Appendix

The “Icon Cheat Sheet for Left Brainers”

You may use this handout for exercises that require your team to capture insights visually, including “Visual Timeline,” “Creative Tension Pictures,” “Innovation Storyboarding,” and more. This page provides a few ideas that will give team members confidence that they can communicate a great deal with a few simple stick figures and arrows, while also emphasizing that visual thinking is not an art contest.

You may photocopy this page for your use with your teams. Please keep the copyright statement on the page and don't use it for commercial purposes.

Icon Cheat Sheet for Left Brainers

Relax. This isn't an art contest. Your challenge is to populate your messages with meaning by accessing both right- and left-brained thinking styles. Your images will include a combination of quantitative and textbased information, as well as qualitative, metaphorical, image-based information. A few ideas are provided below to stimulate your thinking.

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The 10 Story Types, the Seven Basic Plots, and the 36 Dramatic Situations

Chapter 4, “Capturing Fire,” presents several classic story templates that can inform your leadership storytelling. Here is a more inclusive list from the works referenced by Blake Snyder, Christopher Booker, and Georges Polti. What do you think? Do you envision a place for any of these in your leadership storytelling?

The 10 Story Types from Snyder's Save the Cat!

  • Monster in the House: Stories of the thing that wants to invade your safe world, and eat you or destroy you (Alien, Jaws)
  • Out of the Bottle: Stories of wish fulfillment or ironic comeuppances
  • Whydunit: Solving mysteries and in the process uncovering dark truths about human nature (Chinatown, Se7en)
  • Golden Fleece: Also known as “The Road Movie”—a series of unrelated encounters that lead the hero to self-discovery (O Brother, Where Art Thou?)
  • Rites of Passage: Going through life transitions and challenges that everyone goes through. The process of life developing you into someone more fully human (Rocky)
  • Institutionalized: People constrained by the system, until one breakout person tries to assert his or her individuality (One Flew Over the Cuckoo's Nest)
  • Buddy Love: My life changed forever as a result of knowing you. This has three subcategories: love story, buddy story, and a boy and his dog. (E.T.)
  • Superhero: An extraordinary person in an ordinary world. Great people dealing with little people (Superman)
  • Dude with a Problem: An ordinary guy faces extraordinary circumstances (Die Hard)
  • The Fool Triumphant: An underdog goes up against the institution and wins (Forrest Gump)

Booker's Seven Plots from The Seven Basic Plots

  • Overcoming the Monster: The protagonist fights against an antagonistic force that seeks to overcome him or her. (Beowulf, Jaws, Alien)
  • Rags to Riches: The protagonist acquires resources (such as fame or wealth) and then loses all of it so that he or she can learn a greater lesson. The protagonist becomes even richer at the end, which may come in the form of material wealth or wisdom. (Aladdin, Steve Martin's The Jerk)
  • The Quest: The protagonist sets out to acquire something he or she desires and faces many trials, tests, and temptations along the way. (Raiders of the Lost Ark, The Wizard of Oz)
  • Voyage and Return: The protagonist goes to a strange land, encounters a series of adventures, and returns forever changed. (The Odyssey, Alice in Wonderland, The Matrix)
  • Comedy: A progression that leads the hero from confusion, to a stage of “it gets worse,” to a happy denouement in which the confusion is lifted. (Shakespeare's A Midsummer Night's Dream)
  • Tragedy: The protagonist is an antihero whose series of decisions lead to his or her fall from grace—and perhaps even to his or her death. (Taxi Driver)
  • Rebirth: The protagonist starts out as an antihero but experiences transformation and redemption by the end of the story. (Ebenezer Scrooge in A Christmas Carol, Bill Murray's character in Groundhog Day)

Polti's 36 Dramatic Scenarios

Ready to roll up your sleeves? Here are all 36 of Polti's dramatic scenarios, which show up over and over in every good novel or movie you have encountered. These scenarios attract us at a purely human and emotional level. They make for great entertainment and even great gossip. (Notice how many of these show up as headlines on gossip magazines at the supermarket checkout.) Some of these make sense in a leadership context; others have a prurient element and are likely not to be generative in your organizational stories. What do you think? Do you see a creative opportunity to incorporate any of these scenes into your leadership stories?

  • Supplication: “I'm begging for your help.”
  • Deliverance: “Save me!”
  • Vengeance for a crime: “I'll make you pay for what you did.”
  • Vengeance taken for kindred upon kindred: “You hurt my sister, so I'm going to hurt you.”
  • Pursuit: “Run! They're after us!”
  • Disaster: “It's the end of the world as we know it.” (Aliens! Meteors! Big ants!)
  • Falling prey to cruelty or misfortune: “We used to have it all. How far we've fallen.”
  • Revolt: “Fight the power!”
  • Daring enterprise: “We're on a mission to do the impossible.”
  • Abduction: “They took her away!”
  • Enigma: “All we have is this series of diabolical clues.”
  • Obtaining: “I won't give up until I get what I want.”
  • Enmity of kinsmen: “Brother rises up against brother.”
  • Rivalry of kinsmen: “Mom always loved you best.”
  • Murderous adultery: “I'll kill you for seducing my girl.”
  • Madness: “He's out of control, and no one knows what he will do next.”
  • Fatal imprudence: “I made a big mistake and now all is lost.”
  • Involuntary crimes of love: “I was blinded by love, and now look what I've done!”
  • Slaying of a kinsman unrecognized: “I thought I slew my enemy, and then I discovered he was my brother.”
  • Self-sacrificing for an ideal: “I'm willing to sacrifice all for my beliefs.”
  • Self-sacrifice for kindred: “I'm willing to sacrifice all for you.”
  • All sacrificed for a passion: “I'm willing to sacrifice all for something that is valuable only to me.”
  • Necessity of sacrificing loved ones: “I'm willing for you to sacrifice all because of my beliefs.”
  • Rivalry of superior and inferior: “The little guy goes up against the big guy.”
  • Adultery: “You violated our vows!”
  • Crimes of love: “I will love you even though I'm not supposed to.”
  • Discovery of the dishonor of a loved one: “You have brought shame on our house and family name.”
  • Obstacles to love: “I love her . . . but I can't be with her.”
  • An enemy loved: “I'm not supposed to love him, but I do.”
  • Ambition: “I will get what I want and nothing will stop me.”
  • Conflict with a god: “I will go head-to-head in a match I can't possibly win.”
  • Mistaken jealousy: “I thought you were cheating on me. It was all a misunderstanding!”
  • Erroneous judgment: “Oops. I thought you were guilty. Sorry!”
  • Remorse: “I am guilty. I admit it. I am sorry.”
  • Recovery of a lost one: “Our son was prodigal but now he is found!”
  • Loss of loved ones: “There was nothing I could do to save him.”

Note that there are many frameworks that attempt to compile archetypes. The most fascinating contemporary archive is the crowd-sourced wiki experiment at www.TVTropes.org in which story consumers all around the world are identifying and cataloguing archetypes in popular culture.

Bibliography

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Websites

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