What are the best storytelling techniques for different genres and formats?

I'm going to make some enemies here, but the Hero's Journey doesn't work for everyone and every story. ....whew...there...I said what I said. Yes, you'll see the Hero's Journey in The Odyssey, the Epic of Gilgamesh, Star Wars, Harry Potter...all the most famous stories of all time. But, if you don't have 1000 pages or 10 hours to deliver your story, it's probably not your best choice. I don't write fiction...I only write real-life stories with real-life people, so if you are a fiction writer, I'd skip my advice here. But, if you are trying to tell a real-life story in real-life, your goal should be to make your story as easy as possible for your audience to get your meaning...and the Hero's Journey isn't it.

Exactly, the hero's journey is a powerful storytelling structure. It's akin to a roadmap that guides the protagonist through trials and growth. For instance, in a recent project, we used the hero's journey to structure the main character's development. The call to adventure was a unique job opportunity, the ordeal was a daunting project deadline, and the reward was a successful project launch. This approach helped us craft a compelling narrative, build suspense, and resonate with our audience, ensuring they could relate to the character's growth and transformation.

You - the storyteller - should not be the hero of the story. Make the listener the hero. Your role is to be the expert guide. Aim to be like Yoda, not Luke. Tell us what your hero is trying to achieve. Show us how you guide them on their journey. What wisdom do you share with them along the way. In the words of Yoda “Hero of every story not you are!” Here’s how to do it: 1. Map your listeners journey, where are they now? What is their problem, where do they want to be? 2. How do you help them along their journey? 3. Finally, develop the story as an expert guide.

Nine years back, I was introduced to the legend, Joseph Campbell, in my film school, who discovered and articulated The Hero's Journey. At first, I thought, this is a great template to create any story. When I attempted writing stories for my fiction projects, I realized that Joseph Campbell's biggest teaching was not that every protagonist has a journey, rather, it was that every writer has a hero's journey. You have to discover The Hero's Journey in your story rather than forcing it to become a better storyteller. In classical Indian music we have seven "sur" and millions of songs are created from them. Similarly, the key stages are the "sur" of your stories, and how you use them, make your stories unique and emotionally compelling.

The three-act structure is a storytelling blueprint in three parts: Act 1: The Beginning Introduce characters, setting, and the main problem to pique curiosity. Act 2: The Middle Characters face challenges, building tension with twists and turns. Act 3: The End Resolve the main problem, reaching a climactic conclusion. This structure keeps storytelling engaging, from books to movies. A powerful tool for captivating narratives, it ensures stories are well-paced and memorable.

The Three-Act Structure is a very classical way of writing stories. This holds, and it will hold forever. How you can make little additions to it will make the story much better. And here comes the subplots; adding subplots to a plot is like a spiral. The more you add, the more you go deeper. The more the subplots, the more it will take the reader into it. However, you have to remember that all the subplots connect each other so that they all connect to the main plot smoothly. You are on the right track to write a great story if you can.

?? Three-Act Structure > Story Organization ? Structure + Turning Points = Narrative Cohesion ?? Define Key Moments ? Turning Points + Progression = Engaging Plot ?? Premise > Climax ? Premise + Resolution = Satisfying Conclusion

This is similar to what is also known as an SBI technique: the Situation, the Behaviour and the Impact. This is used a lot for feedback. You need to present your audience with a real-time scenario that is relevant to your line of business. Present two types of behaviour in that situation and then display the impact that it has. This hugely impacts the way people make decisions and can go a long way in fine-tuning correct behaviour display / choice.

