Notes on Storytelling Theory, Who I Am Stories, and The Professional Use of Narrative
Narrative Theory and the Power of Stories
The chapter argues stories are a fundamental, primary form of communication, not just entertainment. They teach, train, sell, and make information memorable across ages and contexts (e.g., from parenting to corporate settings).
Parable example from Annette Simmons’ The Story Factor: Truth, naked and cold, is dressed in story by Parable; once clothed in story, Truth is welcomed. This illustrates how storytelling can transform perception and reception of information.
Stories can be found everywhere (movie theatres, boardrooms, etc.), so everyone should know how to tell a good story.
Simmons identifies seven kinds of stories worth learning to tell; one is the “Who I Am” story, which reveals something about the author and fits into memoir or creative nonfiction.
Example: Skip’s Who I Am story (35 years old but looks 13; third-generation rich) uses a detailed professional anecdote about drawing electrical engineering plans for a boat-building company. He recalls a $6/hour worker questioning him and a critical observation from the president that catalyzed a learning moment. The story ends with a memorable memory aid: a red left shoe for port and a green right shoe for starboard. This story helps explain why leadership requires humility, listening, and willingness to learn from others. The purpose is to persuade an audience by illustrating character and competence through a concrete example.
Theoretical grounding: Narrative theory distinguishes between ‘story’ (fabula) and ‘narrative discourse’ (sjuzhet). This distinction helps explain how events are presented versus what happened.
Narrative theory overview: The study of narrative spans myths, legends, fables, tales, epics, histories, tragedies, comedies, dramas, mime, films, comics, news, and conversation (Barthes and later scholars). Narrative is universal, transhistorical, and transcultural; it is a fundamental human activity and present in every age and society.
Barthes’ claim (and echoed by others) that narrative is present across cultures and forms leads to the idea that how a story is told (the discourse) can shape reception as much as the events themselves (the fabula).
Abbott and Herman popularize the idea that narrative is central to human experience and that story and narrative are closely related concepts used interchangeably in common speech, even if technically distinct.
Terminology you’ll encounter in this chapter:
Fabula (story): The sequence of events as they actually happened, in its natural order, in the fictional world.
Sjuzhet (narrative discourse): The account of those events as they are told, reordered and shaped to affect the audience.
Narrative discourse includes all stylistic and organizational choices (e.g., flashbacks).
A story (fabula) typically involves events and characters.
Aristotle vs. contemporary perspectives on character and action:
Aristotle: Action is primary; character is important but secondary to action. He writes that character helps determine happiness or reversal through action, and that dramatic action is not only about character but is subordinate to what happens.
Contemporary views (e.g., Flannery O’Connor and Henry James): Character can drive action; in some cases, character’s personality creates the action, and audiences connect emotionally through character.
The Who I Am story foregrounds character but also highlights how action reveals character. James: “What is character but the determination of incident? What is incident but the illustration of character?”
The relationship between real people and fictional characterization:
Traditional nonfiction (journalistic) focuses on events; fiction emphasizes characterization.
Creative nonfiction argues that events are the result of human interactions; thus, understanding people (characters) is essential to understanding events.
Real people in Who I Am stories are not created as fictional characters but are revealed to readers honestly and accurately, bit by bit, through direct and indirect characterization.
Characterization modes:
Direct characterization: The author explicitly states traits (e.g., “He was 35, looked 13 and was third generation rich.”).
Indirect characterization: The audience infers traits from actions, dialogue, and descriptions; Skip’s story uses indirect characterization to reveal his personality and leadership potential.
Time in narrative:
Real time (clock time): The actual flow of time as events occur in real time.
Narrative time: The way time is presented in the story (speeding up or slowing down through details).
Abbott’s distinctions: Clock time relates to numbers and regular intervals; narrative time relates to events and incidents, and can be stretched or compressed for effect.
Writers can slow down time by adding details or speed it up with phrases like “in the following months” or “a few weeks later.”
