How to Tell Stories That Makes People Whisper ‘Damn, that’s good.’ — Transcript

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1. 0:00Storytelling is probably one of the most
2. 0:02important tools out there to hook your
3. 0:04listeners and to keep them engaged. But
4. 0:06a lot of the advice that is out there
5. 0:08makes it sound so complicated. What I
6. 0:10want to tell you is storytelling is
7. 0:11actually pretty simple if you know what
8. 0:13matters. Let's watch a short clip by
9. 0:16Leonardo DiCaprio. You all know who that
10. 0:18is. And then you tell me what makes the
11. 0:20story so special.
12. 0:21>> I was on a plane to Russia and the
13. 0:24engine exploded. I was looking out the
14. 0:26window and the entire engine just turned
15. 0:28into a fireball. I was the only person
16. 0:30there that seemed to see this, but it
17. 0:32was a flaming fireball. I kind of felt
18. 0:34like I'd already died and gone to heaven
19. 0:36cuz no one said anything.
20. 0:39And I was screaming at the top of my
21. 0:40lungs, "What the hell is going on here?"
22. 0:43And the stewardess came out and said,
23. 0:44"We seem to have a a slight problem
24. 0:46here." And the Russian guy finally said,
25. 0:49"What is the problem?"
26. 0:50I said, "Well, we we lost one of our
27. 0:53engines."
28. 0:54>> [laughter]
29. 0:55>> He goes, "How many engines did we have?"
30. 0:58I said, "Well, we had two.
31. 1:00>> [laughter]
32. 1:00>> Now we have one."
33. 1:02>> All right. Leonardo DiCaprio tells such
34. 1:05an incredible story because he zooms
35. 1:08into the moment. Let me show you what
36. 1:10that means. Most of us, we tell stories
37. 1:12like this. We're like, "Well, I had a
38. 1:14problem. It was very difficult, but then
39. 1:16I overcame it and yeah, now it's done."
40. 1:18This is how 99% of the people tell
41. 1:20stories in the most high-level way
42. 1:23possible, summarizing, not going into
43. 1:25the details. Leonardo DiCaprio didn't
44. 1:27just say, "Oh yes, I had a plane
45. 1:28accident or the engines stopped
46. 1:30working." No, no. He zoomed into the
47. 1:31moment. So, the best storytellers, they
48. 1:34go into one specific moment. They look
49. 1:35them in the face. They show us the
50. 1:37emotions behind it. They zoom into one
51. 1:39specific moment. That is the absolute
52. 1:42most important thing when it comes to
53. 1:43storytelling. Nothing is more important
54. 1:45than that. Now, in case you're
55. 1:46wondering, "How can I do this?" It's
56. 1:48actually surprisingly simple and I want
57. 1:50to show you how. I'd love to have one
58. 1:51volunteer for this. Yes, please come.
59. 1:53Carolina, I'd love you to think about a
60. 1:56moment where you messed up. Could be
61. 1:58small, could be big, could be at work,
62. 1:59could be outside of work. Okay, do you
63. 2:01want to give us the one sentence
64. 2:02summary?
65. 2:03>> The moment when I fight with my boss.
66. 2:06>> Mhm.
67. 2:06>> And I was
68. 2:07>> [music]
69. 2:07>> fired.
70. 2:09>> Oh, okay. Wow, that's a big moment
71. 2:10there. The moment that she fought with
72. 2:11her boss and was fired. Okay, now what
73. 2:13I'd like you to do is to relive that
74. 2:15moment. So for that, if you want to
75. 2:16close your eyes
76. 2:18real quick, take a deep breath in.
77. 2:21And now
78. 2:22when you go back to this moment,
79. 2:24>> [music]
80. 2:24>> tell us where are you?
81. 2:26>> I was in his office and he asked me
82. 2:29something that was not supposed for me
83. 2:32to do. [music] So I was really really
84. 2:34angry and I thought he doesn't have the
85. 2:37right of [music] doing it. So I start
86. 2:39fighting for my position and he tells me
87. 2:42that I am too young to be such with big
88. 2:46opinions. Technically, [music]
89. 2:49I couldn't be fired, but I was. I don't
90. 2:52know how.