Document writing is a valued skill at Amazon with a high bar on the document length. 4 pages means 1 hour meeting and 6 pages would be a 1.5 hour meeting. Sharing some tips that I have learnt from my mentors and Doc Ninjas - 1. Write shorter sentences- a sentence should exceed 8-9 words. 2.Avoid using adjectives in your doc - back it up with numbers 3. Ensure that you have an executive summary to catch your attention readers attention. This should be 6-7 lines, capturing context, problem statement, progress so far and next steps. 4. I usually follow this dot dash for documents- Customer Insight(voice or customer), Problem Statement, Proposed Solution, Business impact for best case scenario and worst case scenario

Absolutely, the inverted pyramid is an effective method for engaging readers quickly. For example, when writing a news article about a recent event, I structured it with a captivating headline, a succinct lead summarizing the main points, followed by essential details in the body. This way, readers could grasp the most critical aspects immediately and choose to delve deeper if interested. Using subheadings and bullet points made the information easily digestible, ensuring the audience stayed engaged and informed.

The inverted pyramid storytelling technique is used a lot in the media outlets. For example, one who aspires to write an op-ed should use this technique since this is what editors look for. Reporters are also expected to use the inverted pyramid while writing to the news section in the newspaper/ website. Writing magazine articles is different..

In fields like consulting and finance, it makes sense to use the inverted pyramid also called the pyramid structure where the ‘so what’ comes first. However, if you are in a workshop mode, then this approach may not make sense. In that case, a linear model of storytelling may be of help. Another technique is it create a simple executive summary with 3 key insights and the next steps that are required. This format also works very well.

We also call this the pyramid principle in communication and use it extensively in creating slides. The headline of the slide is “the point” you are trying to make. There are 2-3 mini-arguments supporting this main point and that is all a slide has. This helps cut through the clutter for communication.

Telling: "Jane was extremely nervous as she walked into the haunted house." Showing: "As Jane stepped into the haunted house, her heart raced, and her hands trembled. Every creaking floorboard echoed through the dimly lit hallway, and shadows danced menacingly on the peeling wallpaper. She clutched her flashlight, its beam shaking, and took slow, shallow breaths." In the "telling" version, we're simply told that Jane is nervous. In the "showing" version, we experience her nervousness through her actions, surroundings, and physical sensations. It immerses us in the moment and allows us to connect more deeply with the character's emotions, making the storytelling more engaging and memorable.

Although we may think there are several types of written art forms, there are actually only 3 genres of literature. Poetry, drama and prose. All other types of genres fit into one of these three categories. According to the writer to be able to identify examples of literary artistic expressions, to know their key characteristics

Absolutely, "show, don't tell" is a powerful technique to immerse the audience in the story. For instance, in a recent short story, instead of stating the character was nervous, I described how they fidgeted with their pen, their voice quivered during dialogue, and they avoided eye contact. This allowed readers to sense the character's nervousness through actions and dialogue, painting a vivid image of their emotional state. This approach made the story more engaging and relatable, enabling readers to connect with the characters on a deeper level.

"Hey Dave, are you excited to see your friend? You haven't seen him since you were roommates at Dartmouth in the early 90s!" This is telling: lazy writing that shows little respect for the audience. Your viewer or reader wants to participate in the excitement. Show, Don't Tell is one of the pillars of good writing. And it's far harder than you might think. For examples of this, I look to my favorite films and books, such as "Collateral" from 2004 or Mary Shelly's Frankenstein. In script writing, this is an especially crucial skill. You need to leave room for the actor to show us how they feel instead of telling us. Most importantly, this rule helps you avoid clunky exposition that will lose your audience.

This is particularly important in fiction, where things work differently than in our world. It’s weird for people to explain screws or cars casually in their daily life, so why would a character explain the equivalent mundane things in their world for us? Let them be silent about it and simply use them to explain. This extends to many areas of invention and novelty in parallel universes and world building.

Our comfort in seeing the rule of three makes it such a powerful tool for storytelling. We can play around with it to give our stories better shape and flow: good, better, best; self, team, community; why, how, what. Interesting thought ??I once read that three gives us humans this comfort because it is also the lowest number that can make a contained shape (triangle). Something worth exploring: can you shape or split your story into three different levels/aspects/points such that a “triangle” forms in your audience’s mind???

