To tell you something interesting. What not to tell a girl

The art of storytelling is firmly part of the arsenal of skills of a professional manager. Story is a powerful tool of influence. It resurrects the memory of the company, gives people examples of behavior in the person of corporate heroes, outlines danger zone(“I remember I had a subordinate whom I fired because...”). A story heals the soul of an employee in trouble, but at the same time it can instill fear in him (“I was told that in this company they beat you up during interviews”). Is it possible to learn how to tell stories in a way that influences people? Mark Kukushkin, CEO of the company "Training Boutique" believes that this is possible. How? Read the HEADHUNTER::Magazine columnist's report Dmitry Lisitsin about Mark Kukushkin’s training “Storytelling: storytelling as a tool for a manager and trainer.”

Ryabka chicken for top managers

Preparing to go to the company's CEO training "Training Boutique" Mark Kukushkina, dedicated to the art of storytelling, I asked myself the question: why do people like to tell stories, and most importantly, what goals do storytellers serve? Trying to find an answer, I went through possible options.

Stories have healing powers. In order to calm a child, you don’t need to give him chocolate or marmalade, you just need to tell him a fairy tale. In order to dissuade a suicide from taking the extreme step, it is useless to give rational arguments; it is better to simply remind him of an incident where the suffering from which he wants to escape would turn into blessed creation.

In addition to the therapeutic function, stories also have a conjunctive function: they are capable of uniting the storyteller and listeners into a completely new community and therefore are used in internal branding, in particular when implementing the intrusion procedure. Stories tell about the past, but they can also be used to manage the future. For example, prepare employees for changes by telling them that in the past everything was different from how it is now.

Many companies have long understood the value of stories: they have their own storytellers who tell different cases at corporate parties. An example of such a storyteller is the “Director of Imagination.” Rolf Jensen, owner and founder of the Dream Company ( Dream Company) . However, narratives are different: they can not only help and heal, but also harm. There are many examples when a person, under the influence of a narrative, committed actions that were absolutely unnecessary for him.

Gaining secret power over people is not so easy: not every story evokes the desired reaction, because even a seemingly good plot can have an effect completely opposite to the desires of the storyteller. Conversely, a banality similar to speech Steve Jobs, is able to make the audience empathize with the author. Another example was given by Kukushkin himself during the training. He told a story about how some people made money in America by telling the tale of the Ryaba Hen. They started with kitchens and ended with stadiums!

All this was known to me as well as to you. I didn’t go to Mark Kukushkin’s training to listen to a story about the importance and value of stories in modern world, but with the specific hope of becoming an effective storyteller. It was not by chance that I chose training as a way to improve my skills. It is known that the training room is perfect place for storytelling, and the latter is powerful pedagogical resource. Some trainers base almost all of their training on storytelling. One of them is David Schmaltz, who gave us an example of storytelling thought - the book “The Blind Men and the Elephant” .

I can’t say that the training made me a new person, but I managed to acquire some hitherto unknown skills.

So I'm in training

It turns out that my goal - to learn how to tell stories - turns out to be quite modest compared to the intentions of other participants. In particular, one of the colleagues in his introductory story admits that he is looking for the secret of physical immortality. I am at a loss, but the trainer reassures me by saying that story is a powerful tool of influence, and participants need to learn how to use it. The instrumental orientation does not leave Kukushkin’s training until the very end, which, I must admit, makes me positive emotions, because tools can be demonstrated, evaluated, and manipulated in a way that empathy cannot.

