Index
Page numbers followed by f refer to figures.
A
actionable stories, 7–8
action lists, 72f, 76–78, 76f–79f, 81–83, 121f, 122f, 131f
Action List Template, 286–287, 298–299, 304
action(s), 109–125. See also conflict; storyboards
asking learners to take, 207–209
building the story with, 131, 131f, 132
as conflict, 117–118, 122
connecting a story to, 14, 14f
mapping the plot with core, 142–143, 159
motivation of character to perform, 119, 119f, 120, 122, 123, 123f
observable, 72–74
organized, 75–82
realism of, 115–117, 116f, 117f, 122, 122f
showing the, 115–120, 124–125
ADDIE model, 11–14, 12f, 271. See also Deliver; Design; Discover
adjectives and adverbs, extraneous, 153–154, 292
animated video, using, 197, 197f
appearance, of characters, 95
ATD Dallas, 1
attitude, training for, 37
audience, 47–83
data about your, 51–59
discovery of story premise by the, 155–156, 162, 292
explaining benefits to, 57–58
fears and risks pertaining to your, 56–57
getting to know your, 60–66
large corporate, 61
observable actions with, 72–74
organized action with, 75–82
personal information on, 52–53
pre-existing knowledge of, 53–54
small targeted, 61
summary profile of, 59, 60f
talking straight with your, 71
technology and logistics questions for your, 58–59
type of, 130–131
untouchable, 61
using an action list with your, 72f, 81–83
values and motivation of, 54–55
work circumstances of, 55–56
audience profile, 59, 60f
adding details to characters using, 95–101, 102f–104f, 104
Audience Profile Questionnaire, 282–285, 298, 304
audio, using, 192–196, 193f, 194f
augmented reality (AR), 269
aware, being, 83
B
backstories, 10, 99–100
becoming a story designer, 259–273
and learning about technology, 261–262
by using blended learning, 263–264
by using branching scenarios, 262–263
by using games, 266–268
by using immersive technologies, 268–269
by using microlearning, 264–266
beginning, building context at the, 251
being aware, 83
benefits
in Audience Profile Questionnaire, 285
explaining, to your audience, 57–58
in PIBS model, 80, 81
blended learning, 263–264
blended learning case studies
PepsiCo, 232–237
Pizza Hut, LLC, 226–229
Boller, Sharon, 266
brain activity, 8, 247
branching scenarios, 262–263
building the story, 127–162, 251–253, 252f–253f
and characters’ actions, 131, 131f, 132
by connecting with the character, 143, 144, 144f, 159, 291
by eliminating extraneous words, 153–155, 161
by escalating the conflict, 146–148, 160
with fiction, 135–137, 138f
and having a premise, 129–130, 130f, 158, 290
by letting your audience discover the story premise, 155–156, 162, 292
by making it concrete, 152–153, 161, 291–292
with metaphor, 138–142, 141f
with nonfiction, 132–135, 135f
and type of audience, 130–131
and using core actions to develop plot, 142–143, 159
by using dialogue, 146–152, 160, 177f–178f, 291
by using scenes, 156–157, 157f
by using story seeds, 132–142
using verbs for, 144–146, 160, 291
Build the Story Worksheet, 290–292, 299–301, 305–306
business outcome, and stakeholder conversation, 25–26
C
case studies, 221–242
compliance training (Southwest Airlines), 229–232
leadership training (Pizza Hut, LLC), 226–229
new manager orientation (service industry corporation), 237–239
sales training (PepsiCo), 232–237
systems training (global electronics distributor), 239–242
Center of Restaurant Excellence (Pizza Hut), 226
Character Description Worksheet, 105, 105f, 106, 116f, 288, 299, 305
characters, 10. See also relatable characters
choices, designing plausible, 209–210
comfort zone
in Audience Profile Questionnaire, 284
of your audience, 56–57
commitment
audience, 56–57
in Audience Profile Questionnaire, 284
competency, storytelling as, 16–17
compliance training, business outcome in, 26
compliance training case study (Southwest Airlines), 229–232
conflict(s)
