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El Único Vídeo Que Necesitas Para Dominar El Storytelling — Transcript

by Adrià Solà Pastor · 2,928 words · 436 segments · language en · Watch on YouTube

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0:00I propose a challenge. If you beat me,
0:02you leave the video. If you lose, you
0:06must listen to what I have to tell you,
0:07because you will see your life change.
0:10Ready? I have your word. Can I trust
0:13you? Very well. Above all, above all,
0:17above all, do not imagine what I tell
0:19you. Do not imagine a pink elephant
0:23swinging on a spider web hanging from a
0:25very thin thread. The pink elephant
0:29grabs a banana with its trunk and
0:31savors it happily with its mouth. So
0:34happy is he, that he begins to shout
0:36with enthusiasm and—pop. The thread
0:38breaks and the elephant falls on its
0:41butt, rejoicing in its laughter. You
0:44already did it, right? You imagined it.
0:47Look at what just happened. I was able
0:51to enter your mind and project the
0:53image I wanted without you being able
0:56to stop it. That is the great power of
0:59storytelling. And I beg you, please, I
1:03beg you to learn it, to master it. But
1:06wait, before that, please, listen to me
1:08. I want you to forget absolutely
1:11everything you have learned, what you
1:13have been taught about storytelling,
1:15because you see, I have been obsessed
1:17with the art, the mastery of telling
1:19stories for over 10 years. I have
1:22analyzed, I have studied the best
1:24screenwriters, copywriters, film
1:26directors and I have realized one thing
1:28. They see the art of storytelling in a
1:32totally different way than 99%of people
1:35. In fact, they have understood
1:37something that the rest have not. The
1:40human brain has only one function: to
1:42survive. As long as it can see what
1:44will happen in the future, it will be
1:47safe and sound. But what happens when
1:49it cannot predict what will happen? Bam
1:52, it goes crazy. You need to know. It
1:55gets hooked. Its attention goes
1:57straight there. That is why I have
2:00discovered that all storytelling
2:02geniuses do the following. They break
2:05your predictions about what will happen
2:08while building an emotional
2:09relationship between you and the story.
2:12Break the logical pattern, build the
2:14emotional pattern. This dance is what
2:19generates true magic and today you will
2:21master it because I am going to share
2:24with you the six-step system with which
2:26you will be able to tell stories that
2:29will leave anyone who hears you stunned
2:32. But before we continue, I know how
2:35much you want to become a master of
2:37storytelling. For that reason, I know
2:39this will interest you. I would like to
2:41invite you to the big annual event I am
2:44organizing. It is an event where you
2:47will learn the exact methodology to
2:48master the most important skill that
2:49exists: communication. On November 3rd
2:53at 7 PM Madrid time, we’re going to
2:55unlock that version of you capable of
2:57building the life you’ve always
2:59wanted, in a free, live online event.
3:03Also, we’ve opened a limited-capacity
3:06WhatsApp group where I’ll share three
3:08classes to totally transform your life
3:11before 2027, which I won't post
3:13anywhere else. Spots are filling up, so
3:16hurry. I’m really looking forward to
3:18seeing you there. For this reason, I
3:20invite you to register using the link
3:22in the description or the QR code on
3:23your screen. See you inside. Create
3:26immersive experiences. During the
3:29filming of The Godfather, the opening
3:31scene just wasn't working. The script
3:34was perfect. A man wants justice and
3:36asks Corleone for the death sentence of
3:38another man. But on camera, something
3:41was missing. Vito Corleone came across
3:43as angry. Sure, he could shout and
3:45insult, but he seemed like any common
3:47mobster. They realized that anger
3:49wasn't scary. What was scary was the
3:52calm. Before filming once more, a stray
3:55cat appeared on set. Coppola, the
3:58director, picked it up and placed it on
4:00Corleone’s lap. He started stroking
4:03it while receiving the man who came to
4:05ask for a favor—the death sentence of
4:07another man. And that image—a man
4:11sentencing, deciding another man’s
4:14life while petting a cat—that image
4:16sends shivers down your spine. That’s
4:21why it became one of the most iconic in
4:24cinema history, and I even have it
4:26right there now that I realize it. Why
4:30is this scene so powerful? Despite not
4:33changing a single line of the script,
4:35what they achieved was aligning the
4:37body and emotion with the dialogue.