What impact can stories have? Of the many possible classifications, Mark chooses the triad “emotion - conclusion - action”. Good storytelling must address the three components in their entirety, but each must be worked on individually first. The exercise of evoking emotions makes me wince. The coach asks me to tell a story that would evoke pity for me, and even on the part of the girl. Suppressing indignation and embarrassment, I tell something that has long been erased by involuntary auditing (the procedure of Scientologists when you are forced to retell unpleasant incidents from own life to the point of complete disgust for them) the story of a lost passport and all the misadventures that befell a careless citizen. It is only the second time that you can make your partner feel sorry for you. Mark explains my mistakes: the emotion should be emphasized, highlighted, which I did not do. A main reason my failure lies in the wrong strategic approach. You have to allow yourself to tell stories, which was a problem for me too. I told my own story like a thief, looking around to make sure someone overheard and took away the property I had stolen.

Thus, the art of storytelling according to Kukushkin begins with allowing yourself to tell stories. Permission to tell a story is not just an outcome internal dialogue, but a specific action. It is necessary to create a bank of stories - a kind of virtual (or even real) repository of stories. The structure of the bank can be completely different, for example, I divided my own bank according to the types of people with whom I deal.

Second important rule– permission to tell other people’s stories as your own. The audience is much more willing to adopt the experience that seems generally significant to them. Not always personal stories and conclusions drawn from them can effectively influence it.

The third strategic requirement is that stories must be inventoried and turned into tools. In fact, this means that the story must be reworked for a specific business situation and taken from the bank to right moment like an ace out of the hole. Experienced storytellers, Mark claims, can “show on their bodies where a story lives.” Such an ace requires a strategic, emotional story about the main thing, which would contain strong emotional metaphors. When choosing a story for a specific situation, not only the type of experience underlying the story is important, but also the balance of negative and positive. Mark insists that positive narratives are better received and therefore should be more of them in a storyteller's arsenal. However, we should never forget about the negative. There should always be a certain supply of “horror stories” that can create the image of an interesting storyteller.

Having finished with the strategy, our coach moves on to how to tell the story correctly. The RAFT scheme is proposed as a toolkit for the storyteller. First you need to choose the role that the narrator plays (Role). For example, you can play the role of a preacher or an epic storyteller. Then you need to decide on the audience (Audience). Next, select the situation format (Format). If the role of a preacher is chosen, then it will be at least strange if the narrator starts telling jokes. Finally, it is important to choose a story topic (Topic).

In conclusion, Kukushkin reveals the secrets of owning the most an important component storytelling - composing the story itself. What distinguishes good from bad is the presence of a well-structured plot. It must obey some pattern. You can use completely different matrices, but the story must contain two elements: an obstacle and overcoming it. Mark Kukushkin believes that a diagram is most useful for a storyteller Nigel Watts, which, it seems to me, was borrowed from the researcher fairy tales V.Ya. Proppa: 1) Status quo – meeting the hero; 2) Turning point - the hero loses something; 3) Search - his reaction to loss; 4) Surprise - an unusual circumstance accompanying the loss; 5) The point of choice is a dilemma; 6) Climax - the choice of the hero; 7) Change – consequences of choice; 8) Denouement - a description of the new state to which the hero has arrived. According to Kukushkin’s point of view, the narrator should focus the listener’s attention on resolving the conflict, reducing to a minimum the number parallel lines, since colorful details of the hero’s torment and adventures can make it difficult for the listener to understand the main idea. Selection of content for specific story convenient to carry out using “mental maps”. It’s very simple to draw such a map: you need to record in the center of a sheet of paper the meaning that you convey in your story, for example, “the main things need to be done first,” disconnect from everyone external stimuli and record associations. It is especially important to record associations upon associations - this creates chains that may well form the basis of a story.

Story structure

In its most simplified form, the story structure looks like this:

Start(plot) - describes the situation and sets the basis for the story, introduces us to the characters, establishes their relationships and indicates the hero’s unfulfilled desire, which will maintain the intrigue.

Middle(confrontation) - unfolds a dramatic action arising from some kind of confrontation: main character encounters some obstacles that prevent him from achieving his goal.

End(denouement). The denouement does not mean the end, but rather the resolution of the problem. Did the main character succeed or fail? In any case, the hero comes out renewed.