action as, 117–118, 122
building the story by escalating the, 146–148, 160
realistic, 123, 124, 124f
relatable characters in strong, 15, 15f, 93–94
constraints, and creativity, 200
content, rearranging, 252
context
building, 251
as storytelling element, 267–268
core actions, mapping the plot with, 142–143, 159, 290
corporate audience, large, 61
creative process, 6, 200
credibility, internal, 256–257
customer service training, 29–30
D
data
audience, 51–59
winning over shareholders by using, 254, 255f, 256–257
Deliver (in ADDIE model), 13, 163. See also tool(s); training with stories
global electronics distributor case study, 242
in PepsiCo case study, 236–237
in Pizza Hut, LLC case study, 229
service industry corporation case study, 239
in Southwest Airlines case study, 232
delivery method, 169–170, 170f, 184
descriptions, of relatable characters, 93–95
Design (in ADDIE model), 12–13, 85. See also action(s); building the story; relatable characters
global electronics distributor case study, 241
in PepsiCo case study, 236
in Pizza Hut, LLC case study, 229
service industry corporation case study, 239
in Southwest Airlines case study, 231–232
design continuum, 53f, 54, 205, 206f, 246, 246f
Design for How People Learn (Dirksen), 7
dialogue, building the story by using, 10, 146–152, 160, 177f–178f, 291
Dirksen, Julie, 7
Discover (in ADDIE model), 12, 19. See also audience; stakeholders
and creating relatable characters, 91
global electronics distributor case study, 241
in PepsiCo case study, 235–236
in Pizza Hut, LLC case study, 228
service industry corporation case study, 238–239
in Southwest Airlines case study, 231
distractions, asking about, 41
Duarte, Nancy, 248
E
e-learning case studies
global electronics distributor, 239–242
PepsiCo, 232–237
emotional language, 8
emotional stories, 8–9
end, bringing the story back at the, 251
engagement, 10
equivalents, 141–142
escalating the conflict, building the story by, 146–148, 160
evaluation (in ADDIE model), 13–14
examples, asking for, 41
extraneous words, building the story by eliminating, 153–155, 161
F
fears
in Audience Profile Questionnaire, 284
of your audience, 56–57
of your characters, 98–99
feedback, 211–214, 211f–215f, 217
providing guidance with, 11
in Story–Reflection–Solving–Feedback worksheet, 295
from subject matter experts, 230
winning over shareholders by sharing, 254, 255f, 256–257
fiction, as story type, 135–137, 138f
flight simulation, 8
“fluff,” stories as, 245–247
G
games and gamification, 266–268
The Gamification of Learning and Instruction (Kapp), 267
The Girl Effect, 190
global electronics distributor (systems training case study), 239–242
goal of training, 8, 31–33
graphics, using, 190, 191f, 192
H
Haidt, Jonathan, 8–9
The Happiness Hypothesis (Haidt), 8–9
Harvard Business Review, 247
Heath, Chip, 7
Heath, Dan, 7
I
ideal solution, 27–28
immediacy, using dialogue to increase, 148–152
immersive technologies, 268–269
importance, in PIBS model, 80, 81
information, personal. See personal information
initial indicators, asking for, 40
instructional design, and Story Design Model, 11–14
Instructional Story Design Plan, 297–301
action list in, 298–299, 304
audience profile summary in, 298, 304
character descriptions in, 299, 305
goal of training in, 297–298, 303–304
and producing your story, 300–301, 306
sample completed form, 303–306
and writing your story, 299, 305–306
instructor-led compliance training case study (Southwest Airlines), 229–232
instructor-led sales training case study (PepsiCo), 232–237
intellect, appealing to stakeholders’ intellect, 247–248
internal credibility, 256–257
intros, musical, 194
J
jumping-off point, creating relatable characters at, 91, 91f–93f
K
Kapp, Karl, 264–267
Key Account Academy (PepsiCo), 232–233
key moments, using music to accentuate, 195
KSA filter, 27–38, 28f, 41f