91. 2:53>> Okay.
92. 2:54>> He was so angry with me that he made
93. 2:56[music]
94. 2:57a movement that allowed him to do it. So
95. 3:01when I realized that, I was like,
96. 3:04"Fuck."
97. 3:05>> That's great. Okay, you can open your
98. 3:06eyes again. Woo.
99. 3:08Okay.
100. 3:08>> [applause]
101. 3:09>> Now did you see what she did? Carolina
102. 3:11was just reliving the moment. I didn't
103. 3:13even have to guide anything. I Usually I
104. 3:15have to give some more guidance, but
105. 3:16Carolina was already into the zone. And
106. 3:19so if you think about how can I tell
107. 3:21interesting story, it's about closing
108. 3:23your eyes and going back to the moment.
109. 3:25Where are you? What are you seeing? What
110. 3:27are you doing? What are you hearing? You
111. 3:29shared the dialogue. You shared what was
112. 3:31going on in your mind. That is
113. 3:33storytelling. It's just about reliving
114. 3:35the moment. [music] Thank you so much.
115. 3:37Let's do the same exercise that we did
116. 3:38right now with Carolina, but I'll give
117. 3:39you some more prompts. But for that,
118. 3:41just close your eyes now for a second.
119. 3:43Also, take a deep breath in. And now
120. 3:45think about a moment where you messed
121. 3:47up, where you had some sort of problem.
122. 3:53That can be small, big,
123. 3:55any type of moment. It doesn't matter
124. 3:56for this.
125. 3:59Now, I want you to see where are you?
126. 4:05What are you seeing?
127. 4:11What is happening?
128. 4:12>> [music]
129. 4:15>> See it unfold in front of your eyes.
130. 4:20Is there maybe another person?
131. 4:24What does that person say to you?
132. 4:29What are you thinking?
133. 4:34Okay, that's it. You can open your eyes
134. 4:37again.
135. 4:39Now, keep that memory right now on top,
136. 4:42and I want [music] you to turn to your
137. 4:43neighbor. And for 30 to 60 seconds, I
138. 4:46just want you to share that same memory
139. 4:48that right now popped into your mind. I
140. 4:50want you to share that with a neighbor.
141. 4:52And exactly how it was like, where are
142. 4:53you? You describe it, right? What's
143. 4:55going on through your mind? All those
144. 4:57details that you just heard, well, share
145. 4:59that with a neighbor. So, share this one
146. 5:00challenge or this one time where you
147. 5:01messed up.
148. 5:07Anything else that you found interesting
149. 5:08or challenging?
150. 5:09>> You can learn anything. Like, you can
151. 5:11learn something from anything.
152. 5:12>> Mhm.
153. 5:13>> Like, even if it's small, tiny.
154. 5:15>> Mhm.
155. 5:16>> There is there is something there.
156. 5:17>> True. And that's actually good because a
157. 5:19lot of people overthink storytelling,
158. 5:21that you always have to have the perfect
159. 5:22story with the perfect arc. Hey, just
160. 5:24take any challenge and tell me what you
161. 5:26learned from that, and that is a great
162. 5:28story. That's it. Like, don't think that
163. 5:30I have to have the 17 steps of the
164. 5:32hero's journey in order to change
165. 5:33someone's life. No, it's a You have a
166. 5:35problem, and what you learn from that.
167. 5:37Zooming into the moment, the single most
168. 5:38important thing. Reliving it, what you
169. 5:40just did there, helps you get there.
170. 5:42But, I know a few of you, same as I, you
171. 5:44want some sort of technique behind it,
172. 5:45right? I'm German, and I love technique.
173. 5:47So, how can you zoom into the moment?
174. 5:49It's by a framework I call PAST or past.
175. 5:54The first technique is called place.
