If you want your content to perform better, you need to learn how to tell better stories.

如果你想讓你的內容表現得更好，你需要學會如何講更好的故事。

So in this video, I'm going to walk through my six favorite storytelling techniques that will massively improve your content.

是以，在本視頻中，我將介紹我最喜歡的六種講故事技巧，它們將大大提高你的內容品質。

After watching this, I guarantee you will think differently about the way you write scripts and make videos.

看完之後，我保證你會對編寫腳本和製作視頻的方式有不同的思考。

By the way, I'm Callaway.

順便說一下，我是卡拉韋。

I've pulled over a billion views on short form video.

我的短視頻播放量已超過 10 億次。

I've got 500,000 followers, and I think about this stuff all the time.

我有 50 萬粉絲，我一直在思考這個問題。

All right, let's dive in.

好了，我們開始吧。

Tip number one is what I call the dance.

第一招就是我所說的 "舞蹈"。

All great stories are like a dance between context and conflict.

所有偉大的故事都像是背景與衝突之間的舞蹈。

You give a little context.

你說說來龍去脈。

The characters on a mission, they're doing something.

任務中的人物，他們在做著什麼。

And then, oh no, here comes a conflict.

然後，哦不，衝突來了。

You give a little bit more context.

你再講講來龍去脈。

The characters have solved that first conflict.

人物已經解決了第一個衝突。

They're on their way.

他們在路上了

And then, oh no, another conflict.

然後，哦不，又是一場衝突。

This dance is how you keep the viewer locked in.

這種舞蹈能讓觀眾沉浸其中。

It could be a feature film or a short form video.

可以是劇情片，也可以是短片。

The dance is always there.

舞蹈一直都在。

Now, why does this work?

現在，為什麼這能行？

Conflicts create open loops in the brain, and then context helps close those loops.

衝突會在大腦中形成開放的迴路，然後情境會幫助關閉這些迴路。

The best explanation I've ever seen for how to tactically implement this dance idea is from Matt Stone and Trey Parker.

馬特-斯通（Matt Stone）和特雷-帕克（Trey Parker）是我見過的關於如何在戰術上實現這一舞蹈創意的最佳解釋。

They're the ones who created South Park.

是他們創造了《南方公園》。

They were giving a talk at NYU.

他們正在紐約大學發表演講。

Watch this.

看這個

We found out this really simple rule that maybe you guys have all heard before, but it took us a long time to learn it.

我們發現了一個非常簡單的規則，也許你們以前都聽說過，但我們花了很長時間才學會。

But we can take these beats, which are basically the beats of your outline.

但我們可以利用這些節拍，它們基本上就是你大綱的節拍。

And if the words and then belong between those beats, you're f***ed.

如果在這些節拍之間出現了詞句，那你就完蛋了。

Basically, you got something pretty boring.

基本上，你得到的是非常無聊的東西。

What should happen between every beat that you've written down is either the word, therefore, or but, right?

在你寫下的每一個節拍之間，都應該出現 "是以 "或 "但是"，對嗎？

So, so what I'm saying is that you come up with an idea and it's like, okay, this happens, right?

所以，我想說的是，你想出一個點子，然後就會出現這種情況，對嗎？

And then this happens.

然後就發生了這樣的事。

No, no, no.

不，不，不

It should be this happens.

應該是這樣的。

And therefore this happens, but this happens, therefore this happens.

是以就會發生這種情況，但這種情況發生了，是以就會發生這種情況。

And that, as soon as we are able to, and literally sometimes we'll, we'll write it out to make sure we're doing it.

而且，只要我們有能力，有時我們真的會把它寫出來，以確保我們正在這樣做。

Uh, we'll, we'll have our beats and we'll say, okay, this happened, but then this happens and that affects this and that does to that.

呃，我們會，我們會有我們的節拍，我們會說，好吧，發生了這樣的事，但隨後又發生了這樣的事，這影響了這個，那又影響了那個。

And that's why you get a show that feels like, okay, this to that, to this, to that, but this here's the complication to that.

這就是為什麼你看到的節目會覺得，好吧，從這到那，從這到那，但這是其中的複雜之處。

So it's tactically, it's as simple as using the words, but, and therefore consistently throughout your script that will create those open conflict loops.

是以，在戰術上，只要在劇本中始終使用 "但是 "和 "是以 "這兩個詞，就能創造出開放式的衝突循環。

If you're using the words and then it'll feel like you're piling on detail after detail, after detail, and the viewer will lose interest.