4:39With your stories, you must do exactly
4:41the same thing. It’s not enough to
4:42just narrate. You must create an
4:44immersive experience with your body and
4:46voice so that the other person can live
4:48that story through you. For example, if
4:51you’re talking about a panic
4:53situation with a flat voice, without
4:55moving your arms, the other person
4:56interprets it as something totally
4:58normal and neutral. But if you move
5:00your arms with this intensity, open
5:02your eyes, and raise your voice, the
5:04other person lives that panic situation
5:06through you. To know exactly what kind
5:11of emotion we need to project, how we
5:13should move, how we should speak, and
5:16with what volume and speed. I would
5:19like to explain to you what Freytag’s
5:21Pyramid is, and for that, we need the
5:24iPad. Every story follows this same
5:27pattern, which is Freytag’s Pyramid.
5:29We find a context that then begins to
5:32complicate as tension builds toward an
5:35incident. An incident that explodes,
5:39called the climax, which then descends
5:42back down to its resolution. Your
5:46communication must mirror this
5:48structure in this area here, which
5:50leads us to the great climax; it is the
5:52description of that conflict, that
5:55incident. What you will have to do is
5:59build tension in the audience, and you
6:01will do it with much higher volume,
6:03faster speed, even a high pitch and
6:05frenetic movements. In this area here,
6:09after the climax, we are progressing
6:12toward the resolution and the great
6:14moral. Here your voice drops in pitch,
6:17a deep tone, it slows down, movements
6:20become smoother and more impactful,
6:22because here we are leading the
6:24audience toward the lesson, toward the
6:26great moral. Freytag's Pyramid helps us
6:30know what kind of communication we
6:32should have at each moment of our story
6:33. Creating emotional dependency. In
6:371966, the journalist Gay Talese had to
6:40write an article on Frank Sinatra for a
6:43magazine. Sinatra had a cold and
6:46refused to speak to him, so Talese had
6:48to improvise. Without a single
6:51interview, he spent weeks observing
6:54every detail of Frank Sinatra. And just
6:57from those observations, he wrote an
6:59article. "Frank Sinatra Has a Cold,"
7:02considered today one of the best
7:04articles ever written. The genius of
7:08Talese was not telling what Frank
7:10Sinatra communicated to him; it was
7:12describing what it was like to be near
7:15him. Why? Well, because Talese and I
7:20have been using sensory language, the
7:23most powerful tool that exists to
7:25create emotion in another's mind so
7:28they can relive the story as if it were
7:31their own. To do this, you must speak
7:34by stimulating the five senses, the
7:36five sensory organs. For example, smell
7:38. You won't say it smelled artificial;
7:41you will say it smelled like a hospital
7:43. That disinfectant scent that sticks
7:46in your throat and won't go away. For
7:50example, for hearing. You won't say, "
7:54There was a deathly silence"; you will
7:56say, "It was so silent that you could
7:58only hear the clock's needles moving."
8:02Or even for dialogue, you won't use
8:04narrated words. That is to say, for
8:07example, he told me it wasn't the right
8:10time. You will say, he looked me in the
8:14eyes and said, "Not now." If you notice
8:18, I have taken you to different scenes
8:20and projected in your mind situations
8:23that you have been able to feel and
8:25relive with sensory language. Your
8:28stories must have a great deal of that
8:30as well. I have my own story bank, a
8:34story bank that groups all these
8:36stories into a tremendously powerful
8:38structure so that I can tell them in
8:41both professional and personal settings
8:43and surprise anyone who listens to me.
8:47And I have some good news; I have
8:48prepared it for you, I am going to
8:50share it with you, I am going to give
8:51it to you for free. I have prepared
8:54this story bank along with the exact
8:56structure I use to complete and
8:58organize each one of my stories. You
9:01can find it in the link in the
9:03description or via the QR code you see
9:04on the screen. Structures that break
9:07prediction. 2,000 years ago, one of the
9:10most powerful parables ever written was
9:12told. It is the most beautiful thing I
9:15have ever heard. Listen closely. A
9:17father has two sons. The youngest
9:19stands before him and says, "Dad, give
9:22me my inheritance." In that culture,
9:24the inheritance was received when the
9:26father died. Asking for the inheritance
9:29while he was alive was telling his
9:30father, "To me, you are already dead."