176. 5:56What you want to do as soon as possible
177. 5:59when you get into your story, state the
178. 6:01location or state the place. Now, why
179. 6:03does it matter so much? Because the
180. 6:04moment you share the location, a movie
181. 6:06starts playing in your head. Because
182. 6:07when I say kitchen, you start, "Oh, I
183. 6:09can see a kitchen." You're into the
184. 6:11story already and it's so easy a movie
185. 6:13starts playing there. For example, I can
186. 6:15say, "Hey, 2 weeks ago, I'm in my
187. 6:17apartment in Lisbon sitting on the
188. 6:18couch." You start imagining then a
189. 6:20certain couch. Or for example, "Hey, I'm
190. 6:22standing in front of the conference room
191. 6:24taking a deep breath." And then again,
192. 6:26you're like, "Hmm, I think I've seen a
193. 6:27conference room before." And you start
194. 6:28picturing it. Now, does it matter
195. 6:30whether Do I need to describe it in
196. 6:31detail? I don't, right? Because a lot of
197. 6:34storytellers, especially at the start,
198. 6:35somehow the common advice is like,
199. 6:37"Appeal to all the five senses." And
200. 6:38then people are like,
201. 6:40"Oh,
202. 6:41it was [music] a sunny afternoon in
203. 6:44Lisbon, birds were chirping,
204. 6:46>> [snorts]
205. 6:46>> smell the lavender in the air." And they
206. 6:47go into all those details which are
207. 6:49completely useless for stories. So, just
208. 6:51hey, state the place as soon as possible
209. 6:53and get into it. That brings me to the
210. 6:55second one, which is action.
211. 6:58Leonardo DiCaprio's story started
212. 7:00straight into the action, right? Boom,
213. 7:01hey, you're in the plane, something is
214. 7:03happening. And that's also what I want
215. 7:05to advise you. If we look at this, let's
216. 7:08say here's the line. Here, this is the
217. 7:10big moment, right? This is right now the
218. 7:12moment that you right now just shared.
219. 7:14That's the most emotional moment, that's
220. 7:16the challenge that you're facing. Then
221. 7:18we have all those small moments before.
222. 7:20So, maybe let's say this is the moment
223. 7:22that you share, you said about having
224. 7:23this conversation with your boss, right?
225. 7:25So, that could be this big moment. And
226. 7:27then maybe Carolina started her career
227. 7:29here, then maybe here she got a nice
228. 7:31promotion, then maybe here there's
229. 7:33something else happens. And now most
230. 7:34people start all the way here, right?
231. 7:38Where do you think you should start? In
232. 7:39the action. Where is the action?
233. 7:41>> Second before the action.
234. 7:43>> Yes, start as close to the challenge as
235. 7:46possible. Like all that stuff, cut it
236. 7:49ruthlessly cuz I know so many people are
237. 7:51like, "Oh, here here's the company
238. 7:52history and all the things that I did
239. 7:53before." No, no, no. You want to get as
240. 7:56close to the challenge as possible. You
241. 7:58want to get to the juicy stuff as
242. 8:00quickly as possible. Like trust your
243. 8:01fellow human beings that they will
244. 8:03figure out the context. Most times they
245. 8:05will. So, what are some examples of
246. 8:07actions? It could be, "Hey, I'm in my
247. 8:09apartment. I open my laptop, 200
248. 8:12notifications pop up. Fuck." Right? That
249. 8:15could be into the action. Or, "Hey, I'm
250. 8:16at the airport putting my bag in the
251. 8:19security belt when someone calls my
252. 8:20name." Boom, immediately into the
253. 8:22action. And so, you want to start with
254. 8:24those verbs, with those forward
255. 8:26momentum. That's how you get into the
256. 8:27action. Let's try this out right now. I
257. 8:29want you to turn again to a neighbor,
258. 8:31but this time a different neighbor. I
259. 8:33know everyone comes here with their best
260. 8:34friend, with their partner.