The points at which the beginning passes into the middle, and the middle into the end, are called “climax points of the plot.” Such points can be any incident, episode or event that twists the story in a completely different direction. Each point pushes history towards change, towards development.

Here's a template with an example that Nancy Duarte suggests using in her book Resonate to help turn information into a story.

1. Remember the five essential elements of a story: setting, characters, dialogue, conflict, and suspense. Be sure to describe the circumstances in which the events unfold, and do not forget to pay attention to the characters and what and how they talk about. Give the characters an opinion. Passive and docile characters attract no one. Try using unexpected turns plot. Surprise triggers the release of adrenaline in the brain, which enhances memory formation. And, perhaps most importantly, do not forget about the conflict. If there is no conflict, there is no story.

2. Show your story. No, we are not talking about pictures or slides. You just need to use words that will help engage as many of your listeners' senses as possible. For example, when describing a scene, make sure your audience smells the smells, sees the pictures, and hears the sounds around them. The more senses you can use, the more stronger man will be able to get used to your story, which means the greater the impact it will have on him. Describe everything as if it were happening before your eyes.

Some confectioners buy chocolate mass rather than briquettes, but I like to prepare the mixture with my own hands. Fussing with raw, dull blocks of chocolate glaze is infinitely fascinating: you crush them by hand - I never use electric mixers - pour them into large ceramic vats, melt them, stir them, and every now and then carefully measure the temperature with a special thermometer: until the mixture gets enough heat for it to happen. transformation. There is something magical in the process of transforming raw chocolate into delicious “fool’s gold” that excites the imagination of the average person. Perhaps even my mother would appreciate my work. Working, I breathe full breasts and I don’t think about anything. The windows are wide open and there are drafts. It would be cold in the kitchen if it were not for the heat rising from the stoves and copper vats, if not for the hot fumes of the melting chocolate icing. A stupefying, intoxicating mixture of smells of chocolate, vanilla, hot cauldrons and cinnamon hits the nose - the tart, rough spirit of America, the pungent resinous aroma of tropical forests. This is how I travel now - like the Aztecs in their sacred rituals. Mexico, Venezuela, Colombia. Montezuma's courtyard. Cortez and Columbus. The food of the gods bubbles and foams in ritual bowls. The bitter elixir of life.

3. Influence the audience's emotions. No facts matter until you make an emotional connection with your audience. Whatever we feel: sadness, joy, fear - all this helps us feel more alive. Decisions are most often made based on emotions, which are then supplemented with arguments to make them seem more logical. Therefore, it is important that your story evokes emotions in the audience. Think about how you want other people to feel when they hear or read your story, and then present the information in a way that makes that happen. Remember situations when you yourself experienced such emotions. This will strengthen the connection between you and the audience, and they will begin to treat you with more trust and sincerity. A personal catalog of stories associated with a wide variety of emotions is a very useful source, get one for yourself.

4. Start the story from the middle, from the most interesting moment. Life passes in chronological order- and it's boring. Events should proceed progressively, but in an emotional sense, and not in chronological order. It is useful to write down all the main events of the story on separate sheets of paper, which can then be shuffled to create a unique order. Imagine that you are a film director. Look for moments of truth in your story that will help you capture your audience's attention.

5. Tell only what is important to the audience. Don't spread your thoughts too thin and don't overuse descriptions.

6. Use humor. Humor is a powerful tool. A couple of well-placed jokes can change the entire mood of the audience. Laughter not only energizes your audience, but it also makes them more attentive to you and your story. If the end of the story must contain a serious lesson, then move the jokes closer to the beginning. One of the best ways- talk about how you got into awkward situation(in childhood or at a new job).

7. Do not use Difficult words and jargon, which may not be familiar to your audience. The simpler your story is, the better. Talk about things that people who are listening can understand.

