Tag Archives: storytelling

The Creation of Meaning

noun_1144514Lev Kuleshov was a Soviet filmmaker of the early 20th Century, one of the thinkers behind the Soviet montage theory of film making.

This argues that films work because of editing. The content of each shot is important, but it is the way shots are juxtaposed and strung together in sequences that allows a filmmaker to convey powerful emotional and intellectual ideas. Yes, even Michael Bay.

Kuleshov is remembered in the “Kuleshov Effect“, an interesting example of the montage theory. By pairing a neutral expression with, in turn, an empty plate, a dead child, and a beautiful woman, Kuleshov showed that an audience’s reading of the actor’s face was strongly dependent on the shot it was edited together with. They “saw” the actor expressing three different emotions, but actually the same footage was used in all three cases. You can watch the video to see how it works.

I think the Kuleshov effect is profoundly important when businesses are talking to customers and employees. The meaning for the audience is created by the juxtaposition of the organisation’s content with the surrounding “shots” that create context for it.

That’s why it’s so jarring when businesses get their tone wrong, notably when they’re responding to a PR crisis. Think of the United Airlines incident in April this year, when Dr Dao was filmed being violently dragged off an aeroplane. Oscar Munoz’s initial reaction was universally panned for what Jimmy Kimmel called “sanitized, say-nothing, take-no-responsibility, corporate BS speak“. Quite.

What I found fascinating was this interview with Munoz, in which he reflects

That first response was insensitive beyond belief. It did not represent how I felt.”

What? If that’s true, it strikes me as remarkable. If Munoz had used his feelings to communicate in a natural and human way, the whole incident would have been much less of a crisis for United.

The content of your communication is less important than the meaning it creates from juxtaposition with its context. Sanitised, say-nothing, corporate BS wouldn’t be anywhere near as damaging if it wasn’t, effectively, cut together in a montage with a customer being concussed and having two teeth knocked out.

It’s not what you say, it’s what your reaction shows me about you.

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Stories & science; belief and knowledge

noun_1011170We talk about Storytelling a lot at TLF.

Finding ways to tell better, more compelling, more persuasive stories is essential if you want to achieve difficult, long term, goals such as culture change or improved Customer Experience.

Good stories touch people emotionally, link their day to day decisions with an outcome that means something to them, and persuade them to make change happen.

Stories are deceiving

But stories can also be dangerous. We find narratives so compelling that we rush to invent stories to explain any fact, statistic, or research finding. Nassim Nicholas Taleb calls this the “Narrative Fallacy”, and data science expert Kaiser Fung reserves a whole category of posts on his blog for what he calls “Story Time“.

Our ability to weave simple explanations for complex, often random, series of events means that the stories we tell ourselves have a feel of inevitability, in hindsight. As Daniel Kahneman suggests in the classic “Thinking, Fast and Slow“:

“…the ultimate test of an explanation is whether it would have made the event predictable in advance.”

So, if making up stories to account for the data we have is flawed, how do we make sense of the world? Science.

Science (a word derived from the Latin scire, “to know”), has developed over centuries as a systematic method for learning about the world. The scientific method is designed to minimise the impact of our cognitive biases, such as making up stories or only noticing things which confirm our beliefs.

Rigorous analysis is the only way to learn robust truths about the world. Every time you (or someone else) come up with an explanation, challenge yourself by asking how you know. If your story is robust, you should have been expecting the finding before you saw it.

Science to learn, stories to teach

Should we give up on storytelling, given that we’re so prone to be misled by it?

Absolutely not. Once we have learned a fundamental truth about the world (through science), we need to communicate that insight to other people. We need to get their attention, persuade them to believe us, and convince them to change what they do.

Too often, in society and in organisations, we see arguments won by people with a simple story over those trying to explain a much more complicated truth. If we want to learn about the world, and use that knowledge to make better decisions, we need to learn to tell better stories with a firm foundation of science at their heart.

On my Data Presentation and Infographics workshop I use this graphic to summarise what I believe the job of a information designer to be:
Triangle

We need the care and objectivity of a scientist to learn important truths, the flair of a graphic designer to engage people’s attention, and the craft of a storyteller to communicate and persuade people to change.

 

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Empathy in Customer Experience

empathyI often talk about how important empathy is, but I realised the other day that I was using it in two different ways:

1) Empathy as a tool to inform the design of customer experiences

2) Building empathy at the front line as an essential output of insight

Let’s look at both of those in a bit more detail.