261. 8:36This time,
262. 8:38I want you to have the privilege to tell
263. 8:40a story to a stranger and not just the
264. 8:42safe stories to your partner. So, find a
265. 8:44different person, share just the first
266. 8:46two steps of your story. And just to be
267. 8:48clear, that is maybe like 30 seconds of
268. 8:50the story. Like we don't go into the
269. 8:52full story, but just the place and the
270. 8:54action.
271. 8:55>> [music]
272. 8:59>> Cool. Okay, let's hear from one or two
273. 9:00volunteers. Who'd like to share the
274. 9:02place and the action? Yes, please, come
275. 9:04here. What's your name?
276. 9:05>> Daga.
277. 9:06>> Daga. All right, Daga, nice to meet you.
278. 9:08Daga, would you like to share the Just
279. 9:10the start of your story, not the full
280. 9:11story.
281. 9:11>> I was in my living room writing stuff on
282. 9:14my iPad. I was really into it. Then I
283. 9:16suddenly realized, "Oh, what time is
284. 9:18it?" I checked my phone and it was 4
285. 9:20minutes to 7:00 and I realized, "Shit,
286. 9:23cuz I have this event that starts at
287. 9:247:00."
288. 9:25>> [laughter]
289. 9:26>> OH, WHICH EVENT?
290. 9:31NICE, GOOD JOB.
291. 9:32>> THAT'S THE FIRST two steps of my story.
292. 9:34>> Perfect. Yeah. Did you see like we
293. 9:36wanted to know, "What was that event?"
294. 9:38>> [laughter]
295. 9:38>> Obviously,
296. 9:39we know which event it is. This is how
297. 9:41you start because we immediately like we
298. 9:43want to know the rest. Let's then talk
299. 9:45about the next one. That one is actually
300. 9:48my favorite. Now, often time our stories
301. 9:51will have more than one character,
302. 9:53right? And when you share about that
303. 9:55other character, what do most people
304. 9:57say? They are like, "Well, I had a
305. 9:59conversation with my boss and he was
306. 10:01very frustrated with me." This is how
307. 10:03most people share in the
308. 10:06They just again summarize it. But the
309. 10:08best storytellers, they quote that
310. 10:10person. So, they say, "Hey, right in
311. 10:11this moment my manager looked at me and
312. 10:13he said, 'Philip, that presentation
313. 10:18we can't do this. This is terrible.'
314. 10:20Right? I share the exact words of that
315. 10:22moment. The technique is called speech
316. 10:24or dialogue. And so, [music] anytime
317. 10:26that your story has more than one
318. 10:28character, share the exact words of that
319. 10:31moment. What was that person saying in
320. 10:33that moment? What were the exact words?
321. 10:35Quote that person. Dialogue or speech is
322. 10:38the most powerful way or easiest way to
323. 10:41bring your story to life because it
324. 10:43immediately takes us into the vivid
325. 10:44moment. Let's look at some examples and
326. 10:46then you tell me how we can improve
327. 10:49that. First, you see without speech and
328. 10:51on the right you see with speech. "Judy
329. 10:53from marketing was very satisfied
330. 10:55working with us." Now, that is pretty
331. 10:57boring, right? How could you reframe
332. 10:58this? I want to have your help. So, I
333. 11:01want you to say, "Judy said do do do."
334. 11:04This is what I want to hear from you.
335. 11:05And I have this beautiful How do you
336. 11:06call this? Unicorn? All right, this
337. 11:09beautiful unicorn and I'll be throwing
338. 11:11this unicorn somewhere in the room and
339. 11:12whoever catches it will tell me how to
340. 11:15turn this into dialogue. Cool? All
341. 11:16right. What's your name?
342. 11:18>> Shamik.
343. 11:18>> Shamik. Okay. How would you reframe
344. 11:20that? So, "Judy said boo boo boo."
345. 11:23>> Judy said
346. 11:24that we've done an exceptional job with
347. 11:27the project.
348. 11:27>> Perfect. I love this. The only one cut
349. 11:29the that. So, "Judy said boom."