9:33The father does not waver and gives all
9:35the inheritance to his son. For a while
9:37, the son lives amazingly, but he ends
9:40up spending it all and, unfortunately,
9:42winds up tending to pigs in a place
9:45with an incredible society. In that
9:49precarious, tragic moment, he regains
9:51awareness of his great mistake and
9:52decides to return to his father. He
9:56prepares a speech of forgiveness and
9:58starts to practice it. "Father, forgive
10:01me, please, that is all I ask." And
10:03tell me, what do you think will happen?
10:05Your brain is already making a
10:06prediction. Surely he is coming back.
10:08What will happen is that the father
10:11will humiliate or banish him just as
10:13his son did to him. Because back then,
10:16precisely, what the son did and what
10:18the father even allowed was seen as one
10:20of the worst things possible. But the
10:23exact opposite happens. The father sees
10:25his son coming from afar and embraces
10:27him with such force that he doesn't let
10:30him speak. Why is this parable so
10:32famous? Because two things happen.
10:35First, it gives you a series of
10:37characters, a context, a cohesive
10:39narrative thread that you can follow
10:41with clarity. It is tremendously simple
10:45to understand where we come from, where
10:47we are, and where we are going. But
10:50let's not confuse structure, which is
10:52what this parable gives us. And all
10:55your stories should play with
10:57prediction. If you notice, we
11:00understand where we come from, where we
11:02are, and thinking we already know where
11:04we are going, the parable steps in and,
11:06bam, cuts us off. That is the rule you
11:10must always follow. There must be a
11:13clear structure with an order that
11:15allows the other person to perfectly
11:18understand every step of the story, but
11:20at some point, the calculation they had
11:23made should be completely broken. By
11:26the way, if you are finding this video
11:28helpful, I have some good news. We work
11:30very hard so that all the content we
11:32bring you is tremendously impactful,
11:35useful, and beneficial for you. So we
11:38would love to ask you to subscribe, hit
11:40the like button, and turn on
11:41notifications to become part of this
11:43community. Also, I would love to know
11:46your opinion; what is the story that
11:48has impacted you the most from movies,
11:50books, or anything else, that you want
11:52to share with us in the comments? I
11:54will be delighted to hear it. Conflict,
11:57a common enemy, and a reason for being.
11:59Who is Batman without the Joker? An
12:01eccentric millionaire. Who is Rocky
12:03without Apollo? An ignorant man whose
12:06hobby is punching a bag? Who is Harry
12:09Potter without Voldemort? An orphan
12:11with a strange scar. And my question is
12:14, who are you without what you fight
12:16against? I have always been clear on
12:18this: the obstacle is the path, and
12:20your enemy is your reason for being.
12:23And Campbell, the famous writer,
12:25already told us about this. He told us,
12:28"The problem with the story is not the
12:30adversary, it is the story itself." And
12:32the logic is clear. Without an enemy to
12:35fight, there is no possible challenge.
12:38Without a possible challenge, there is
12:40no transformation. That is to say,
12:42moving from point A to a superior point
12:44B. Without that transformation, there
12:46is no learning. And without learning, a
12:48story is totally useless. So the
12:51audience loses. Sorry, I got a call.
12:56You see? This is a plot twist that
12:58isn't positive for stories, but as I
13:00was saying, without a challenge there
13:01is no transformation, without
13:03transformation there is no learning,
13:05and without learning, a story is
13:06useless for the audience. So all your
13:09stories must always have a clear
13:12conflict and a common enemy. Why?
