This is the second and final part of my Get Your Story Straight blog. Part one highlighted the powerful role storytelling can play after a crisis and the value of devising and controlling narratives in order to make sense of what’s passed and is still occurring, and in order to shape the future.

If you haven’t read the first part, I recommend reading it before this one to get the whole story. I finished with a few thoughts on how to best devise and construct your own narrative – for whatever cause, project or venture you might be involved in – outlining the importance of getting your message straight. I’ll pick up that thread here, with a few more suggestions on things you might want to consider….

Get the structure right

Most good narratives follow a basic structure: exposition, climax, resolution. Basically, set the scene, introduce your characters and any important context, introduce the threat or issue, then provide a means by which that issue can be addressed (the happy ending). This is just as true in a good joke as it is in a Hollywood epic. It is the structure we are most comfortable with, linking cause and effect, and taking people through a sequence of understanding, concern and then agency.

Too much (or just) exposition, which is common in a lot of engagement campaigns, and people might be left more informed, but not necessarily engaged. Facts aren’t enough. Too much climax, however, or focus on the drama, peril, and negativity (as has been seen in a lot of climate change narratives) only works with those already highly engaged; even then, too much gloom can be numbing or paralyzing.  According to the Centre for Research on Environmental Decisions, people have a ‘finite pool of worry’, so we should be mindful of how many times we go fishing in it!

Conversely, if a narrative is overly positive, with a heavy focus on resolution, and low on peril or exposition, sometimes referred to as ‘brightsiding’, it can be lacking in the ability to create sufficient impetus to act.  Anecdotal research suggests there seems to be a sweet spot somewhere in the middle (for environmental campaigns at least), acknowledging the seriousness of an issue and that it isn’t going to be easy to solve, but being clear that it is very much surmountable, especially if tackled as a community.

In fact, emphasizing togetherness, shared experiences and values seems to be important, as well as drawing upon examples of occasions that communities have pulled together in the past. Previously, people might evoke the ‘war effort’ as an example, but COVID-19 has given us a new and striking reference point of what communities are capable of when needed.

Understand your audience

Another important ingredient to building a narrative, and just as crucial as the structure, tone, message and aim (see part one), is understanding your audience. As mentioned in part one, single unifying narratives are rare, so in most instances you need to tell a story that will work for specific audiences you are trying to engage with. Without knowledge of their values, habits, priorities, understanding, fears and concerns, you will struggle to create a compelling story. The best use of narrative will involve meeting people where they already are,  then shifting perceptions or understanding so that their values and concerns begin to feel aligned with the cause you espouse.

A recent piece of research in the South Wales Valleys, exploring attitudes towards reducing emissions, highlights this well. They found that traditional narratives, casting carbon emissions and the industry that create them as destructive and dirty, were ineffective in engaging local communities with the issue.  Instead, acknowledging the proud history of labor and industry in the area, and then focusing on the need to redirect and channel those qualities in a new direction, proved far more effective. The difference is moving from a narrative seemingly attacking the values or identity of that community or audience to one acknowledging, celebrating, and then refocusing those same values.

A shared experience

It is also very important to be aware of an audience’s specific experiences.  This is especially true after a crisis.  Normally, stories are a means for lived experiences to be shared, so that we might understand important lessons and messages we have not yet, or never will experience ourself.  The current fallout from George Floyds death and the experience of people of colour, is a perfect case in point. The powerful narratives that are being amplified have moved many to act who have not personally experienced the injustices involved.

With COVID-19 however, we are in a unique situation where almost everyone on the planet has been affected in some way. It is a shared experience, even if the circumstances differ, from which exists an enormous opportunity for mass engagement and mass change. If you don’t fully understand your audience’s experience however, then there is also the opportunity for a mass blunder. A perfect example is the handling of Dominic Cumming’s Durham excursion, where the public could not swallow the story they were being told, as it was not even close to chiming with their own experience and sense of fairness.

Trust the messenger

Finally, perhaps the biggest determinant of whether or not you can gain control of the narrative and tell a story that engages and moves people, both physically and mentally, is trust in the storyteller – are they my ‘type’ of person, do they believe in and value the same things as me? If the answer is no, then it doesn’t matter how well structured and how well told your story, it is unlikely to be believed.

It is a sad fact, especially true in our current climate of division and mistrust, that if you are not trusted, then neither will the story you are telling. There are several ways to address this, but they all take a bit of work. One way is to build bridges between yourself and the communities/audiences you wish to engage with and strengthen those relationships through transparency and collaboration. Another way is to find the right storytellers, individuals or organizations that are trusted within the communities or audiences you wish to engage and use those voices or platforms to tell your story.

Control the narrative

There have already been many stories emerging from this current crisis, with many more being written as we speak. Others may take years to be formed and told. Each helps us make sense of what has happened, is happening, and what the future might bring. There are also real opportunities for change, and these stories will be a huge part of determining just what that change might look like.

If you have a story to be told and a vision for what’s possible, you can be sure that there are others trying to tell a different story and counter vision. It is vitally important therefore to carefully consider, craft, and then control that narrative. Time to get your story straight!