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  • DAVE MARX: Carmine's a highly-regarded author

  • in the business world, who recently published his eighth

  • book, "The Storyteller's Secret--

  • From TED Speakers to Business Legends,

  • Why Some Ideas Stick and Others Don't."

  • Carmine's currently an author, columnist, and public speaker,

  • and has formally worked as a journalist and news anchor.

  • But I think, above all, Carmine is a storyteller.

  • His previous books had been massive hits.

  • His book, "The Innovation Secrets of Steve Jobs,"

  • also became an international bestseller,

  • and has been awarded the Axiom Award

  • for being one of the top three best business books in 2011.

  • And just today, Amazon Editor shows most recent book,

  • "The Storyteller's Secret," as one of the best new books

  • in business and leadership.

  • It's available everywhere now.

  • And we've been lucky enough to have some subsidized copies

  • through Google Talks that will be available for sale

  • in the back.

  • And I'm sure Carmine would be happy to sign

  • your copy for you, if you're willing to stick around

  • for a couple minutes after the talk.

  • So with that, I'd like to introduce the man himself,

  • Carmine Gallo.

  • [APPLAUSE]

  • CARMINE GALLO: All right.

  • All right, thank you.

  • Good morning.

  • I am really passionate about this topic.

  • And I'm passionate about it because I really

  • think that this is a topic that will help you in your careers,

  • help you in your business, make you more valuable than you've

  • ever imagined.

  • And it'll also help you sell your ideas more effectively.

  • So since we're talking about storytelling,

  • why don't we begin with a story?

  • Now, stop me if you've heard this before.

  • Two Stanford graduate students think

  • they've come up with an idea to change the world.

  • So they had over to Sequoia Capital, to ask for money.

  • Michael Moritz, one of the investors, the main investor

  • at Sequoia Capital, has been watching an endless stream

  • of really bad PowerPoints.

  • And Sergey and Larry do something different.

  • First, they have a working demo, which was really unusual

  • at that time.

  • It actually worked.

  • What a concept.

  • But they also did something very interesting.

  • They were able to summarize their entire vision

  • in one short sentence of under 10 words.

  • And Michael Moritz never forgot that.

  • And that sentence is "We organize

  • the world's information and make it accessible."

  • I spoke to Michael Moritz last year.

  • And he said, Carmine, tell your clients,

  • tell your groups that great leaders can do two things.

  • One, they have a vision for the future.

  • But they can communicate it especially well.

  • And so now, even today, if you walk

  • into Sequoia Capital's offices, they're

  • asking you for the one line.

  • And one investor told me, if you cannot summarize your idea

  • in one sentence, we're not interested.

  • Go back to the drawing board.

  • Because there's power in simplicity.

  • And there's power in articulating your ideas simply

  • and concisely.

  • When it comes to storytelling, especially, we

  • kind of know how this works.

  • Kevin Spacey said, "Story is everything and good content

  • making--" whether that's in business, marketing, or movies,

  • "--is not a crap shoot.

  • We know how this works."

  • There is a formula to this.

  • We know how persuasion works.

  • We know why you remember certain things

  • and why you forget others.

  • There's a formula to this.

  • In the music industry, for example, 90% of music revenues

  • come from 10% of the songs.

  • And this is a true statistic.

  • It's actually in a new book called "The Song Machine."

  • What's amazing about this is that the 10%

  • are written by a handful of people.

  • One guy in particular, is Max Martin,

  • who made it big with Britney Spears, Backstreet Boys.

  • And today, he write songs for pretty much all the other big

  • pop artists out there-- most of the songs that you hear,

  • the songs that you like, the ones that are memorable.

  • Because there's a formula to it.

  • He knows what works.

  • He uses something called track and hook.

  • So how many of you have had a Taylor Swift

  • song stuck in your head over the last year?

  • It's got three words.

  • What would it be?

  • What is it?

  • What is the three-word song?

  • What is it?

  • AUDIENCE: "Shake it Off."

  • CARMINE GALLO: "Shake it Off." "Shake it Off."

  • Thank you, Max Martin, who wrote that.

  • He knows how these things work.

  • We know how this works in communication too.

  • So in the 20th Century, give me one or two

  • of the most famous speeches of the 20th Century.

  • Name one.

  • AUDIENCE: I Had a Dream.

  • CARMINE GALLO: How did I know you were going to say that?

  • How did I know?

  • I Have a Dream speech.

  • And what is the most memorable part of the I

  • Have a Dream speech?

  • I have a dream.

  • That's called anaphora.

  • That's a rhetorical device that makes

  • something pleasing to the ear.

  • We know how this works.

  • What's the most famous line from John Kennedy's

  • inaugural speech?

  • AUDIENCE: Ask not what your--

  • CARMINE GALLO: --country can do for you.

  • What's the rest of it?

  • AUDIENCE: But what you can do for your country.

  • CARMINE GALLO: But what you can do for your country.

  • We know how this works.