8. Use metaphors and analogies. A well-chosen metaphor will enhance the impact of the story and make your story more understandable, especially if you are trying to convey a complex idea (such as an audit information system can be compared to a medical examination).

9. Talk about your failures. Everyone makes mistakes. Therefore, if the story of your life or company looks perfect, it is not credible. It will be much more interesting if you talk about how you made a mistake and what you were able to learn as a result. Remember that you are not the hero of the story, but your audience. Most people, having heard about other people's problems, usually remember when something similar happened to them. This is where empathy begins. Audiences love speakers who can laugh at themselves. Allow yourself to be vulnerable. This way you can quickly find contact with any audience.

10. If you get stuck, make a list of things that can NOT happen. After that, you will definitely find suitable material and can continue.

Exercises: How to become a good storyteller

Here are some exercises that will help you become a good storyteller if you practice them often.

1. The question “What if...”

This question is often used by writers to come up with a plot for a book. Here, for example, is what Stephen King writes about this in his work “How to Write a Book: A Memoir of the Craft”:

“...the basis of my books is not an event, but a situation. Some books are generated simple ideas, others are more complex, but almost all of them begin with the simplicity of a store window or wax panorama. I put a group of characters (or a couple of them, or even one) in difficult situation and watch them get out of it. My job is not to help them get out or lead them to safety, but to watch and record what happens.

A sufficiently strong situation eliminates the whole question of the plot, which suits me quite well. The most interesting situations are usually formulated as a “what if” question. What if a small New England village was attacked by vampires? (“The Lot”) What if a policeman in a remote Nevada town goes berserk and starts killing everyone in sight? ("Hopelessness") What if a cleaning lady, suspected of a murder she got away with (her husband), becomes suspected of a murder she didn't commit (her employer)? (“Dolores Claiborne”) What if a young mother and her son are not released from a broken down car on the road by a mad dog? ("Cujo")"

Why not use this method when you come up with a story to stimulate your brain to search for the answer. “What if…” can be applied to any familiar object, part or action. This method perfectly develops imagination and is actually a trigger for any creative process. And the weirder questions you ask, the more interesting and original the story you can come up with. What if animals were intelligent and kept humans as pets? What if there was no gravity on earth? What if scientists discovered another habitable planet?

Take Blank sheet or open a text document on your computer, set a timer for 15 minutes and during this time describe everything that comes to your mind in response to one of the “What if...” questions (you can take any of the examples given here or come up with your own) .

2. Ten random words strategy

Come up with an exciting story using the following words:

• Omul
• Cemetery
• Stump
• Aliens
• Bucket
• Pencil
• Architect
• Head

The famous storyteller Gianni Rodari recommended using a similar method. To compose a fairy tale, he suggested choosing two words at random and connecting them together. This was considered the beginning of the fairy tale. Let's say "man" and "jungle". Their most banal combination gives rise to a mysterious fairy tale “ A little boy lost his parents and was left alone in the jungle” (it turns out something in the spirit of Tarzan or Mowgli). Then all that remains is to unwind the plot: “Who raised him?”, “How did he spend his days?”, “What happened then?” etc.

3. Special games

Play games with friends or children that develop storytelling skills. For example, here is one of them with the eloquent name “Bla-bla-bla”.

The plot of the game is tied to stories written by the participants themselves. And 240 game cards with different themes help them in this.

4. Practice

Logically, to become a good storyteller, you need to practice. How? Keep a diary in which you try to describe interesting events that happened to you during the day. This exercise is especially effective if at first glance nothing interesting happened at all. The ability to see the unusual in the ordinary is a useful skill that comes in handy not only when telling stories. +

5. Alternative history

Take piece of art, which you like, or any movie and try to play with the plot. You can change some climax and take the plot in a different direction, you can change the ending or introduce new characters. Or do everything at once. In any case, it will be interesting.

Of course, there are masters of impromptu who do not need preparation to tell something interesting.

