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Sticky Ideas Workshop (Part 6): Stories

Sticky Ideas Workshop (Part 6): Stories
Made to Stick: Why Some Ideas Survive and Others Die

    We humans are story-telling creatures. On the face of it, telling stories seems absurd, for anything other than entertainment, and yet throughout the various societies of humankind, and throughout all the history we’ve uncovered in dusty libraries and remote archaeological sites, humans have told stories not just to entertain, but to teach, to build and strengthen social ties, to convey the deepest truths of their personal, spiritual, and religious systems.

    Jesus told stories to convey the framework of his moral system; the walls of the tombs and other monuments of the Pharaohs are covered with stories; the stellae and chamber walls of the Central American civilizations are lined with stories; the oldest documents we know of are stories. Stories of kings, of gods and goddesses, of knights errant, of peasants turned heroes, of little girls who save empires, of wars between spirits and wars between nations and wars between families, stories of virtually all of humanity’s triumphs, failures, and mixed blessings have been passed down from generation to generation, added to and reshaped by their tellers.

    In a word, stories are important.

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    Beyond that, though, stories are sticky. Stories are far more easily retained in our minds than information presented in just about any other way. We might not remember what we said to our mother on the phone last time we talked, but we can almost all remember what Goldilocks said when she tried the bears’ porridge — and what the baby bear said when he found little Goldilocks asleep in his bed.

    Likewise, urban legends flow easily from our tongues, while facts about actual dangers seem to slip through our minds without ever getting a chance to take hold. Everyone knows the dangers of waking up in a bathtub full of ice with their kidneys out; few know the risk of E. coli transmission from eating at a typical buffet.

    And while we might goggle at the brilliance of Einstein’s formula E=MC2, it is the tale of the lowly patent clerk who daydreams the answer to one of the most pressing problems facing physicists in his time that really catches out interest — that, for most people, is what the figures E=MC2 really stand for, unskilled at theoretical physics as most of us tend to be.

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    How Stories Work

    There is a lot of research that suggests that the reason stories work so well is because their narrative structure mirrors the way we experience our actual lives. Life in its rawest form is, literally, one thing after another; by carefully selecting a start-point and end-point and filtering out details we deem irrelevant, the raw stuff of life is transformed into a narrative arc that builds to some climax, imparting along the way the teller’s point. Think of how we whittle the events of our daily experience down to a few stories when we get home from work, each illustrating the fact that our boss is a jerk, our co-worker is hilarious, our child is brilliant (aren’t they all?), our dog is the smartest dog in the world (again, aren’t they all?), police officers are unreasonable and inflexible, poor drivers should probably not be allowed to reproduce, and so on. We constantly transform the never-ending flow of life into stories, which seems to reflect the way our memory itself works.

    Stories, then, allow us to impart not just our conclusion, but the actual experiences by which we came to that conclusion. A well-told tale draws its audience in, walking them through the events relayed and, some research suggests, actually produces in our brains the physical response we would have experiencing the events first-hand. The Heaths relate the results of one study in which subjects were asked to read a story on a computer about a man going running. The stories were identical, except in half the stories, the runner takes a shirt off before going out for his run, and in the other, he puts a shirt on. The computer tracks the amount of time the reader spends on each sentence. Two sentences after the sentence about the sweatshirt, a reference to his shirt is made. Subjects reading the version where the character takes his shirt off actually took a longer time to read the same sentence as subjects whose story included the line about him putting it on. The readers of the story where he took the shirt off had not only imagined the scene, but they had in a sense “put the shirt away” and had to “go get it” to bring it back into the story!

    Other studies reinforce this kind of interpretation, including tests where students are asked to visualize themselves rehearsing some skilled action who then go on to perform equally with students who physically rehearsed it; both outperform students who neither rehearse nor visualize rehearsal. Or studies where subjects are asked to mentally replay the events leading up to some crisis (like a fight with a significant other) while other subjects are asked to visualize themselves having resolved the problem; the first group is far more likely to come up with and implement a course of action than the second. It seems that telling stories, even to ourselves, simulates real life well enough that it can create in us real world effects!

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    The Surplus of Meaning

    Although stories are generally pared down versions of reality, they still carry with them more meaning than just what the author or teller intends. Anyone who’s ever told a joke only to be asked “what’s funny about that?” or argued with someone over the meaning of a book knows first-hand that no matter how we trim the details of our stories there’s always a little more room for interpretation than we expected. Like life itself, stories offer more meaning than we imagine.

    The secret of stories’ success lies in this surplus of meaning; if stories only ever meant what they were about, they would’nt be applicable outside of the limited chain of events relayed in the story itself. But they’re not; stories are adaptable, the lessons they teach applicable to a wide range of scenarios unimagined by their creators and tellers. So, for instance, law enforcement agents get together in bars or elsewhere and swap stories of successful arrests, failed investigations, run-ins with institutional bureaucracies, dealings with other agencies, and so on. As they listen to each other’s stories, the are adding their colleagues’ experiences to their on “stock” of experience, ready to draw on not when they encounter the exact same circumstances — which, it’s clear enough would be useless — but when they encounter similar experiences. The experiences embedded into stories “flex” to apply well beyond their original context.