Empathy for design

To design good experiences you need to blend a deep understanding of customers with the skills, informed by psychology, to shape the way they feel. Getting that understanding requires in-depth qualitative research to get inside the heads of individual customers, helping you to see the world the way they see it.

When you understand why people behave the way they do, think the way they think, and (most importantly) feel they way they feel, you can design experiences that deliver the feelings you want to create in customers.

Design, to quote from Jon Kolko’s excellent book Well Designed is…

“…a creative process built on a platform of empathy.”

Empathy is a tool you can use to design better experiences.

Empathy at the front line

Improving the customer experience sometimes means making systematic changes to products or processes, but more often it’s a question of changing (or improving the consistency of) decision making at the front line.

Those decisions are driven by two things: your culture (or “service climate”), and the extent to which your people understand customers. If you can help your people empathise with customers, to understand why they’re acting, thinking, and feeling the way they are, then they’re much more likely to make good decisions for customers.

I’m sure we can all think of a topical example of what it looks like when front line staff are totally lacking in empathy.

The best way to build empathy is to bring customers to life with storytelling research communication. Using real customer stories, hearing their voices, seeing their faces, is much more powerful than abstract communication about mean scores and percentages.

Empathy at the front line is necessary to support good decisions.

Two kinds of empathy?

Are these two types of empathy fundamentally different? Not really. The truth is we are all experience designers. The decisions we make, whether grounded in empathy for the customer or making life easy for ourselves, collectively create the customer experience.

You can draw up a vision for the customer journey of the future, grounded in a deep understanding of customers, but if you fail to engage your colleagues at the front line it will never make a difference to customers.

To design effective experiences you need to start by gaining empathy for customers, but you also need to build empathy throughout your organisation.

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The power of metaphors

noun_93083Customer Journey Mapping is, as I tell delegates on my course, just a metaphor.

Then again, the Beatles were “just a band” (at least according to Scroobius Pip).

Metaphors can be incredibly powerful, but also incredibly useful. They help us to understand each other, to reason about things, and to get things done.

To quote the classic Metaphors We Live By:

“…the way we think, what we experience, and what we do every day is very much a matter of metaphor.”

One of the lessons of the book is about the “conduit metaphor” of communication (that our language is a container into which we put meaning for others to extract). This is important because it supports uses of language which don’t make much sense from a purely logical point of view (e.g. the metaphor “more of form is more of content” leads to phrases such as “he is very very very tall”, which we all understand to imply intensification).

The metaphors we use have an impact on what we think and do. What if we choose a different metaphor? In a classic paper, Michael Reddy suggests that a “toolmaker’s paradigm” would be more helpful, underpinning the importance of mutual effort to communicate ideas effectively. As he says in the paper:

“Human communication will almost always go astray unless real energy is expended” 

These metaphors are normally applied to language, but a similar approach could be taken to visual communication. In a fascinating post, Robert Kosara critiques the “Encoding-Decoding” paradigm for data visualisation.

It’s fairly clear that just like the useful, but flawed, conduit metaphor for language, there may be more than one metaphor for how visual communication works. Kosara explains how people actually read visualisations:

“What do we decode? We like to assume that decoding just reverses the encoding: we read the values from the visualization. But not only don’t we do that, we do many other things that are surprisingly poorly understood.”

In other words, the conduit metaphor for dataviz tends to overlook the active role of the person reading it. Studying how people actually use visualisations may help us to build a better metaphor.

Storytelling and visual communication is not a one-way act – we need a metaphor to reflect the active role of our audiences. 

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Hans Rosling: a great data storyteller

gapminderI was sad to hear, yesterday, that Hans Rosling had passed away.

For anyone interested in telling stories with data, he was an inspiration and an example.

His videos use a lively combination of data, innovative visualisation, and passionate argument. This is one of my favourites: 200 years that changed the world.

The mission he, Ola, and Anna set themselves at Gapminder was to combat ignorance with data; to discover where knowledge gaps exist, and to attack them with fact. He tended to underestimate the importance of his own charm and storytelling skill in engaging the audience not just with the data, but with its significance.

In a world in which news feels increasingly negative, dominated by assertion and prejudice over fact, Hans Rosling was a tremendous force for good. He made us see and acknowledge the progress that has been and is being made.

We could all do with being a bit more like Hans Rosling.

 

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Stories are about change

noun_2005Storytelling is a favourite topic of mine.

On our storytelling workshop we go through a whole load of different ways in which organisations can use customer insight to communicate more effectively with their customers and staff.