如果你使用了這些詞語，就會讓人感覺你在堆砌一個又一個細節，觀眾就會失去興趣。

Now let's quickly take a look at one of my best performing videos.

現在，讓我們快速瀏覽一下我表現最好的視頻之一。

You'll notice there are four, but then conflict loops in the first 30 seconds.

你會發現有四個，但在前 30 秒內又出現了衝突循環。

Watch this.

看這個

Something crazy is happening with Stanley cup.

斯坦利杯發生了一些瘋狂的事情。

You have to assume one of these Stanley cups, Stanley cup, Stanley cup, racking up 6.7 billion views.

你必須假設其中一個斯坦利杯，斯坦利杯，斯坦利杯，瀏覽量高達 67 億次。

This 40 ounce Stanley quencher has become the Louis Vuitton of drinkware.

這款 40 盎司的斯坦利解渴飲料已成為飲料器具中的路易威登。

It's a status symbol.

這是一種身份的象徵。

New releases are selling out in seconds.

新發布的產品瞬間售罄。

People are flipping them for hundreds on eBay.

人們在 eBay 上以數百美元的價格出售它們。

Stanley, the company 10 X its revenue in four years off this single product.

斯坦利公司僅憑這一項產品，四年內收入就翻了 10 倍。

But the real question is how'd they do it?

但真正的問題是，他們是怎麼做到的？

How did Stanley cups go from a construction workers thermos to the dream Christmas gift?

斯坦利杯是如何從建築工人的保溫杯變成夢寐以求的聖誕禮物的？

It's a wild story.

這是一個瘋狂的故事。

So in 2019, Stanley was actually about to discontinue the cup, but this group of mom bloggers, the buy guide knew they were making a huge mistake.

是以，在 2019 年，史丹利實際上即將停產這款杯子，但這群媽媽博主、導購員知道他們正在犯一個巨大的錯誤。

So they cut a special affiliate deal with Stanley to bulk order 5,000 cups with a twist.

於是，他們與史丹利達成了一項特殊的聯盟協議，批量訂購 5000 個有特色的杯子。

Stanley had to make them pastel colors.

斯坦利不得不把它們做成柔和的顏色。

Those 5,000 cups sold out in five days and completely changed their philosophy on design.

這 5000 個杯子在五天內銷售一空，徹底改變了他們的設計理念。

But it gets even better.

但還有更好的。

A few months ago, Stanley had the burning car moment.

幾個月前，斯坦利經歷了燒車的時刻。

So I'm consistently setting up these head fakes to keep the storyline moving.

所以，我一直在設置這些假頭像，以保持故事情節的發展。

Use this, but then framework next time you're writing a script, I guarantee it'll uplevel that video.

使用這個框架，下次再寫腳本時，我保證它能讓視頻更上一層樓。

All right.

好吧

Tip number two is rhythm.

技巧二是節奏。

I talk about this a lot, but there's this natural subconscious pacing and rhythm that is soothing to the brain.

我經常談到這一點，但有一種自然的潛意識步調和節奏能讓大腦感到舒緩。

You can hear in my delivery.

你可以從我的演講中聽出來。

I'm pretty decent with this like natural ebb and flow.

我對這種自然起伏還算得心應手。

The rhythm of the syllables when I talk is soothing to listen to.

我說話時音節的節奏讓人聽了心情舒暢。

Now I used to be a rapper and I was a drummer growing up.

現在，我曾經是一名說唱歌手，也是一名鼓手。

So this pacing and rhythm is kind of embedded in me, which I think is why

是以，這種節奏和韻律在我心中根深蒂固，我想這就是為什麼

I'm naturally good at talking in this way.

我天生就擅長用這種方式說話。

But I do have this tactical way that can improve anyone else at rhythm.

但我確實有這種戰術方法，可以提高其他人的節奏感。

Take a look at this image, which was written by the legendary author, Gary Provost.

來看看這張圖片，它的作者是傳奇作家加里-普羅沃斯特（Gary Provost）。

Now listen, as I read this, this sentence has five words.

聽著，當我讀到這裡時，這個句子有五個單詞。

Here are five more words.

這裡還有五個詞。

Five word sentences are fine, but several together become monotonous.

五個字的句子還可以，但幾個字的句子放在一起就顯得單調了。

Listen to what is happening.

聽聽發生了什麼。

This writing is getting boring.