They know how to tell interesting stories almost from birth. They have a story or story in store for every topic - all that remains is to find a grateful listener. For most of us, in order to come up with something truly entertaining, it is advisable to rehearse in advance - to think about how exactly to construct the story and what to focus on.

As wit guru Mark Twain said, “It usually takes me more than three weeks to prepare a brilliant impromptu speech.”

The honest truth

Sometimes, in order for the story to have a greater effect on the audience, there is a temptation to embellish it a little - to make the fish 10 centimeters larger, to double the number of attackers, to triple the number of admirers who sought marriage... This is not entirely the right path.

Lying and embellishing - of course, if we are talking about a real story and not a story - is not recommended even in small things.

Then it’s easy to get confused and make yourself laugh. Life is full real stories, so unusual that the most talented novelist could not have come up with them.

Essence and details

The two most memorable things about a good story are its moral and the small but important details. When thinking about how to learn to tell an interesting story, it is important to remember this:

The essence of the story should be close to the audience, their age and interests.

During the story, it is important to mention amazing little things that highlight what is happening, stimulate the imagination, and allow you to more fully imagine the picture. Most likely, listeners will not remember the names and dates - but the fact that the lady had a heart-shaped birthmark on her forearm will be ingrained in her memory, and the boss, who drank too much champagne and performed dances on the bar, had underwear with Mickey Mouse on it.

It’s just important not to overdo it - a story too burdened with details will bore you. They should be scattered throughout the story unobtrusively and appropriately.

In a good story, it is advisable to use vivid comparisons - they give a more colorful picture of what is happening.

Voice

Of course, this is a key tool for a storyteller. Everything about it is important: volume, the ability to place accents and make meaningful pauses, if appropriate. It is possible and necessary to develop the ability to control your voice.

Facial expressions and gestures

They joke that if an Italian or a Spaniard's hands are tied, they won't be able to talk.

The activity of facial expressions and gestures during conversation varies significantly among people - it depends on national traditions, temperament and habits.

• To make listeners more curious, it is important to be able to control not only your voice, but also non-verbal manifestations of your body: facial expression, movements of your arms and body.
• If the story is long, you need to change your position relative to the listeners. Either stand still (but don’t pretend to be a statue), then walk around (but don’t flicker). This helps maintain the level of interest.
• Sometimes more active movements than careful hand movements are quite appropriate in a story - for example, if you need to show how you raced on a dashing horse along endless fields.

The best way to learn to control facial expressions and gestures is to practice in front of a mirror and record yourself on a video camera.

Emotions

Good story affects emotions. When crafting a story, it's important to choose your tools according to what the speaker plans to do: make people laugh, puzzle, or make people think?

Whether you're telling a joke, a fairy tale, or a story, knowing how to teach it correctly is a very important skill. Some people have a natural gift for storytelling, while others have to learn it. Never be afraid. You can learn to tell better and more engaging stories, and wikiHow can help you do it! Just start with step 1 below.

Steps

Part 1

Learning the Basics of Storytelling

1. Engage your audience. Begin your story by capturing your listeners' attention or engaging them in the story. Ask questions, even rhetorical ones, related to some conclusion, plot twist, or context of the story. Alternatively, you can say something catchy to grab attention (get your audience hooked, just like big newspaper headlines do). This way you will intrigue your listeners and they will want to hear more.

   • Example for a fairy tale: "Have you ever wondered why a moth flies into a flame?"
   • Example for a funny story: “I have a story from my university days that will outshine all others. It has to do with the toilet.”

2. Build an action scene. Throughout the story, you must create an immersive experience. The audience should experience the story as if they were participating in it. Start with the introduction. Create a story by adding details that convey atmosphere, emotion, and action. Choose your expressions very carefully: use words with strong emotional connotations.

   • An example of a fairy tale: “A long time ago, in the old world, where magic did not cease to exist, and animals could speak...”
   • An example of a funny story: “I’m quite quiet and homely, like a cat, right? But my roommate in the hostel was quite a party animal.”