350. 11:33>> Judy said exceptional job guys.
351. 11:35>> Mhm. They're saying stuff, right?
352. 11:37Perfect. All right. Good stuff. All
353. 11:39right. Judy called me and said, "Thank
354. 11:41you." Right? "Without your help, we
355. 11:42would have never gotten there." Then, my
356. 11:44manager wasn't happy with my
357. 11:45presentation.
358. 11:47What's your name? Monica. Monica, how
359. 11:48would you reframe that? So, my manager
360. 11:51said, "Boom."
361. 11:58Okay, perfect. Yeah. "I'm not happy with
362. 12:00your presentation and you got to redo
363. 12:02this."
364. 12:03Wonderful. Thank you so much. Okay. My
365. 12:05manager said, "What the hell is that?
366. 12:06You were all over the place."
367. 12:08>> [laughter]
368. 12:08>> You see it What What do you see there,
369. 12:10right? The juicier it is, obviously, the
370. 12:11more interesting it will become.
371. 12:12[clears throat] The customer didn't want
372. 12:13to work with us. Let's see. All the way
373. 12:16there. Yes.
374. 12:24Okay, perfect. All right. That is easy
375. 12:27for you guys. I thought the examples
376. 12:29that you gave, they were perfect, right?
377. 12:31They were great. They felt very
378. 12:32truthful. If you want to make the story
379. 12:34a tiny bit more juicy, well, then pick
380. 12:37dialogue that is slightly more exciting
381. 12:39there. And so, yes, we want to be as
382. 12:41truthful as possible as storytellers,
383. 12:43but sometimes we also don't remember,
384. 12:44right? I don't remember what someone
385. 12:46said a year ago. So, there you can use
386. 12:48the words that could have been used in
387. 12:49that moment. And there you can also make
388. 12:51it maybe slightly more concise and
389. 12:53slightly more juicy. So, this one is a
390. 12:55technique that I use all the time. So,
391. 12:56anytime that you have another person in
392. 12:58there, use the speech or use the
393. 13:00dialogue of that moment. It works
394. 13:01really, really well. Let's now talk
395. 13:03about the last technique, and that
396. 13:04technique is called thoughts. Let me
397. 13:06share that. Bad storytellers, they just
398. 13:09describe the situation where they're
399. 13:11like, "Hey, I had a conversation with my
400. 13:12boss and it was tough." Right? That's
401. 13:14what they do. Amateur storytellers, they
402. 13:16go already one step below that, and they
403. 13:18say, "Hey, I was very nervous in that
404. 13:20moment." Which is good, right? They're
405. 13:21sharing an emotion, but they don't fully
406. 13:24take us there yet. The best
407. 13:25storytellers, they share what they were
408. 13:28thinking at that moment. So, they don't
409. 13:30just say, "Ah, I was nervous in that
410. 13:31moment." But, they say, "I thought, oh
411. 13:33man, this is going to be the worst
412. 13:35presentation of my life. People will
413. 13:37walk out of this and will laugh at me."
414. 13:40So, they share whatever is going on in
415. 13:41their mind. Let's try this out. I love
416. 13:43to have one brave soul to help me on
417. 13:45this one. Who'd like to volunteer? Yes,
418. 13:47please. Lara, come here. Let me whisper
419. 13:49the instructions in your ear.
420. 13:51Okay, Lara will share now a moment and
421. 13:54yeah, you see the rest.
422. 13:55>> I was [music] at my kitchen counter at
423. 13:57my apartment in Lisbon. It's the
424. 13:59morning. I'm pretty hungry, so it's time
425. 14:01to make some breakfast.
426. 14:02>> Ooh, I'm so hungry. Oh, I haven't eaten
427. 14:04the entire day.
428. 14:07>> So, I open the pantry and I get some
429. 14:10peanut butter. I get some sourdough from
430. 14:12my freezer.