寫得越來越無聊了。

The sound of it drones.

無人機的聲音

It's like a stuck record.

這就像一張卡住的唱片。

The ear demands some variety.

耳朵需要一些變化。

Now, listen, I vary the sentence length and I create music, music.

現在，聽著，我改變句子的長度，我創造音樂，音樂。

The writing sings.

文字在歌唱。

It has a pleasant rhythm, a lilt, a harmony.

它有一種悅耳的節奏，一種輕快，一種和諧。

I use short sentences and I use sentences of medium length.

我使用短句，也使用中等長度的句子。

And sometimes when I'm certain the reader is rested, I will engage him with a sentence of considerable length, a sentence that burns with energy and builds with all the impetus of a crescendo, the roll of the drums, the crash of the cymbals.

有時，當我確信讀者已經休息好了，我就會用一個相當長的句子吸引他，這個句子充滿活力，像高潮、鼓聲和鈸的撞擊聲一樣推動著讀者。

Sounds that say, listen to this.

聲音在說，聽聽這個。

It is important.

這很重要。

So write with a combination of short, medium, and long sentences.

是以，寫作時要將短句、中句和長句結合起來。

Create a sound that pleases the reader's ear.

創造一種悅耳的聲音。

Don't just write words, write music.

不要只寫文字，還要寫音樂。

You see how when all the sentences in the same row are about the same length, it creates this monotonous predictability.

你看，當同一行中所有句子的長度都差不多時，就會產生一種單調的可預測性。

Subconsciously, people get turned off by this.

在潛意識裡，人們會對此產生反感。

This is what makes them churn to the next video.

這就是讓他們流連於下一個視頻的原因。

What you want is to use a variety of sentences and syllable combinations to create this unpredictable rhythm.

您需要的是使用各種句子和音節組合來創造這種變幻莫測的節奏。

Now, if you look at my script document, I write every sentence on a separate line.

現在，如果你看看我的腳本文檔，我把每句話都單獨寫在一行上。

If you look straight down, it'll look like a jagged edge.

如果你直接往下看，就會看到鋸齒狀的邊緣。

And that confirms that I'm using different length sentences.

這證明我使用了不同長度的句子。

Next time you're writing a script, try to look for this.

下次寫劇本時，試著找找這一點。

If you see your document and all the sentences seem to end at around the same point, you don't have enough diversity and it will feel like this monotonous plotting.

如果你看到你的文檔，所有的句子似乎都在同一個點結束，那麼你的文檔就沒有足夠的多樣性，就會讓人感覺情節單調。

All right.

好吧

Lesson three is tone.

第三課是語氣。

The most successful creators in every discipline are the ones with the most conversational tone.

在各個學科中，最成功的創作者都是那些最能娓娓道來的人。

It really feels like you're right in the room with them.

讓人感覺就在房間裡和他們在一起。

Emma Chamberlain ascended to stardom so quickly because she was naturally amazing at this.

艾瑪-張伯倫之所以能迅速躥紅，是因為她在這方面天生就很出色。

Casey Neistat's another one that's really good at this.

凱西-尼斯塔特（Casey Neistat）也是這方面的佼佼者。

When you watch his videos, you listen to him talk.

看他的視頻，就是聽他說話。

It feels like he's right in the room with you.

感覺他就在你的房間裡。

Now, the person I learned from most about this was Steve Jobs.

在這方面，我從喬布斯身上學到的東西最多。

If you watch his original keynote from the first iPhone launch in 2008, he is amazing at creating this conversational room like you and him are just golf buddies shooting the shit.

如果你看過他在 2008 年發佈第一代 iPhone 時的原始主題演講，就會發現他非常善於營造這種對話空間，就像你和他只是高爾夫球友在哈拉一樣。

Now, this is very intentional and took years of practice for him to hone in.

現在看來，這是他有意為之，並經過多年實踐才磨練出來的。

He's also very gifted at it.

他在這方面也很有天賦。

By doing this, Emma, Casey, Steve, and others are able to break down that conscious barrier of personal identity.

通過這樣做，艾瑪、凱西、史蒂夫等人能夠打破個人身份的意識障礙。

Instead of you questioning to yourself, am I getting sold to you?

而不是自問：我被賣給你了嗎？

Get out of your own mind and just feel like you're in a conversation.

跳出自己的思維，感覺自己就像在對話中一樣。

Like you would have to answer a question that they ask you directly in a way you forget where you are.