L
language, emotional, 8
large corporate audience, 61
leadership training case study (Pizza Hut, LLC), 226–229
learning management system (LMS), 59
logistics
in Audience Profile Questionnaire, 285
and your audience, 58–59
M
Made to Stick (Heath and Heath), 7
making it concrete, building the story by, 152–153, 161, 291–292
mannerisms, characters’, 95
Map It (Moore), 262–263
meaning, as storytelling element, 267
memorable stories, 7
memorization, 169
metaphor(s)
and equivalents, 141–142
as story type, 138–142, 141f
metrics
asking for, 40
before/after, 221f–222f
winning over shareholders by using, 254, 255f, 256–257
microlearning, 264–266
mirror neurons, 8
mood, creating a, 24
Moore, Cathy, 262–263
motivation
in Audience Profile Questionnaire, 283
of characters, 119, 119f, 120
of your audience, 54–55
music, 194–195
N
names, character, 100–101
neurons, mirror, 8
new hire onboarding, 33–34
new manager orientation case study (service industry corporation), 237–239
noncommitment, audience, 56–57
nonfiction, as story type, 132–135, 135f
O
orientation case study (service industry corporation), 237–239
outros, musical, 194–195
oxytocin, 247
P
pace, setting a realistic, 257–258
peers (of characters), 94–95
PepsiCo (sales training case study), 232–237
personal information
about your audience, 52–53
about your characters, 96
in Audience Profile Questionnaire, 282
personal opinions, asking for, 39
PIBS model, 80–82
Pizza Hut, leadership training at
and blended learning, 264
case study, 226–229
plausible choices, designing, 209–210
Play to Learn (Kapp and Boller), 266
plot, 8, 142–143, 159
PowerPoint, 9, 190, 191f, 193, 247, 263
premise
building the story by having a, 129–130, 130f, 158, 290
letting your audience discover the, 155–156, 162, 292
PRIMED for Learning framework, 38–42, 133, 135, 258, 281, 297, 303
professional position, of characters, 93
profile, audience summary, 59–60
purpose, in PIBS model, 80, 81
R
realistic pace, setting a, 257–258
reality, designing in, 38
real people, relatable characters as, 104–106, 105f
real stories, asking for, 40
rearranging content, 252
red flags, action list, 79f
reflection questions, 206, 206f–207f, 207, 215–216, 294
relatable characters, 87–107
appearance and mannerisms of, 95
backstories of, 99–100
building the story by connecting with, 143, 144, 144f, 159, 291
building the story with actions of, 131, 131f, 132
creating, at jumping-off point, 91, 91f–93f
descriptions of, 93–95
fears facing, 98–99
names of, 100–101
peers of, 94–95
personal information about, 96
professional position of, 93
as real people, 104–106, 105f
in Story Design Model, 91, 91f
in strong conflict, 15, 15f, 93–94
using audience profile to add detail to, 95–101, 102f–104f, 104
using your voice to create, 168–169
values of, 96
work circumstances of, 97, 97f–98f, 98
relevance, as storytelling element, 267
resistance, dealing with, 243–247
resolution, desire for, 16, 16f
Resonate (Duarte), 248
resources, giving learners access to, 210
risks
affecting your audience, 56–57
in Audience Profile Questionnaire, 284
role play sales training case study (PepsiCo), 232–237
root problem, identifying the, 26–27
S
sales training, 30–31
sales training case study (PepsiCo), 232–237
scenes, building the story by using, 156–157, 157f, 176f–177f
script, reading from a, 169
service industry corporation (new manager orientation case study), 237–239
short projects, starting with, 253
Show the Action Worksheet, 123, 124, 124f, 289, 299–301, 305–306
“similar to,” in PIBS model, 80, 81
simple, keeping it, 188
simulator training, 8
“sit and get” learning experiences, 231
small, starting, 253
small targeted audience, 61
SMEs. See subject matter experts
solving, 207–210, 208f, 209f, 216–217, 295
sound effects, 195–196
Southwest Airlines (compliance training case study), 229–232