3. Build up and release tension. Of course, the main one story line will become more and more intense, reaching a climax, after which the action will tend to completion. However, you should also ease tension between the most intense moments. Otherwise, the story will seem crumpled or too schematic. IN real life there are moments that fill the gaps between events. The same goes for stories. This could be a description of a scene, a small aside to add detail, or a joke to add flavor to the story.

   • An example of a fairy tale: “The Moth flew up to a tall white candle, where the Flame was blazing in all its glory. The Moth felt a blow somewhere in the stomach area and love awakened in him. Of course, heroes do not save princesses in one day, and the Moth spent many delightful nights , falling more and more in love with the Flame."
   • An example of a funny story: "It came New Year, and we moved to a new area, nice and... unsafe. So I lived almost all the time in the mode state of emergency. By the way, it stimulates blood pressure quite well."

4. Focus on what's important. When telling a story, it's important to include details to create immersion. However, the story should not turn out to be incoherent and drawn out. Therefore, it is very important to focus on the main thing. Omit the unimportant details and leave in those that add flavor to the story or make it clearer.

   • Try not to get ahead of yourself or slow down; add details if necessary to see the audience's response. If they get bored, speed up and get to the point.

5. The narrative should flow logically. This is where it is very important not only to know history, but also to teach it correctly. You've probably met people who constantly interrupt their story with the words: “Oh, I forgot to say...”. Yes, you don't need to be that kind of person. Don't stop to go back. This distracts the listeners' attention and confuses them. The story should flow smoothly and logically.

   • If you forgot to mention something, weave the detail into the story without interrupting the main line. For example: “Now the Pied Piper was hunting for the city’s money for a reason. After all, a deal was made with him earlier."

6. The story must have a clear conclusion. It's very awkward when your audience isn't sure whether you've finished your story or not. So your story needs to have a clear ending. There are several completion options, for example:

   • Ask a question and answer it. “Isn't this crazy? So I'm not going to do it again."
   • Draw out the moral. "This, ladies and gentlemen, is a perfect example of why you shouldn't bring your cat to work."
   • Choose your tone and manner of speaking carefully. Try to speak louder and faster to escalate the situation, and then lower your voice and slow down to show that you have come to the end.

   Part 2

   Using voice and body

   1. Create characters. Let the characters in your story sound different. If you get used to different roles, you will avoid a dull and annoying empty narrative. You can also make the story more real. Play with accents, speech, people's voices. You can add comedy by parodying silly or stereotypical voices.

      • For example, convey your father’s voice with an overly deep and hoarse sound, adding a special twist to the dialogue: “[ An important part stories] ... And I'm also going to the garage to build a platform. Or part of the platform. Or maybe I'll watch a TV show where they build platforms."

   2. Make your narrative "big" or "small." Choose the sound of your voice so that it is appropriate in one or another part of the story. Change the intonation, tone, volume to make the story sound calm or exciting, depending on the plot. Speed ​​up and speak a little louder towards the end. Slow down at the very end.

      • You should also experiment with dramatic pauses. A little silence and facial expression can make a story much more interesting.

   3. Control your facial expression. If you want to become a truly great storyteller, you must master the ability to create and change facial expressions depending on the progress of the story. The whole story should actually unfold on your face. If you really want to learn this, watch a video on Youtube, search for John Stewart or Martin Freeman.

      • Remember, facial expression has more than 3 shades. You can create truly vivid emotions with very specific facial expressions.

   4. Speak with your hands. Knowing how to sign can take you from a really boring and boring storyteller to someone who commands all the attention in the room. Hands convey emotions. Hands capture the audience's attention. Hands create a sense of action. If you don't use your whole body, at least gesture with your hands as you talk.

      • Of course, you shouldn't overdo it. There is no need to hit someone or knock over your drink. Or throw it in your face.