Summary takeaway: The universality of fabula/sjuzhet, character/action, and time concepts provides a foundation for analyzing the Who I Am story and for crafting compelling personal narratives.
The Who I Am story in practice:
The aim is to answer “Who are you?” by focusing on one characteristic or aspect of your personality.
Brainstorming approach: Start with “I am …” and pick a characteristic; if needed, consult close others (mom, friend, partner, pet) to identify a trait that others observe but you may not fully notice.
The signature pattern of the Who I Am story is showing a key moment or event that reveals the chosen trait, not merely stating it.
Real-time to narrative-time example (illustrating narrative time):
Real time: Amy dropped a mug; it shattered; she cleaned up.
Narrative time: Adds sensory detail (noise, heat, mess), emotions, and extended actions to slow time and heighten impact.
Purpose: to illustrate how small moments can be expanded to reveal deeper character or themes.
Starting and developing the Who I Am story:
Start with one central question: “Who am I?” and determine the one characteristic you want to reveal.
Use brainstorming methods and personal artifacts (photos, yearbooks, journals) to recall a meaningful example.
The event does not need to be dramatic; sincerity and authenticity are crucial.
The story should show, not tell, your trait through actions and details rather than blunt statements.
Practical framing questions for the writer:
When did the event take place? What are the start and end points? Where? Who else was present? Was there conflict? Was there resolution?
Write down everything you remember in chronological order before refining.
After drafting, set the piece aside, then reread to identify missing elements or nonessential details.
Summarize the main point in one or two sentences; prune everything that doesn’t relate to that point.
Determine a dominant impression (tone and mood) and consider how to align details with that impression (e.g., if the dominant impression is humorous, select witty details and phrasing).
Expand the most important parts with concrete details and sensory imagery; convert real time into narrative time through richer descriptions.
Use strong, varied verbs to sharpen the prose and avoid cliches.
Remember: the story should show the narrator’s traits through what they do and how they respond, rather than simply stating them.
Example excerpts and teaching points from student writing:
A sample paragraph demonstrates strong show-don’t-tell technique and vivid word choice (e.g., metaphors like “sea of adolescent hormones swimming with impulsiveness” and a contrasting image of a teacher wielding a trident).
The paragraph demonstrates how to reveal personality through setting, voice, and imagery rather than direct statements about identity.
Opening and engagement considerations:
The opening should grab the reader’s attention, much like a compelling magazine or article starter.
A strong opening uses specific, relatable details and tells the reader why the story matters.
Examples show how opening lines can set a conversational tone and invite readers into the author’s world.
Additional writing guidance and process:
Treat the Who I Am piece like any other paper with solid organization, one main idea per paragraph, transitional phrasing, varied sentence structure, and flowing ideas.
Focus on word choice and verbs to add flavor and pace.
Have someone else proofread to gauge what the reader learns or takes away from the piece.
Above all, have fun and write about a story that truly matters to you, letting your passion show through.
Looking Forward: Storytelling in the Professional World
Storytelling is expanding beyond entertainment into nonprofits and corporate settings (training, PR, politics, journalism).
Two industries emphasized: grantwriting and advertising.
Cheryl Clarke’s Storytelling for Grantseekers reframes grant proposals as story-driven documents:
Grantwriting often starts with a letter of intent (one to two pages) submitted to funders.
If the proposal is considered meritorious, a full grant proposal follows, which should include storytelling elements (hero, villain, conflict).
Nonprofit organizations are framed as heroes; the antagonist is the need or problem (e.g., hunger, disease, climate impacts).
Quotes from clients are a powerful device to lend authenticity to the narrative, effectively becoming dialogue in the proposal.
Grants can include setting, backstories, and resolutions to create a narrative arc that engages funders.
Advertising and the power of story:
The 1984 Apple Macintosh commercial is a central case study in using narrative to sell a product and to signal a brand revolution:
Context: In 1984, computers were seen as expensive gadgets for hobbyists; IBM was the dominant industry standard, creating a perception of the status quo.