stage, setting the, 24–25
stakeholder conversations
essential questions in, 25–28
KSA filter in, 28–38
stakeholders, 21–45. See also winning over stakeholders
and business outcome, 25–26
and goal of training, 31–33
and ideal solution, 27–28
PRIMED framework with, 38–42
and root problem, 26–27, 38
setting the stage for, 24–25
and training for attitude, 37
using the KSA filter with, 28–38
standing still, 169
stories, 6–11
as actionable, 7–8
asking for real, 40
benefit of using, 7
building (See building the story)
as emotional, 8–9
as “fluff,” 245–247
as memorable, 7
in talent development, 10–11
text-only, 188–190, 189f–190f
training with (See training with stories)
storyboards, 171–185
creating, 171–174, 172f, 173f
examples of, 174–178, 174f–175f, 180, 180f–183f, 183
Storyboard Template, 293
Story Design Model, 1–2, 14–16, 280. See also becoming a story designer
appealing to stakeholders’ emotions with, 248
conflict and desire for resolution in, 117f
convincing stakeholders to adopt, 249, 251–253
creating internal credibility for, 256–257
and instructional design, 11–14
and quality of work, 257–258
relatable characters in, 91, 91f
training with stories in, 205, 205f
story-listeners, brain activity of, 8, 247
Story–Reflection–Solving–Feedback worksheet, 214, 215f, 294–295
story seeds, 132–142
fiction, 135–137, 138f
metaphor, 138–142, 141f
nonfiction, 132–135, 135f
storytelling
as competency, 16–17
winning over stakeholders to, 243–258
Story Worksheet, 157, 157f
subject matter experts (SMEs), 12, 37, 230, 263, 267
summary profile, audience, 59, 60f
systems training, 35–36
systems training case study (global electronics distributor), 239–242
T
talent development, stories in, 10–11
talking straight, 71
targeted audience, small, 61
teamwork, 9
technology(-ies)
in Audience Profile Questionnaire, 285
immersive, 268–269
keeping pace with, 261–262
and producing the story, 301
and your audience, 58–59
text-only stories, 188–190, 189f–190f
tool(s), 165–185, 167f, 187–200
animated video, 197, 197f
audio, 192–196, 193f, 194f
and delivery method, 169–170, 170f, 184
graphics, 190, 191f, 192
storyboards as, 171–178, 172f–183f, 180, 183, 185
text-only stories, 188–190, 189f–190f
video, 197–199, 197f, 199f
your voice, 168–169
training
for attitude, 37
goal of, 8, 31–33
training with stories, 201–217
and feedback, 211–214, 211f–215f, 217
and reflection, 206, 206f–207f, 207, 215–216
and solving, 207–210, 208f, 209f, 216–217
in Story Design Model, 205, 205f
U
underscoring, with music, 195
untouchable audience, 61
USB mics, 192
V
values
in Audience Profile Questionnaire, 283
of your audience, 54–55
of your characters, 96–97
verbs, building the story with, 144–146, 160, 286, 291
video
animated, 197, 197f
using, 198–199, 199f
virtual orientation case study (service industry corporation), 237–239
virtual reality (VR), 268–269
visuals, building the story with, 178f–179f
voice, using your, 168–169
W
“Why Your Brain Loves Good Storytelling” (Zak), 247
winning over stakeholders, 243–258
by appealing to their emotions, 248–249
by appealing to their intellect, 247–248
by involving them in creating the story, 249–251
by setting a realistic pace, 257–258
by sharing feedback, 254, 255f, 256–257
by starting slow and steady, 251–253, 252f–253f
by using metrics, 254, 255f, 256–257
who think stories are “fluff,” 245–247
words, building the story by eliminating extraneous, 153–155, 161
work circumstances
of your audience, 55–56
of your characters, 97, 97f–98f, 98
worksheets
Build the Story Worksheet, 290–292, 299–301, 305–306
Character Description Worksheet, 105, 105f, 106, 116f, 288, 299, 305
Show the Action Worksheet, 123, 124, 124f, 289, 299–301, 305–306
Story–Reflection–Solving–Feedback worksheet, 214, 215f, 294–295
Story Worksheet, 157, 157f
Z
Zak, Paul J., 247–248