a little mouse said to his mother, “I’m big now. Let me go outside and play on my own. It’s not fair to keep me cooped up in this hole.”

The mouse’s mother had always watched over him carefully. She feared the dangers that threaten small mice. Most of all, she feared the cat, who would pounce on her child and eat him.

But at last, seeing how much her son had grown and how keen he was to explore the outside world, she agreed. “Very well, but don’t stay outside too long, and, above all, beware of the cat. He is our greatest enemy.”

The little mouse was thrilled. At last his dream was coming true. He was going outside alone, with no parents to scold him.

Field Mouse

The little mouse was outside on his own, for the very first time (Photo by Som Juan, somjuan's Flickr Photostream)

He ran outside, cheerful and proud. He felt like a grown-up mouse. He could go anywhere he wished, all by himself. He scurried around. Sometimes he stopped and raised his head, looking to the left, then to the right. Then he ran back and forth, delirious with happiness.

He was full of his new-found joy when he saw a little cat. “Oh, hooray,” he said to himself. “I can have a nice friend if this pretty little creature will play with me.”

The kitten was also out on his own for the very first time. As soon as he saw the little mouse, he said to himself, “What a pretty, sweet little creature. If only he wants to play with me!” He approached the little mouse as softly as he could.

The little mouse was delighted. “Do you want to play with me?”

The cat replied, “Yes, I do!”

The two young animals began to play tag. They wrestled and rolled on the ground. They boxed with their paws. They bit each other’s ears. They ran around in circles, chasing each other’s tails, but always gently, delighted with their game.

Kitten

Tomorrow we'll meet again and play like we did today (Photo by Buffa from thebuffafamily Flickr Photostream)

They forgot everything else until the sun began to set. The little mouse said to the kitten, “That’s enough for now. I’m afraid Mama will scold me. Goodbye.”

The kitten replied, “I’m sorry we have to stop. Goodbye. But tomorrow morning we’ll meet again and play like we did today.”

The little ones returned to their homes. When the mouse saw her son, she was relieved.

“Where were you, my child? I was so afraid for you. You were gone the whole day. I was very worried. I was afraid the cat had devoured you. Never stay outside such a long time! It’s not safe.”

But the little mouse was full of the day’s fun. He was impatient with his mother’s warnings. Finally he interrupted, “Oh, if I told you everything… I made a friend. We played together all day long. Oh, Mother, if you could see how cute he is, how handsome, how friendly. I’m sure you would like him. From now on, when I go outside, I won’t be alone. Now I have a friend to play with, from morning till night.”

His mother grew thoughtful. “Yes, my son, that’s good. That’s good. But tell me a little about your friend. Can you describe him to me?”

“Oh, Mama, if you only saw him! It’s true he’s a little bigger than I am but not too much. And his head is a little large and round. And his fur is as soft as silk, so nice to stroke. And he is yellow, and his tail is about that long and thick. And he doesn’t talk the way we do. It’s so pretty to hear him. He says, ‘Me…ow! Me…ow! Me…ow!’ Or he says, ‘Me…ew! Me…ew! Me…ew!’”

Mother Mouse was no longer listening. She had nearly fainted. What she had dreaded most had happened. It was a miracle her child was still alive.

“My dear child, your little friend is a cat! Creatures like that eat mice. He must still be very small and not yet know that mice are his daily food. But beware. His parents will tell him. Don’t go near him again.”

The little mouse didn’t understand a thing his mother said. How could such a sweet little friend ever think of eating him? He turned to his father.

Father Mouse laughed softly. Finally he said, “My little son, cats are our most dangerous enemies. Listen to your mother. Stay inside, safe from the cat. We’re warning you for your own good.”

That was the scene in the mouse’s home. Now let’s see what happened when the kitten went home. His mother was also upset and asked why he had stayed outside so long.

The kitten said, “Dear Mother, if you’d only seen the little friend I met. He’s so handsome, so cute. We played together all day long. We pretended to fight. He bit me; I bit him. He made me fall down. I made him fall down. I’m so lucky to find a good friend. I’ll never be alone when I go outside to play.”

Mother Cat was delighted to see her child so happy. Finally, she said, “Tell us about your pretty little friend.”

Cat

Little fool, and you didn't eat him? (Photo by Kevin Dooley from kevindooley's Flickr Photostream)

“Oh, Mama, if you saw him! He is little, much smaller than I am. He has a pretty, thin little tail. His little head isn’t round like mine. But he has such a pretty nose, narrow and pointed. His ears are pointed too, and so small. And he doesn’t talk like us. He says softly, ‘squeak, squeak’.”