比如，你必須以一種忘記自己身在何處的方式來回答他們直接問你的問題。

And that's the magic of this.

這就是它的神奇之處。

Now I'm still working on this myself.

現在我自己還在努力。

I've only been making content for like 18 months, but if you go back to my first 50 videos, it really does feel like I'm talking at you instead of with you.

我製作內容的時間大概只有 18 個月，但如果你回顧一下我的前 50 個視頻，就會覺得我是在對你說話，而不是和你一起說話。

The best tactical way to get better than this other than just a hundred reps is to write and film your videos as if you're talking to one close friend.

要想取得更好的效果，除了百試不爽之外，最好的戰術方法就是像和一位好友哈拉一樣來撰寫和拍攝視頻。

If you have to just print out a picture of them and tape it on the bottom of your camera lens.

如果有必要，就打印一張它們的照片，然後貼在相機鏡頭底部。

So you're literally looking at them as you record and when you write your scripts, make it so like you're typing a text or recording an audio note directly to them.

是以，你在錄製時，實際上就是在看著它們。當你寫腳本時，要讓它像你直接輸入文字或錄製音頻筆記一樣。

Over time, you'll get better at this conversational nature, but it will feel like you're having a one-on-one conversation.

隨著時間的推移，你會越來越擅長這種對話性質，但感覺就像在進行一對一的談話。

That's how you break down this barrier.

這樣才能打破障礙。

Tone is one of those things that inevitably you will get better over time.

隨著時間的推移，音調不可避免地會變得更好。

The more you film, the more you forget that the camera is just a camera.

拍得越多，就越會忘記相機只是相機。

All right.

好吧

Tip number four is direction.

技巧四是方向。

This may seem counterintuitive, but the best place to start when you're writing a story is the end.

這似乎有違直覺，但寫故事最好從結尾開始。

Figure out what the end is going to be and then work backwards from there.

想清楚最終的目的是什麼，然後再倒推。

I like to call the last line of my script the last dab because I want it to be so memorable that if that's all someone heard, they'd be willing to share it with a friend.

我喜歡把劇本的最後一句話稱為 "最後的點睛之筆"，因為我希望它能讓人過目不忘，如果別人只聽到這一句，他們就會願意與朋友分享。

In short form video, especially the video is designed to loop.

在短視頻中，尤其是設計成循環播放的視頻。

So the last line is actually a setup for the first lines as it replays.

是以，最後一句實際上是前幾句的鋪墊，因為它在重複。

I think of this a lot like baseball.

我覺得這很像棒球。

The nine hitter is supposed to set the table for the top of the order.

九號擊球手的作用是為前排奠定基礎。

It's the exact same thing with the last line or two of your video.

你視頻的最後一兩句話也是如此。

When you're thinking about how to write the script, focus on where you want to take the viewer.

在考慮如何撰寫劇本時，請把注意力集中在想把觀眾帶往何處。

What do you want to leave them with?

你想給他們留下什麼？

What do you want the last thing they hear to be?

你希望他們聽到的最後一句話是什麼？

Then you can work backwards from there and build up that dance in the middle.

然後，你就可以從這裡往回走，在中間建立起舞蹈。

When I think about someone that does this super well, it's Christopher Nolan.

說到這方面做得最好的人，我想到了克里斯托弗-諾蘭（Christopher Nolan）。

Think about his films, Tenet, Inception, Interstellar.

想想他的電影，《天網》、《盜夢空間》、《星際穿越》。

These are extremely complicated plot lines that inevitably he had to work out the end before he could build up the conflict in the middle.

這些都是極其複雜的情節線，他不可避免地要先弄清結尾，然後才能建立中間的衝突。

Now you're probably not shooting feature films, but this same logic can be applied to all types of content.

現在，您可能不是在拍攝劇情片，但這一邏輯同樣適用於所有類型的內容。

Usually when I'm writing scripts, I'll write the first and last line.

通常我在寫劇本時，會寫第一行和最後一行。

I'll go in between, create a bunch of space, and then I'll fill it in.

我會在中間留出一些空間，然後再填滿。

That's a good tactical way to try to get better at this.

這是一個很好的戰術方法，可以讓我們在這方面做得更好。

All right, tip number five is a concept that I call story lenses, and it's a way to get better at producing unique content for social media.

好了，第五個建議是一個我稱之為 "故事鏡頭 "的概念，它是一種更好地為社交媒體制作獨特內容的方法。

In today's day and age, finding a cool topic is not enough.