  • There is a reason why you remember that.

  • It's the same reason why certain songs are stuck in your head.

  • How many of you, over the last year,

  • have had Omi's "Cheerleader" song stuck in your head?

  • Dave, you said, "Cheerleader?"

  • What's the chorus of "Cheerleader?"

  • "Oh, I think that I found myself a cheerleader.

  • She is always right there when I need her."

  • Max Martin would say, that chorus has to be balanced,

  • the same number of words and the same number

  • of syllables on each one, on each side of the chorus.

  • In other words, we know how this stuff works.

  • I won't give you any more songs.

  • I don't want them stuck in your head all day

  • when you're at work.

  • You're going to find yourself singing that cheerleader

  • song today.

  • And if you start Autotuning yourself,

  • then you know you've completely lost it.

  • But we know how this works.

  • We know how it works in persuasion too.

  • Great songwriters know how it works.

  • And we know how it works when you're communicating ideas.

  • Adam Braun is the founder of a wonderful startup,

  • but a great nonprofit called Pencils of Promise.

  • Every 90 hours now, Pencils of Promise

  • builds a new classroom in impoverished or underprivileged

  • communities around the world.

  • And he told me something really interesting once.

  • Because he's always out there fund raising.

  • And he said, Carmine, it's interesting.

  • Because when I'm speaking to a group of financial types,

  • I'm trying to raise funds, they all

  • want to know about how efficiently the nonprofit is

  • run.

  • They want to know the data.

  • They want to know the finances.

  • But that's not what they remember.

  • They always seem to remember a two-minute sequence

  • from my presentation, where I show

  • a video of the first Pencils of Promise students.

  • Little girls that he met in Laos who

  • had never been in a classroom, had never

  • had a classroom before.

  • He shot a video a 30-second video on a smartphone, inserts

  • into his presentation.

  • He says, it's always a hit.

  • Here's the 30-second video he shows.

  • [VIDEO PLAYBACK]

  • [SPEAKING THAI]

  • [END VIDEO PLAYBACK]

  • And that's it.

  • And then he shows this slide, which

  • is the same girls in their first Pencils of Promise school.

  • And he said, Carmine, facts and figures and data

  • never get me a standing ovation.

  • But this always does.

  • And this is what's memorable.

  • Why?

  • We know why this works.

  • Because we are wired for story.

  • Ideas that catch on are wrapped in story.

  • Stories inform.

  • They illuminate.

  • They inspire.

  • And it's not just me.

  • Because certainly, in business, most executive leaders

  • and successful business leaders believe the same thing.

  • That's the reason why I wrote the book.

  • It's because they kept telling me this.

  • Vinod Khosla, the billionaire investor,

  • said, "It's not enough to have facts on your side.

  • You have to do storytelling."

  • Ben Horowitz-- "Storytelling is the most underrated skill."

  • Let's go to "Shark Tank."

  • Barbara Corcoran-- "Storytelling is everything.

  • Show me an MBA and your sales numbers, that's fine.

  • But tell me a great story and we'll talk."

  • So here's the best part.

  • Storytelling is already in our DNA.

  • You already know how to do this.

  • We're all storytellers.

  • Storytelling around a campfire has been around 400,000 years.

  • It was a major development when people began to tell stories.

  • Firelight extended the day.

  • Anthropologists have been studying this.

  • When firelight extended the day, people started telling stories.

  • It ignited their imaginations.

  • It warned them of threats.

  • It was a major milestone in human development.

  • We've been doing this for centuries.

  • We know how to do it.

  • And people still do it today.

  • Richard Branson gathers his team around a campfire

  • at his home on Necker Island for the purpose of sharing stories.

  • Storytelling, he says, can be used to drive change.

  • In fact, about two weeks ago, Richard Branson

  • wrote a blog piece where he said,

  • if you want to be a successful entrepreneur,

  • you need to be able to tell stories well.

  • He said, you can have a great idea.

  • But if you can't communicate it well, it doesn't matter.

  • So we know how this works.

  • Today, for the next 20 minutes or so,

  • I want to give you three keys to winning the hearts

  • and minds of your audiences.

  • And that can be almost anything, whether you're

  • pitching a new idea, whether you're delivering

  • a presentation, what have you.

  • We're going to talk about the storyteller-- yourself--

  • the story that you deliver, and then

  • how you deliver that story.

  • So let's talk about the storyteller.

  • It's really important to see yourself

  • as the chief storytelling officer for your brand.

  • Great storytellers are not born.

  • They're made.

  • People work at it.

  • You cannot inspire other people until you're inspired yourself.

  • If you don't believe in your story, nobody else will.

  • And it's important, if you've faced adversity,

  • or if you've faced struggle in your life.

  • Or if you've had to overcome a business

  • challenge or a failure.

  • It's really important to share that story.

  • Because we are hard wired to find meaning in struggle.

  • And that's why we like to hear stories of people

  • who have overcome struggle.