“Little fool,” said his mother. “And you didn’t eat him? That was a mouse! And mice, you little nitwit, are what we eat. Do you understand? Cats eat mice. Always. And you actually had a mouse between your paws and let it get away and are proud of yourself? I am ashamed to have such a stupid child. Tomorrow, you must look for him. As soon as he is near, pounce. Grab him and gobble him up. Do you understand?”

The kitten could not believe his ears. “Eat him? But why? And then who would I play with?”

His father burst out laughing. “My son, listen to your mother. Cats eat mice and have since the world began. Tomorrow we will see what kind of cat you are. As soon as the little mouse comes near, jump on him and devour him. Show us that you are a real cat.

When morning came, the kitten went outside in search of the little mouse. But there was no trace of the mouse anywhere. Not in the courtyard. Not in the street.

Then the kitten saw a tiny hole. He watched it carefully and recognized the shiny eyes of his little mouse friend, safe inside his home.

In his sweetest, slyest voice, the kitten said, “Hello. Come on out, and we’ll play as we did yesterday.”

But the little mouse cried out, “Never! Everything your father and mother told you yesterday, my father and mother told me.”

And so the story ends, of the mouse who learned about cats and the kitten who learned about mice.

Cat + Mouse

Children can be taught fear. They can also be taught compassion and tolerance. (Photo by Denis Defreyne, Flickr Creative Commons)

A post script: In an opinion piece in the January 11th issue of the New York Times, Robert Wright has this to say: “The point is that Americans who wildly depict other Americans as dark conspirators, as the enemy, are in fact increasing the chances, however marginally, that those Americans will be attacked.” His piece is aptly titled: “First Comes Fear”.

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From February 2004 through April 2005 I was Storytelling Director for Stagebridge, America’s oldest senior theatre. My job was to work with seniors who were taking stories into the inner-city schools of Oakland, California. At the time, the position was supported by a federal grant intended to support literacy programs. Though reading improvement is hard to correlate with any one thing, the researchers working with the program were able to measure a statistically significant difference between students in classes with a storyteller and those without. “We’re Not Dumb Kids” is just one of many stories from an extraordinary year.

When Jim McWilliams walked into the class, a room full of fifth graders fell silent. They knew something good was coming.

Jim was “their” storyteller. Once a month the retired lawyer came into the inner-city Oakland school to tell stories to the class. When he spoke of leaders of the Civil Rights Movement, he called them Medgar (Evers) or Martin (Luther King). They had been friends and fellow activists, not just names he read in the newspaper.

The school lay in the heart of a city pocked like a bombing target. Some neighbourhoods were so derelict they looked as if they had been abandoned, and in many ways they had been. Drugs were sold openly. Violence was so common when children talked about gang beatings or drive-by shootings they were generally not referring to television shows.

Most of the houses surrounding the school were in good repair. The streets were home to Black American families with middle-class aspirations, but many of the children in the school were from families barely scraping by or living in poverty. The hills above them were populated be comfortably middle- and upper-class white families. That kind of social disparity has high costs. The average academic ranking of the students in the school was low.

I visited the school to watch Jim in action. He started out with a short folktale, something  surefire to warm up his audience. They listened, as they always did when Jim spoke, but they were listless and distracted.

Jim finished his story and looked around. “What’s wrong?” he asked.

The children answered glumly, “They’re closing our school.”

School closures were being announced regularly in the Bay Area, a curious consequence of the federal “No Child Left Behind” program that was mandating standardized tests and minimal performance standards. Schools that didn’t measure up to required standards were losing funding.

“Why are they closing your school?” Jim asked.

“Because we’re dumb kids.”

Jim McWilliams

Jim McWilliams speaking with a young admirer after a performance in Oakland, California

Jim was startled, but he understood after their teacher read part of a news release. It named schools being closed because they were “underperforming”. The kids knew what that meant. They were dumb.

“Are you dumb kids?” Jim asked.

“No,” they chorused.

“So what are you going to do about it?”

It hadn’t occurred to the children they could challenge the school board’s decision. As Jim talked with them and asked them questions, the gloom in the class lifted. Jim organized students to write letters to the school board. He taught them how to protest the closure of the school and their portrayal as underachievers, how to get on the speakers’ list at the next board meeting, how to stand up for themselves, how to contact media and enlist allies. (They learned the lesson well and talked him into coming with them to the board meeting and speaking on their behalf.)