在當今時代，僅僅找到一個很酷的話題是不夠的。

Unless you're super niched down, there's likely dozens of other people that are talking about that same topic.

除非你是個超級小人物，否則很可能會有幾十個人在談論同樣的話題。

So how do you differentiate?

那麼，如何區分呢？

A story lens is your unique angle or spin on a particular story.

故事鏡頭是你對某一故事的獨特視角或詮釋。

Imagine a beam of light.

想象一束光。

The beam of light's coming across the screen.

光束穿過螢幕

The naked beam, everyone looks at and sees the same thing.

赤裸裸的光束，每個人看到的都是一樣的東西。

It's like this white beam of light.

它就像一束白色的光。

But as soon as you put a lens or a prism in front of the light, what people see will look differently than the main beam.

但是，只要在光束前加一個透鏡或稜鏡，人們看到的光束就會與主光束不同。

Think of that prism or that lens as your story lens.

把稜鏡或鏡頭想象成你的故事鏡頭。

It's your unique fingerprint and how you uniquely tell the story about that topic.

這是你獨特的指紋，以及你如何以獨特的方式講述有關該主題的故事。

Let's take an example.

讓我們舉個例子。

When Taylor Swift went to the Super Bowl, the most common lenses would have been to talk about what she's wearing or when she's getting there or what her facial reaction is to something.

當泰勒-斯威夫特（Taylor Swift）去看超級碗比賽時，最常見的鏡頭應該是談論她穿了什麼衣服、什麼時候到達現場或者她對某件事的面部反應。

A lot of people covered those exact same stories.

很多人都報道過同樣的故事。

A less common lens would be to talk about a prediction for what you think might happen. Less people would have that.

比較少見的鏡頭是談論你對可能發生的事情的預測。有這種想法的人會更少。

But an even less common lens would be to talk about the business impact that she was driving on the NFL for being at the game.

但一個更不常見的視角是，談論她在比賽現場為 NFL 帶來的商業影響。

And that's the lens that I chose to take because I thought I could be a category of one. That's why I ultimately made this video and it pulled a million views.

這就是我選擇的鏡頭，因為我認為我可以成為其中的一員。這就是為什麼我最終制作了這個視頻，並獲得了一百萬的點擊量。

It was different.

這是不同的。

My story lens was something unique that people hadn't seen before.

我的故事鏡頭是獨一無二的，人們從未見過。

All right, the last tip, number six, is the hook.

好了，最後一個提示，也就是第六個，是鉤子。

Now, I left this for last because everybody always talks about the hook first.

現在，我把這個留到最後說，因為大家總是先說鉤子。

And it makes sense. It is very important.

這是有道理的。這一點非常重要。

If people churn on the hook, the rest of what I talked about doesn't really matter.

如果人們在鉤子上攪來攪去，我說的其他事情就都不重要了。

So I've got two ways to level up your hooks.

是以，我有兩種方法來提升你的鉤子等級。

The first is that your first line should be as punchy and as indicative of the plot as possible. If the video is about your best garden techniques, the hook should be some derivative of these are the best garden techniques for X or I've got these garden techniques or this thing is a garden technique that you should study.

首先，你的第一句話應該儘可能有衝擊力，並能說明情節。如果視頻講述的是你的最佳園藝技巧，那麼鉤子應該是 "這些是 X 的最佳園藝技巧 "或 "我有這些園藝技巧 "或 "這件事是你應該學習的園藝技巧 "的衍生詞。

You shouldn't start your hook with some open, opaque line like, wait till you see this or you're never going to believe this.

你不應該用 "等你看到這個或者你永遠不會相信這個 "這樣不透明的開場白來開始你的鉤子。

Because if the first line doesn't immediately grab the viewer in short form video, you're dead.

因為在短視頻中，如果第一句話不能立即抓住觀眾，那你就死定了。

The second point on hooks that's extremely powerful and something I overlooked for a long time is that visual hooks are 10 times more effective than audio only hooks.

關於鉤子的第二點非常重要，也是我長久以來忽視的一點，那就是視覺鉤子比音頻鉤子的效果要好 10 倍。

What does this mean? When you're on the screen and you're saying something, but the only thing the viewer can see is your mouth moving and maybe the captions dancing. That's going to be way less effective than if you put a visual on the screen for them to look and react to because people's eyes perceive faster than their ears can hear. So you want to complement what you're saying with a visual on the screen. This is a visual hook.