   5. Play the story. If possible, move your whole body while telling the story. You don't need to reproduce every movement, but you should use your entire body at key points to capture the listener's full attention. It also adds a comedic effect.

      • Look at the behavior famous people and their facial expressions and gestures. For example, enter in a search engine: Groucho Marx, Rodney Dangerfield, Conan O'Brien and Robin Williams.

You walk into a friend's party and immediately see beautiful woman. You're good looking your body- this is Arnie in best years. You are well dressed and radiate an atmosphere of complete success. But the woman doesn’t pay attention to you, like all the people around - everyone is looking attentively at the puny guy who seems like a complete loser, but he seems to hypnotize everyone present. This “loser” is the main advantage of the whole party, because he knows how to tell stories. You also want to learn this art, right? If so, what do you need to know? what exactly does it do good story good. This is a whole science that begins with the personality of the storyteller.

Narrator's personality

A good storyteller is always interesting person. The narrator doesn't have to be great personality, possessing limitless talents, but he must have a character that is based on the following qualities:

Confidence;
- ability to formulate thoughts;
- sense of humor;
- passion;
- communication skills;
- erudition;
- ability to be creative.

The storyteller has a relationship with the audience and must interact with them as their clients. He “sells” a story that should be of interest to listeners. The reaction occurs not only at the psychological, but also at the physiological level. This happens due to the hormone oxytocin, which enhances the feeling of empathy and increases a person’s ability to experience various emotions. To put it simply, the action of oxytocin creates a connection between the storyteller and the listener - this connection is, in a sense, chemical.

But a good story doesn't always work perfectly. The reason is simple - each situation requires a specific approach. The same story goes well among friends, but shocks colleagues. To understand this, you have to understand the types of narratives. Conventionally, they can be divided into three: social type, professional type and emotional type.

Social history

Social history contains a huge layer of storytellers. Usually, we're talking about about comedians, actors, showmen, pop stars. They all fall into this category. The essence of a social storyteller is simple - tell jokes and entertain the audience. Social history works best among friends or people who cannot be “offended.” To tell a good story social history, you need to know a few simple truths:

History should entertain. Try to tell something that will evoke pleasant emotions - don’t tell topical stories, people don’t want to hear them at parties.
- Be open. You need to be your guy. Don't move away from the crowd, make them think you're the one true friend.
- Savvy. You will have to work with the audience to capture their attention. Try to pull material out of those listening to use it in the story.
- Short and to the point. If your story is too long, you will lose attention - be to the point.

Professional history

This type of story is in demand among religious leaders, general directors, leaders and various trainers who teach life. Great for people who want to tell a good story from the height of their authority. The rules of this story are a little more complicated than the previous one, but not much.

Manage conflicts. This is important when you need to show confrontation, a point of disagreement, which can be great fuel for the perception of the story.
- Provide the story with the context of the past and a forecast of the future - this must be done so that listeners see the story in volume, and not in fragments.
- Describe difficult situations in simple words. Your audience must understand you. A good storyteller should not use highly specialized vocabulary.

Emotional story

Suitable for women's ears, which perceive the world much more sensually than we do. Also great for small group conversations. An emotional story is the ideal choice when you are talking to a person face to face. This story has a number of distinctive features:

Fear. Use this feeling to thicken your colors.
- Excitement. Keep the ending unclear so that the listener waits with bated breath for the ending.
- Disappointment. You can talk about the problems that concern you.
- Compassion and love. These feelings are still strong on this planet - use them for the story.
- Vulnerability. Don't be afraid to be vulnerable. Thanks to this feeling, the listener takes the side of the narrator.

To tell an emotional story well, you must use body language, eye contact. You must also understand the importance of voice intonation, its tone. You should not evoke pity, but through the story you should evoke sympathy, pain, fear or any other strong emotion. If you master even one type of storytelling, you will be able to become the life of your company - we know this for sure.