431. 14:14>> But, I guess peanut butter. I don't want
432. 14:16to gain weight again. [music]
433. 14:17>> And I decide, yeah, peanut butter, that
434. 14:19sounds amazing. I'm super hungry [music]
435. 14:21right now. So, I get out my sourdough. I
436. 14:24toast it, put the peanut butter on top.
437. 14:26I take a huge bite and
438. 14:29>> [music]
439. 14:29>> it's delicious.
440. 14:30>> Ooh.
441. 14:31Ah, I just want to eat peanut butter for
442. 14:33the rest of my life. This is so FREAKING
443. 14:35GOOD.
444. 14:37>> [laughter]
445. 14:40>> GOOD JOB. DID YOU SEE THAT? I DID some
446. 14:43narration, the inner dialogue. And
447. 14:44that's what you want to have more and
448. 14:46more in your story. It's to share what
449. 14:48was going on in your mind. If I
450. 14:50sometimes look at my stories, I think my
451. 14:52stories are usually 90% just sharing the
452. 14:54thoughts [music]
453. 14:55and then some other stuff. But, usually
454. 14:57the thoughts is what is the stuff that
455. 14:58it makes you connect to other people.
456. 15:00So, if you want to make it more
457. 15:01emotional, that's the way to go there.
458. 15:03Let's look at some examples again and
459. 15:04I'll bring out this English unicorn
460. 15:06again and you tell me how to reframe
461. 15:08that. Without thoughts, with thoughts. I
462. 15:11was looking forward to give that speech.
463. 15:13Now again, that is pretty boring, right?
464. 15:15How could you reframe that? I thought,
465. 15:17do do do.
466. 15:18>> Because
467. 15:19I really, really, really
468. 15:20want to
469. 15:21do it well for that speech tonight.
470. 15:24>> Uh-huh, yeah. I thought, "Oh yeah, I
471. 15:25really want to do it well tonight."
472. 15:27Perfect.
473. 15:28Awesome. I thought, "Oh man, I'll crush
474. 15:31this, right? This will be the best
475. 15:32presentation on this planet." Cool.
476. 15:35Let's I was worried that the client
477. 15:36would push back on the price. Let's see,
478. 15:38Peter.
479. 15:39>> I was terrified that the client would
480. 15:41push back on the price.
481. 15:43>> So, right now, you were replaced worried
482. 15:45with terrified, which is still you
483. 15:47described the emotions, but you didn't
484. 15:49tell us what was going on in your mind.
485. 15:51>> I thought that that
486. 15:53the client
487. 15:54would push back on the
488. 15:56price, and I would be fearful and
489. 15:58terrified, like that.
490. 15:59I just had this moment of terror.
491. 16:02I I I just put
492. 16:04>> Peter, so right now you you share me
493. 16:06still the like the filtered version of
494. 16:08your thought, which is okay, but our
495. 16:10thoughts are not like, "I thought, well,
496. 16:12I'm very fearful and terrified that the
497. 16:14client would push back on price." Your
498. 16:16thoughts are much more raw, like, "Ugh,
499. 16:17neurotic, something happens." So, share
500. 16:19with us what is raw going on in your
501. 16:21mind.
502. 16:22Yes, Carolina.
503. 16:23>> So, in my head, I thought,
504. 16:25"Oh my god, what if that happens and
505. 16:28they have to raise
506. 16:30I'm not prepared to do this."
507. 16:32>> Perfect. Yeah. I love this. Now, just
508. 16:35try to deliver it not in like a robot,
509. 16:37but rather with emotion. I thought,
510. 16:39>> I thought, "Oh my god,
511. 16:42>> Perfect.
512. 16:43>> that stupid client
513. 16:44>> [laughter]
514. 16:44>> would try to
515. 16:45push back the price, and I would be so
516. 16:48pissed."
517. 16:49>> [laughter]
518. 16:50>> Perfect. Yes. Speech is outer dialogue,
519. 16:53what you speak to the outside world, or
520. 16:55what you hear. And thoughts is inner
521. 16:57dialogue, it's what's going on in your
522. 16:58mind. I know some of us, at least to the
523. 17:01outside, we often try to sound as
524. 17:04sophisticated, as smart as possible.