The ad’s narrative: A dystopian, conformist world with Big Brother on screens; a lone heroine in red shorts (Macintosh) defies the regime by destroying the largest screen with a hammer.
Tagline: “On January 24, Apple Computer will introduce Macintosh. And you’ll see why 1984 won’t be like 1984.”
Impact: The ad aired only once during the Super Bowl but reportedly provoked explosive sales and back orders, revitalizing Apple’s brand and product strategy.
Why it works as a story: It uses a clear hero (the Macintosh), a villain (the status quo/IBM), a conflict (oppression/ conformity), and resolution (Macintosh as a tool for liberation).
Passion as a strategic ingredient: Steve Jobs’ belief in computers as a liberating tool undergirds the ad’s emotional pull and credibility.
Maxwell and Dickman further argue that storytelling’s power is broad and contagious: a good story works in any setting, from TV to a meeting room, and it carries momentum that spreads.
Practical takeaway for professionals:
Storytelling is a marketable skill in corporate America, useful in grantwriting and advertising and widely applicable across fields.
The core elements of a story—clear hero, clear antagonist, conflict, resolution, authentic voice, and emotional resonance—translate across formats and media.
Quick recap of why stories matter in professional contexts:
Stories entertain, educate, and persuade audiences.
They make complex information memorable and actionable.
They can transform dry budgets or proposals into compelling calls to action.
They connect emotionally with stakeholders, clients, and audiences, increasing engagement and buy-in.
Ethical and practical implications:
The power of story requires responsible use: accuracy, honesty, and respectful portrayal of real people and communities.
Creative nonfiction techniques (revealing character truthfully) should be used to inform and engage rather than manipulate.
The line between storytelling and manipulation can be thin; good storytellers aim for clarity, consent, and informed understanding.
Summary of key terms and concepts to know for exams:
Story (fabula) vs Narrative Discourse (sjuzhet)
Real time vs Narrative time
Direct vs Indirect characterization
Dominant impression
Who I Am story: purpose, structure, and writing steps
The role of setting, dialogue, and backstories in grantwriting and advertising
Notable numerical references and details to remember:
Skip’s age: ; looks .
Skip’s background: third-generation wealth; two masters’ degrees: masters’ degrees.
The critical incident: a $${6}$-hour worker’s question; a supervisor’s follow-up; a corrective action involving a box with two tennis shoes (red for port, green for starboard).
The cost of an error in the boat-drawing context: “a million dollars, easy.”
A $6/hour worker’s call at home that prompts intervention.
Port and starboard color-coding: red left, green right.
“January 24” and the year 1984 for the Macintosh ad release.
The effect of the 1984 ad: seven days after airing, Macintosh stock was sold out; backorders accumulated.
Quote references: Barthes’ claim about narrative being universal; Abbott’s notes on story vs narrative; Lowe’s fabula/sjuzhet distinction; O’Connor on character-driven action; James on the relationship between incident and character.
References to external works cited in the notes:
Annette Simmons, The Story Factor: Inspiration, Influence, and Persuasion Through the Art of Storytelling
H. Porter Abbott, The Cambridge Introduction to Narrative
N. J. Lowe, The Classical Plot and Invention of Western Narrative
Luc Herman and Bart Vervaeck, The Handbook of Narrative Analysis
Steve Jobs and the Macintosh campaign context (1984)
Maxwell and Dickman, The Elements of Persuasion: Use Storytelling to Pitch Better, Sell Faster and Win More Business
Cheryl Clarke, Storytelling for Grantseekers: A Creative Guide to nonprofit Fundraising
Final takeaway: The chapter argues that stories are not just entertainment but essential tools for teaching, persuading, and engaging across professional contexts. Mastery of narrative techniques—whether in a Who I Am story, grant proposals, or advertisements—can enhance communication, influence, and impact across diverse audiences.