The children’s eyes were shining when we left. They were sitting tall. They were afire with enthusiasm and not because they expected the school board to reverse its decision. Jim had been clear that was unlikely.

Jim had given them something more important than winning a battle to keep the school open. He had given them a new story. They were not “dumb kids”. They were smart, socially active fighters for justice.

I don’t know how long they held onto that new story. I don’t know how many lives were changed that day. I do know a room full of children learned they could refuse to be labeled.

And that is a powerful story.

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My friend was adamant. “There are no rats in my neighborhood!”

I’d stopped by for a visit to a lovely home in a decidedly upper-middle-class area of Seattle. On my way up to the door, I spied a big, grey rat scurrying among the garden plants. Since rats are ubiquitous, I didn’t find anything unusual about it.

The friend I was visiting was offended when I mentioned the rat. Not her fault really. Rats have a bad reputation. When we think of rats in western cultures, we think of stories such as

  • rats spreading plague in the dark days of the Black Plague
  • the Pied Piper ridding Hamelin of rats by piping an enchanting tune
  • scenes in horror films where hundreds of rats attack a bound victim
  • rats stowing on board ships
  • expressions such as “rat-faced”, “I smell a rat”, “rat on someone”, “dirty rat”

Rats are intelligent, social creatures. They don’t deserve their bad reputation. They need a new story that will rehabilitate their image. Maybe something that will make labs think twice about inflicting pain. A story that will bring respect to these much-maligned rodents.

And here it is. Bart Weetjens admires rats. He knows there are some things they do better than humans, like recognize odors. So he trained them and put them to work sniffing out land mines and tuberculosis. Turns out they trump humans and our machines many times over on both those tasks. And they ask little in return.

This TED video is twelve minutes long. Watch this, and you’ll have a new story about rats, a story that will make you look at them with respect.

This is important because so many of the stereotypes and misconceptions that divide us as people, that rip apart organizations and shatter families and plunge us into wars, are really a function of unhealthy, inaccurate, or incomplete stories. I’m not saying that telling a new story about rats would convince the fleas who feed on them not to spread diseases from rats to humans. I’m not naive enough to claim that if we all knew the stories of Osama bin Laden, Margaret Thatcher, Gandhi, and our next door neighbour, we’d usher in peace on earth.

But I do believe we’d be more careful with each other, our fellow creatures, and our planet if we acknowledged that our stories are always like the ones the blind men told about the elephant—predicated on our partial knowledge of any topic we broach.

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This little video from Brian Andreas is a good reminder that we constantly edit our lives. So we might as well edit them in a way that gives us joy and a sense of accomplishment and possibility. Otherwise we’re just dragging around a heavy bag of regret, shame, guilt, disappointment, and all those other stones that invariably drop into our lives.

The editing is a daily event. Something happens. We tell friends about it. Some parts of the story work. Others fall flat. Unless we’re completely oblivious to the reactions of others, we make mental notes of what worked and what didn’t, where people’s eyebrows furrowed in confusion, when they lost interest, and the times they were leaning forward as if they were gobbling every word we uttered.

Next time we pull out that story, we spin a version influenced by the first telling…or the first ten tellings. Eventually we settle into a version we’re happy with.

At that point additional edits are only slight tailorings for specific audiences. The story line and chosen details remain pretty much the same, and we carry that story around just waiting for an opportunity to share it.

Of course, some stories stop working for us. We move on, choose a new way of looking at our life, forgive our nemesis. So we drop the story from our repertoire or subject it to major revisions.

Ivan Doig turns it around in a way that delights me in Ride with Me, Mariah Montana. He writes: “Memories are stories our lives tell us.”

Of course, stories do more than help us figure out who we are at any given time. They also create—or divide—community. Harold Rosen once wrote:

It is an interesting feature of personal storytelling that it usually sets in motion a sequence of stories. Tell a hospital story and you will provoke others, just as jokes beget jokes. If you analyse a sequence of this kind you will almost always discover that, far from being a random collection, they constitute an endeavor to reach a collective understanding of some important theme like fear, courage, loss of eccentricity. ~ Harold Rosen, “Stories At Work”

That makes the stories we tell even more important. We live them, exchange them, and try to pair them with other stories in a never-ending dance. And how we tell them makes a difference, in our own lives, to our families and friends, and to the larger community.

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Events in the U.S. and Canada are making me think about the upcoming Reinvention Summit Michael Margolis is masterminding. From November 11 to 22 over thirty storytelling visionaries will be gathering around the electronic fire, to share their insights and spark discussion.