Absolutely, the rule of three is a powerful tool for storytelling. For instance, in a recent comedic script, we used this technique by having the main character attempt three increasingly absurd ways to solve a problem, each one funnier than the last. This pattern not only established a rhythm but also built anticipation for the punchline. The third attempt, deviating from the audience's expectations, brought a surprising twist that heightened the comedic impact, making the scene memorable and entertaining.

Three is the perfect number. Holy Trinity. Three little pigs. Three blind mice. Steve Job's Commencement address: Three stories. Abraham Lincoln: government of the people, by the people, for the people. Great rhetorical tool to encourage retention and inspire action. Two is not enough. Four is too many. Three is like Goldilocks and Three Three Bears: just right.

Many classic fairytales weave the Rule of Three into their structure. Take "The Three Little Pigs": three pig brothers, three attempts to build a house, and of course, the Big Bad Wolf's three tries to huff and puff his way in. This repetitive pattern creates a rhythm and builds suspense, making the story more engaging for young listeners.

Aaaha! Here comes my favorite part. This part has become my identity over the years. I call it a story circle because from where I start my story, my epilogue ends there only. It feels so complete for readers as well.

Alright, let's dive into the Story Circle, a nifty storytelling tool. Picture it as a cosmic journey for your characters. First, they're chilling in their comfort zone, sipping their cosmic coffee. Then, BAM! A call to adventure hits, and they're off on a wild ride to the unknown. Cue challenges, laughs, and maybe a dance-off with intergalactic beings. After some cosmic chaos, they snag what they were chasing. But wait – a twist shakes things up, and they're back to a "new normal," forever changed. It's like a universal recipe for storytelling – a bit of home, a dash of chaos, a sprinkle of change, and voilà, you've got a gripping tale in any genre or format!

Most people here would give you the same textbook advice. I'll give you something which is more actionable and would make you come to your own conclusions. Go and watch "Rick and Morty", it's based on Dan Harmon's Story Circle that you all reading here and is a masterpiece.

Do we live in an era where audiences lack the concentration to follow the entire story circle? Is an incomplete circle a failure, or can it still succeed? It's a miscalculation to believe readers will read your complete story. 'Yes,' write a complete circular story, but assume that you want readers or viewers to learn something, even if they don't. This iterative approach can bring your audience back to you and more content, satiating their immediate needs while eventually delivering them to your desired conclusions.

Here are a few keys: Identifying Desire - Define what the protagonist wants, creating a clear narrative drive. Challenging Comfort Zones - Push characters into unfamiliar situations, fostering growth and engagement. Introducing Trials - Obstacles add depth, making the journey relatable. Emphasizing Transformation - Show how experiences change the character, a core element of compelling storytelling. Visual Cohesion - Use visuals to reinforce each stage, enhancing audience connection. Embracing Simplicity - A simple, well-told story often resonates more than complexity. These techniques ensure our stories are not just heard but felt, which fosters a deeper connection with our audience, and creates greater engagement.

There's a danger of getting too bogged down in theory and technical terms, which can kill creativity. Just dream up a story that thrills and inspires you, and write it down fast before it evaporates.

Storytelling is a canvas where every detail matters. Beyond the techniques, consider the unique voice and authenticity you bring. It’s about connecting with your audience on a personal level, evoking real emotions, and making your story resonate deeply. Remember, the heart of storytelling is not just in the method, but in the genuine connection you create with every word and moment.

Authenticity is something often overlooked in telling compelling stories. Just because a formula works does not mean you should modulate your voice to suit what is already out there. Find your true voice and tell stories that make sense to you, move and reflect you. The true human core of a story will always win out over any formula, even if those are useful tools in shaping how your story is told.

Before you worry about the right framework, make sure you have a story worth telling. These stories: 1. Are centered on transformation. If nothing changes, you don't have a story. 2. Aren't "what happened" but are how what happened changed you or the world. 3. Ruthlessly trim away every ounce of extra that might distract your audience from the meaning you intend. 4. Contain everything your audience needs to make meaning from your story. If you have these, then just about any story framework will serve you well.