13:15Because it is what will allow the
13:17audience to take sides and position
13:19themselves emotionally. Once they have
13:21taken a position, there is no turning
13:23back. They want to stay and see who
13:26wins. But the biggest mistake is
13:29thinking that the common enemy must be
13:32a person or a villain, when it can
13:34perfectly well be an idea or an
13:36abstract concept. For example, who do
13:40you think my enemy is? My enemy is not
13:42a person. My enemy is not a villain. My
13:45enemy is a concept: mediocrity. On this
13:48channel, we do everything possible to
13:50achieve excellence, the best version in
13:52every aspect of our lives, thus
13:54honoring the duty we have to make the
13:56most of everything that has been given
13:58to us. That is the purpose of this
14:00channel. And notice how powerful this
14:03tool is, that it is used by the best
14:05storytellers in the world: politicians.
14:07For them, it is not a tool; it is a
14:10ploy. Why? Because they don't win
14:13elections by proposing how things
14:15should be; they do it by confronting,
14:18pitting us against certain
14:20nationalities, pitting us against
14:23certain regions, pitting us against
14:25certain ideologies—confronting, not
14:28proposing. And that is how they get
14:31people to take sides. Of what? Of their
14:33political party, and to vote for them.
14:35That is exactly the effect that
14:37building a good conflict and defining a
14:40common enemy has throughout your story.
14:43The audience stays simply to see both
14:46you and them win. A perfect ending.
14:50What brings the most pleasure to the
14:52mind. One of my favorite movies is
14:54Forrest Gump. It opens with a white
14:56feather floating in the air, drifting
14:59aimlessly, until it falls at the
15:01protagonist's feet, and it closes with
15:03exactly the same image. But by that
15:05moment, the viewer has lived an entire
15:08life with that man. And the feather is
15:10not just a simple feather. The feather
15:13represents the brutal distance between
15:15the innocent Forrest introduced at the
15:18beginning of the movie and the fully
15:20transformed adult Forrest. Nothing had
15:23to be explained. With that image, you
15:25understand everything, and your mind is
15:27at peace, giving you a tremendously
15:29pleasant feeling of having watched that
15:31movie. Why? Because it begins one way
15:35and ends the same way, giving you a
15:37perfect closure. That is called a
15:39structural mirror. It consists of
15:43starting with a word, an object, a
15:45sound, an image, or a reflection, and
15:48ending with exactly the same thing or
15:51something that references it, providing
15:54, I repeat, a perfect closure. I use it
15:58myself in each and every one of my
16:00presentations; in my TED Talk, for
16:02example, I started one way and finished
16:04exactly the same way, with my speeches
16:07in the pantheon or in parliament,
16:09exactly the same. Giving a perfect
16:12closure to everyone listening, a moral,
16:14or what will make them tell your story.
16:17But closing the story perfectly is not
16:19enough. It's like giving a gift that is
16:23perfectly wrapped, but empty inside.
16:27Interstellar is one of my favorite
16:28movies. A father leaves home to save
16:31humanity, convinced that sacrifice is
16:33love, only to discover too late that
16:35while he was fighting for his
16:37children's future, he was losing their
16:39present. And that is Nolan’s great
16:42moral. In an ecosystem, in a movie
16:46about space, black holes, timelines,
16:49and different dimensions. The true
16:54moral is that sometimes the passage of
16:57time has no mercy, and either you
16:59cherish the present with your loved
17:02ones or one day you will look back and
17:04see everything you lost while chasing
17:07things for the future. That is the true
17:11moral. That is why, when you finish
17:14watching it, you don't think about
17:15space, you think about your father,
17:17your daughter, your mother, the trip or
17:19the conversation you have been putting
17:21off for months because you think there
17:23is still time. The big difference
17:26between an ending that closes what
17:28happened and the moral is this: the
17:30moral leads you to live differently.
17:34And that is what ultimately makes a
17:36movie, a story, whatever it may be,
17:37memorable; something that will make
17:39others tell it, share it, and pass it
17:41on. When you are no longer here, you
17:45have a great story to tell. An
17:47incredible story to tell, I am sure. In
17:50fact, the most painful story, the one
17:52that has been hardest for you to live,
17:54is surely the one that would inspire
17:56others the most. But do me a favor,
17:59learn to tell it as it deserves. I hope
18:04you liked this video. I wish with all
18:06my heart that you found it useful. You
18:09can share it with the people you think
18:10it will also help. I would be
18:13tremendously grateful. I send you a
18:15kiss, a warm hug, and I'll see you in
18:18the next video.

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