525. 17:06But, when you share those thoughts, the
526. 17:08more raw they are, the more interesting
527. 17:10it will be. And so, yeah, I thought,
528. 17:12"Hey, the moment that she sees the
529. 17:13price, she'll walk out out this door
530. 17:15laughing." With that, let's give you a
531. 17:18chance to try this out. You told your
532. 17:21story already two times. Now this time
533. 17:23we you tell it one final time, but you
534. 17:26include all of those ones. All of those
535. 17:28ones. But I want you to put extra
536. 17:30emphasis on these two here. And it could
537. 17:33be that it doesn't have necessarily two
538. 17:35of them, but I want one of them to be
539. 17:37very very dominant there. And I'm pretty
540. 17:39sure that thoughts should be in each one
541. 17:41of your stories. If there's a great
542. 17:43another character, then share the
543. 17:44speech, but focus especially on those
544. 17:46two.
545. 17:52I'd love to hear one or two examples.
546. 17:55Who'd like to share their short 1-minute
547. 17:56story? Let's hear from one more person.
548. 17:58Yes, come here.
549. 18:00>> I wake up and I'm on a train, but it's
550. 18:02the middle of the night, the train is
551. 18:04empty and not moving. And I think to
552. 18:06myself, "Oh, [ __ ]
553. 18:09>> [laughter]
554. 18:09>> Where am I?" And then I begin to piece
555. 18:11things back together. The last thing I
556. 18:13really remember was drinking three beers
557. 18:15very quickly in the London Paddington
558. 18:18train station after having ended things
559. 18:20with my girlfriend, cuz that's a really
560. 18:22good way of processing emotions in
561. 18:24England.
562. 18:25>> [laughter]
563. 18:26>> So I drank the beers, I got on the
564. 18:27train, I'm heading home, but of course I
565. 18:30fall asleep. So now I'm in the middle of
566. 18:33nowhere in a new country, in fact Wales.
567. 18:36>> [laughter]
568. 18:37>> But that's not the worst thing. So I
569. 18:39remember that I sat down on a
570. 18:41table-style seat, and I was on the
571. 18:43aisle, and there was a really
572. 18:45cute-looking old couple who were sitting
573. 18:47on this side of me. How did they get
574. 18:49out? Well,
575. 18:51this old couple
576. 18:53must have had to either climb
577. 18:55over this hairy British man, he drank
578. 18:58too many beers, or under the table to
579. 19:00get out.
580. 19:01>> [laughter]
581. 19:02>> And you know how when you go through a
582. 19:03breakup, you kind of want to feel like a
583. 19:05little bit good about yourself?
584. 19:06You don't want to feel like an [ __ ]
585. 19:08Well, yeah, that was about 2 hours after
586. 19:10my breakup, and I was definitely in the
587. 19:12ass.
588. 19:12>> HEY, ALL RIGHT.
589. 19:14BRAVO.
590. 19:16GOOD [applause] STUFF.
591. 19:18>> BEAUTIFUL. That was so good to listen
592. 19:19to, right? Hey, boom, we are straight in
593. 19:21that train with him. Let's watch one
594. 19:24more short video, 1-minute video. This
595. 19:26one of former President Barack Obama.
596. 19:28Let's watch this and then see whether
597. 19:31you spot all the different elements of
598. 19:33that used to be here before.
599. 19:34>> I open up the curtains. It's pouring
600. 19:36down rain outside. Pouring down rain.
601. 19:38Horrible day. I I make myself some
602. 19:40coffee and I
603. 19:41get the newspaper outside my door and
604. 19:43open it up. There's a bad story about me
605. 19:45in the New York Times. I get dressed,
606. 19:47shave, walk out, just kind of still
607. 19:49groggy, still staggering. My umbrella
608. 19:52blows open. Did that ever happen to you?
609. 19:53As I'm walking out, and I get soaked.
610. 19:56Soaked. I'm just
611. 19:58soaked.