I also try to wear a storyteller’s hat when I’m finding the best way to visualise and present data.

Why is it so effective?

There’s lots of evidence for the benefits of story. Story forces you to articulate why and how a particular course of action will work. It increases the emotional impact of research and brings customers to life. Those are important strengths, but the big one is that stories are the best way to achieve change.

Stories are all about change.

Duarte‘s useful model for the shape of an effective story makes crystal clear how fundamental change is to the argument that a storyteller is making. A good story shows our audience a future they want to achieve, contrasts that with the status quo, and shows them how to get from here to there.

slide11

Stories in fiction describe change, stories in business drive change.

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Attention: getting it, keeping it, using it

noun_476619
One of the excellent speakers at the MRS “Best of Impact” event yesterday was a Creative Director specialising in data visualisation and infographics.

Naturally my ears pricked up—I’m always open to stealing ideas.

As well as being a very engaging talker, Tobias Sturt was really clear on a number of important principles for infographic design based on how our brains work:

  • Symbolic processing (e.g. icons) is quicker than verbal processing, but sometimes it’s less clear.
  • Recall is influenced by colour, faces, novel chart types, quirky images, etc.

But information design is not just about effective communication. It’s also about getting, and keeping, attention. This is a crucial role for what some characterise as graphic “decoration”. “Beauty” might be a better word. It’s something that David McCandless excels at, and Stephen Few objects to.

Those of us with important customer stories to tell have learned (the hard way) that getting attention is just as important as communicating facts.

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Telling the story with data

Triangle

This is a diagram from my course about data presentation and infographics.

I use it as a starting point to discuss the skills you need to do the job well, summarised as “telling a compelling story with integrity”.

The idea of the diagram is that too much or too little of any of the three axes tends to be a bad thing.

For instance, too heavy on the “statistician” axis might mean that your charts are accurate and robust, but impenetrable to many people. Too light on the same axis, and you might be committing basic analytical mistakes (perhaps ignoring random measurement error).

It’s a rare person who embodies all of those skills to a truly expert level, which is one reason the best infographics often involve a team of people.

 

Finding your audience

It isn’t necessarily a case of shooting for the middle of the triangle. There’s a zone of acceptable variation around the middle in which competent and engaging data storytelling happens.

What’s appropriate for a scientific publication is not appropriate for your board, or for frontline staff. It’s all about getting the balance right for your audience.

Obvious? Yes, but it’s worth thinking about what it means in practice. Which “rules” of data storytelling are unbreakable, and which need to be tailored according to your audience?

 

How much do we know about what works?

Stephen Few takes a dim view of infographics which he sees as prioritising shallow gimmicks over effective visual communication. David McCandless has been on the receiving end of severe critiques.

He also points out that more work needs to be done to test which graphic forms are most effective, rather than relying on opinion. I agree – we can’t begin to pretend we’re working in a serious field until we approach these questions scientifically.

Robert Kosara has published interesting work showing that pie charts, much derided by experts, are more effective than we thought.

But is communication our only aim? Not always.

 

Telling the story

The science of which data graphics work most effectively is only part of the equation. The best graphic in the world is wasted if no one looks at it.

Let’s go back to the idea of storytelling.

What makes a story? Dave Trott, in one of his excellent blog posts, quotes Steven Pressfield’s simple version. A story consists of Hook, Build, and Payoff.

If we apply that to data storytelling I think it makes it easier for us to choose our place in the triangle.

  • Hook: we need to capture the attention of our audience, with something relevant and/or fascinating. This is where McCandless excels.
  • Build: there should be enough depth to reward engagement with the data.
  • Payoff: there’s got to be a reason for looking. What am I going to do differently as a result of spending time with this data?

 

 

 

 

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Why journey mapping is an effective metaphor

In this video Matt Stone and Trey Parker, the creators of South Park, discuss what they have learned about storytelling:

http://www.mtvu.com/shows/stand-in/trey-parker-matt-stone-surprise-nyu-class/

One crucial point is to avoid chaining the events of a story together with “and” (e.g. “This happened, and then this happened, and then this happened…”).

Good writing is based on events linked with “therefore” and “but”, giving them a strong narrative drive. Garr Reynolds analyses the video with some great extra commentary.

This is one of the reasons customer journey mapping is such an effective tool. It forces us to acknowledge flow and dependency (i.e. “therefore”). It also makes lets us examine the points of pain which can derail a whole experience (i.e. “but”).

Customer journey as storytelling

Customer journey mapping as storytelling

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