Chapter 4 wrap-up
You have now finished Chapter 4.
This chapter has shown that meaning is organised and articulated when stories are told. And whether or not storytelling techniques are being actively used by a communicator, the product or outcome of storytelling-as-communication is also the production of meaning.
We’re going to dive deeply into meaning-making in the next chapter.
First, let’s finish our journey through storytelling by taking stock of what has been covered in this chapter and applying it to communication practice. How might storytelling make someone a more effective communicator? Here are some of the ideas we’ve explored.
Key Takeaways
Narrative patterns can make ideas more compelling. Think about the defining features of a story – conflict, suspense, resolution, a connection between events – and consider whether and how they might apply to the message you’re sending.
Don’t overlook the power of visual storytelling. Photographers, graphic designers, and visual communicators of all kinds have a range of tools at their disposal, from the application of a clear visual metaphor to the use of captions as an anchoring device.
Break your story down into signs. See your story through a semiotic lens – think about and take control of how you’re building meaning into your message.
Facts are important, but often they are not enough. Share histories, vignettes, anecdotes, not just information. Set the scene – help audiences create a mental picture to go along with the ideas you’re sharing. Find a narrative in which to wrap your facts.
When working with data, look for patterns and trends. Don’t leave data to speak for itself (because it won’t).
Facts and data aren’t ideologically neutral. Like stories, they invite us to see the world from a particular perspective.
Think about the deeper stories that underpin and inform how people feel about the topic you’re communicating on. Consider whether you need to change the narrative before you can change people’s minds.
Perhaps most importantly, communicators should remember that a good story has at its heart a character, who we care about, to whom interesting things happen. No matter what sort of story you’re telling, see if you can anchor your message in the experiences of a character – put a face on complex or abstract events and issues. VanDeCarr reminds us that a message should have a protagonist. When telling stories, particularly about dry or potentially boring issues, he advises:
“Look for the people behind your issue. People are at the heart of every social issue; issues become abstract only when we cover them up with policy or technology or the law. Return to the human heart of the cause you’re dealing with.” (2015: 25)
The Solutions Journalism Network, a group advocating for a more solutions-focused approach to news reporting, has some interesting things to say about choosing a protagonist for stories about social issues. They advise journalists to look for a protagonist, but to avoid thinking of the protagonist as a hero. “Rich, three-dimensional characters and compelling narrative tension”, they write, are more effective than hero worship (Bansal and Martin 2015: 17). They also advise journalists to reveal characters’ challenges and struggles, and look for the “unlikely characters” – because change-makers may not always be people in positions of power. Their advice has relevance in the realm of social change communication more broadly, and perhaps it is relevant to all communicators. The human face you put on your message should be one to which your audience can relate.
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