612. 20:00I get in the car. I said, "All right,
613. 20:01how long is it going to take to
614. 20:02Greenwood?" An hour and a half.
615. 20:06An hour and a half.
616. 20:08So, we're driving and we're driving and
617. 20:09we're driving. Doesn't seem like we're
618. 20:11going anywhere. Sheets of rain are
619. 20:12pouring down. So, I'm about to make my
620. 20:15pitch. I'm trying to muster myself up.
621. 20:17Let me make the best of this. I'll going
622. 20:18to do it quick and then I'm going to get
623. 20:20out of here. And suddenly, I hear this
624. 20:22voice from the back just shout,
625. 20:25"Fired up."
626. 20:28>> [cheering]
627. 20:29>> And everybody in the room says, "Fired
628. 20:32up." And then I hear the voice say,
629. 20:33"READY TO GO." And everybody in the room
630. 20:35says, "Ready to go." And I don't know
631. 20:36what's going on.
632. 20:37>> All right. What did you observe? Where
633. 20:39are we? How does it start? What's the
634. 20:41place?
635. 20:44Boom. In his apartment, right? We
636. 20:46immediately enter it. We know exactly
637. 20:47where Hey, I obviously have never been
638. 20:49to this place, but I can see him right
639. 20:51now in his apartment. Action.
640. 20:55Tons of action, right? Everything is
641. 20:56like, "Ah, the umbrella." Tons of action
642. 20:58throughout. What's the speech?
643. 21:00>> Fired up.
644. 21:01>> Fired up.
645. 21:02>> Fired up. Ready to go.
646. 21:04Yeah. Good speech in there as well. What
647. 21:06about thoughts?
648. 21:07>> And I thought I would do the speech
649. 21:09quickly.
650. 21:10>> Ah, okay. Yes, there was some thoughts
651. 21:11here. Thought I would do the get it over
652. 21:13with.
653. 21:14>> And then like repetition of when it's
654. 21:16like, "Oh, an hour and a half
655. 21:17to drive."
656. 21:18>> Ah.
657. 21:19>> An hour and a half to drive.
658. 21:20>> Ah, yeah. True. That was also going on
659. 21:22in his mind. That's it. That's pretty
660. 21:24much I think this one is probably the
661. 21:26strongest on the actions, right? The
662. 21:28actions are very, very precise, very,
663. 21:30very vivid. But there you saw, hey,
664. 21:31exactly what you learned today,
665. 21:33>> [music]
666. 21:33>> he's doing there and it makes the story
667. 21:36so captivating. And it's also just a
668. 21:38reminder, I know oftentimes, I know in
669. 21:40storytelling there's well, we have 7
670. 21:41minutes to tell a story, it's great. But
671. 21:43oftentimes, when we share a story in
672. 21:44front of friends, in front of
673. 21:45co-workers, [music]
674. 21:46like, "Hey, you can do that in 60
675. 21:48seconds. You can do that in 30 seconds,
676. 21:50in 90 seconds." And tell the most
677. 21:52incredible story out there. So, I would
678. 21:54actually encourage you when you tell
679. 21:55your story, train yourself. How can you
680. 21:57tell the most magnetic stories in the
681. 21:59shortest time possible? What did we
682. 22:01cover today? You know, what's the single
683. 22:03most important thing when it comes to
684. 22:04storytelling? Do do do.
685. 22:06Hm?
686. 22:09>> [laughter]
687. 22:15>> What's the single most important thing
688. 22:16when it comes to storytelling?
689. 22:19Zooming into the one moment. Yes, thank
690. 22:21you.
691. 22:23Okay, wonderful.
692. 22:25How can we do this? One, by reliving it,
693. 22:28right? You just relive the memory and
694. 22:30you share it out loud. That's the first
695. 22:32one. And if you want to have it more
696. 22:34technical, [music] you focus on PAST.
697. 22:37So, zoom into the past. Place, action,
698. 22:40speech, and thoughts.
699. 22:45>> [music]