The summit seems particularly timely to me since two major streams of reinvention stories have been kicked off in the last twenty-four hours. How these stories are crafted and played out will have significant impact in the coming months.

Before I went to bed on November 2nd, the U.S. Democrats and President Obama were already starting to create a new story. Having retained control of the Senate but lost the House, they were beginning to shape a story that could move beyond the heady optimism of the 2008 election without losing sight of the promised changes that swept them into office.

The Tea Party was already spinning stories that made their relatively poor showing sound like a major coup. And, of course, the Republicans were crowing about their takeover of the House and conveniently ignoring the Tea Party dissidents as they carved out a story about how they were going to put the brakes on every forward-thinking program that has managed to get past their heel-dragging in the past two years.

In Canada November 3rd started with another reinvention story in the making. The Premier of British Columbia, Gordon Campbell, suddenly announced he was resigning. He’s now in his third term, with an approval rating that has sunk to 9%. He dropped hints in his speech about how he’s going to edit the story of his years in the top spot in our province.

What was particularly interesting to me was listening to both his supporters and his opposition. The stories from his supporters were predictably laudatory but showed carefully crafted and shared briefing notes. By the third or fourth supporter, I knew almost word for word what they were going to say, thanks to the story editors in the Liberal Party inner sanctum.

Believe Me

Download this storytelling manifesto to learn more about 15 storytelling axioms

On the other hand, some of his opponents, taken by surprise at the Premier’s resignation, were telling stories that were polar opposites of the ones they’d been telling during the years of Campbell’s tight control and the months of anti-HST campaigning. (For those not in BC or Canada, we’ve recently been slapped with a Harmonized Sales Tax of 12%. Depending on which stories you believe, it’s either a heinous attack on our pocketbooks or a smart approach that will bring business to the province.) I was relieved when one opponent refused to gloss over the gutting of the civil service or the privatization of so many things that were delivered into corporate hands.

In both the U.S. and Canada, there’ll be a lot of story rewrites in the coming weeks. So this is a particularly good time to jump into the Reinvention Summit and engage in some vigorous discussion about the role of stories, why they are so powerful, and what it all means for us, as story-making creatures.

Registration starts as low as $11.11. You can tune in during the scheduled times or download the broadcasts for later listening. With so many thoughtful speakers lined up, the summit will have no trouble supporting the statement, “If you want to change the world, change your story.”

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When Neil Armstrong stepped onto the surface of the moon on July 20, 1969, I was in Rome. An appliance store employee had thought to point a television toward the street and turn up the volume. A circle of excited Italians was gathered around me.

I didn’t speak Italian so it was only later that I heard Armstrong’s now-famous sentence: “That’s one small step for a man, one giant leap for mankind.” (The “a” in that sentence is not a misprint. Nearly forty years later, sound analysis confirmed what Armstrong always insisted he meant to say.)

Summer of 1969 was not the easiest time for young Americans to be backpacking around Europe. The War in Vietnam stirred anti-American sentiment to a high pitch. Hitchhikers who could be identified as from the US waited longer for rides. The French conveniently swept their own colonial presence in Vietnam under the political rug. German youth, weary of the long shadow of Nazism, were happy to have another target for finger pointing.

I’d had a year of political debates as a graduate student at the Université de Clermont-Ferrand. When the academic year ended, I just wanted to enjoy some carefree travel months before returning to the States. The fierce questions followed me into every youth hostel across Europe.

But not in Rome, on July 20, 1969. On that day I could wear my heritage proudly. For a short time, I could bask in the congratulations of an impressed world. I was part of a new story.

Stories. That’s how we remember major events. We set them into the context of our lives, give them personal meaning, exchange them like precious stones, ask each other, “Where were you when…?” The stories allow us to circle around a momentous happening, turn over the stones of our memories, and share our own perspectives.

That’s what Jay O’Callahan did when NASA asked him to create a story in honour of the space agency’s 50th anniversary. One of the three stories he chose for his extraordinary work, “Forged in the Stars”, is the 1969 Apollo moon landing.

Jay’s story adds a new stone to my collection. He tells the story through Neil Armstrong’s voice, recounting what it felt like to see the blue ball of Earth from the bleak landscape of the moon. He has generously shared an excerpt on YouTube.

I love the story he tells, both for its grandeur and artistry and also for its power to take me back to a street in Rome, in the summer of 1969.

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