    In effect, then, stories take on the character of lived experience, which is far more memorable than, say, dry facts and figures. It might be useful to know the symptoms of crystal meth abuse, but far more compelling to know how a specific officer figured out that he was dealing with an addict. As communicators, it is to our advantage to leverage the power of stories for their innate ability to open up virtually direct access to our audience’s minds. What’s more, stories become the perfect vehicle for the other principles of stickiness the Heath’s have compiled: simplicity, unexpectedness, concreteness, credibility, and emotion. Urban legends are perfect examples of this: simple (blunt, even) stories packed with details, usually backed by the authority of a relative, friend, or famous subject, and with a straight-to-the-gut emotional wallop that both surprises us and lingers on.

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    Thus we come to the end of this in-depth discussion of the principles and ideas in Chip Heath and Dan Heath’s book Made to Stick: Why Some Ideas Survive and Others Die. If you’re a writer, salesperson, marketer, freelancer, designer, advertiser, activist, politician, or anyone else charged with the task of influencing an audience, this book should be on your “next reads” list. I’ve made an effort in these posts to come up with my own examples and supplement the Heath’s work with ideas from other sources, leaving as much as possible the text of the book itself for you to discover. Enjoy!

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    The Gentle Art of Saying No

    The Gentle Art of Saying No

    No!

    It’s a simple fact that you can never be productive if you take on too many commitments — you simply spread yourself too thin and will not be able to get anything done, at least not well or on time.

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    But requests for your time are coming in all the time — through phone, email, IM or in person. To stay productive, and minimize stress, you have to learn the Gentle Art of Saying No — an art that many people have problems with.

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    What’s so hard about saying no? Well, to start with, it can hurt, anger or disappoint the person you’re saying “no” to, and that’s not usually a fun task. Second, if you hope to work with that person in the future, you’ll want to continue to have a good relationship with that person, and saying “no” in the wrong way can jeopardize that.

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    But it doesn’t have to be difficult or hard on your relationship. Here are the Top 10 tips for learning the Gentle Art of Saying No:

    1. Value your time. Know your commitments, and how valuable your precious time is. Then, when someone asks you to dedicate some of your time to a new commitment, you’ll know that you simply cannot do it. And tell them that: “I just can’t right now … my plate is overloaded as it is.”
    2. Know your priorities. Even if you do have some extra time (which for many of us is rare), is this new commitment really the way you want to spend that time? For myself, I know that more commitments means less time with my wife and kids, who are more important to me than anything.
    3. Practice saying no. Practice makes perfect. Saying “no” as often as you can is a great way to get better at it and more comfortable with saying the word. And sometimes, repeating the word is the only way to get a message through to extremely persistent people. When they keep insisting, just keep saying no. Eventually, they’ll get the message.
    4. Don’t apologize. A common way to start out is “I’m sorry but …” as people think that it sounds more polite. While politeness is important, apologizing just makes it sound weaker. You need to be firm, and unapologetic about guarding your time.
    5. Stop being nice. Again, it’s important to be polite, but being nice by saying yes all the time only hurts you. When you make it easy for people to grab your time (or money), they will continue to do it. But if you erect a wall, they will look for easier targets. Show them that your time is well guarded by being firm and turning down as many requests (that are not on your top priority list) as possible.
    6. Say no to your boss. Sometimes we feel that we have to say yes to our boss — they’re our boss, right? And if we say “no” then we look like we can’t handle the work — at least, that’s the common reasoning. But in fact, it’s the opposite — explain to your boss that by taking on too many commitments, you are weakening your productivity and jeopardizing your existing commitments. If your boss insists that you take on the project, go over your project or task list and ask him/her to re-prioritize, explaining that there’s only so much you can take on at one time.
    7. Pre-empting. It’s often much easier to pre-empt requests than to say “no” to them after the request has been made. If you know that requests are likely to be made, perhaps in a meeting, just say to everyone as soon as you come into the meeting, “Look guys, just to let you know, my week is booked full with some urgent projects and I won’t be able to take on any new requests.”
    8. Get back to you. Instead of providing an answer then and there, it’s often better to tell the person you’ll give their request some thought and get back to them. This will allow you to give it some consideration, and check your commitments and priorities. Then, if you can’t take on the request, simply tell them: “After giving this some thought, and checking my commitments, I won’t be able to accommodate the request at this time.” At least you gave it some consideration.
    9. Maybe later. If this is an option that you’d like to keep open, instead of just shutting the door on the person, it’s often better to just say, “This sounds like an interesting opportunity, but I just don’t have the time at the moment. Perhaps you could check back with me in [give a time frame].” Next time, when they check back with you, you might have some free time on your hands.
    10. It’s not you, it’s me. This classic dating rejection can work in other situations. Don’t be insincere about it, though. Often the person or project is a good one, but it’s just not right for you, at least not at this time. Simply say so — you can compliment the idea, the project, the person, the organization … but say that it’s not the right fit, or it’s not what you’re looking for at this time. Only say this if it’s true — people can sense insincerity.

    Featured photo credit: Pexels via pexels.com

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