  • Howard Schultz, for example, at Starbucks,

  • he often tells the story of growing up

  • in a Brooklyn housing project, watching

  • as his family struggled when his father was injured on the job.

  • Some of you may have heard that story before.

  • They had no health insurance.

  • They found it difficult to make ends meet.

  • Howard Schultz said, "The more uninspiring

  • your origins, the more likely you are to use your imagination

  • and invent worlds where everything seems possible."

  • And that's why he repeats that story constantly,

  • and it reinforces Starbucks' initiatives.

  • For example, it explains the why.

  • Why does Starbucks offer full-time health benefits

  • for part-time workers?

  • The story explains and underpins the why.

  • Now, I live in wine country in the Livermore Valley.

  • So anybody who's really into wine

  • knows that the best grapes come from very steep hillsides made

  • of limestone soil.

  • The grapes that are stressed are said to have more character.

  • And that's why it's important to share

  • those stories of adversity or struggle, triumph

  • over adversity.

  • Because we are hardwired, in nature,

  • to find meaning in that struggle.

  • And of course, all of you are very familiar with this here

  • at Google.

  • It's important to dream in moonshots,

  • and to speak in moonshot thinking.

  • That's another way of inspiring people to dream bigger.

  • We love rags-to-riches stories.

  • We're actually wired to love rags-to-riches stories.

  • Which is why almost every commercial movie

  • needs to have a happy ending.

  • We actually need to have a happy ending.

  • So the stories that work best are often

  • those stories where you have faced an intense struggle

  • in your life.

  • And then you've come out the other end,

  • and you're better for it.

  • Or the world is transformed and you've learned something.

  • In the book, I have a story about a guy named Mark, who

  • left England in the early '80s.

  • And he landed in Los Angeles.

  • His first job was a nanny.

  • His first entrepreneurial venture

  • was selling T-shirts on Venice Beach.

  • He hung T-shirts on a fence and sold them for $18.

  • He bought them for $2.

  • So he made a pretty good profit.

  • Today, Mark Burnett is one of television's most popular

  • producers.

  • But here's what he told me, when I interviewed him.

  • "My best skills have always been storytelling and pitching

  • ideas."

  • Now, this is what applies to you today.

  • "All success begins with the ability to sell something,

  • whether it's a shirt or an idea."

  • So embrace the back story.

  • Believe in your story, or nobody else will.

  • Now, when it comes time to actually crafting and creating

  • that story, there are some techniques that work.

  • I believe that storytelling, especially in your career,

  • is your competitive advantage.

  • Whether you're pitching an idea, building a company,

  • growing a career, trying to motivate a team,

  • or just delivering a mission-critical presentation,

  • storytelling is your advantage.

  • It's what's going to set you apart.

  • The good news is that in the last 10 years,

  • we've learned more about why certain stories work,

  • than we've known since humans began painting

  • pictures on cave walls.

  • A remarkable thing happens to your brain on stories.

  • They're studying this at Princeton University.

  • When somebody tells you a story, the same regions

  • of your brain and your speaker's brain literally light up.

  • It's called neuro coupling.

  • You are literally in sync.

  • Paul Zak, in Orange County, is also studying this.

  • He's doing this in the lab.

  • He found that "A compelling story

  • with an emotional trigger--" that's the key.

  • What's the emotional trigger?

  • We'll talk about that in a minute.

  • But a compelling story with an emotional trigger

  • alters our brain chemistry, making us more trusting,

  • understanding, and open to ideas.

  • We know that when the brain hears a story,

  • there is a rush of chemicals-- cortisol, dopamine, oxytocin,

  • which is the love chemical.

  • It's the chemical that creates empathy between two people.

  • That's what happens when you hear a story.

  • So now, how are we going to incorporate story

  • in our presentations?

  • How do we do that?

  • Well, one good training ground is TED.

  • So how many of you watch TED Talks?

  • I'm sure a lot of you enjoy TED Talks.

  • I wrote a book called "Talk Like TED."

  • And it became a very popular book

  • in the field of public speaking and communication.

  • The one chapter that people really seem to like

  • was on storytelling.

  • But it was only a few pages, which

  • is why I expanded it into a whole book that

  • looks at storytelling not only in business, but also

  • in all types of different presentations that you have.

  • I firmly believe that the ideas that do catch on in any venue

  • are those that are wrapped in a compelling story.

  • So I do like to watch the TED Talks.

  • Because as Charlie Rose once said,

  • the reason why TED is special is because the presentations

  • are wrapped in story.

  • Very few people do it better than Bryan Stevenson.

  • Bryan Stevenson is a human rights attorney.

  • Some of you may have read his book, "Just Mercy."

  • He believes that there are many people

  • on death row, especially, who are incarcerated unjustly.

  • That's a very compelling book.

  • And he's a great speaker.

  • He thinks about story.

  • I interviewed him after his TED Talk.

  • He said, Carmine, narrative is hugely important in persuasion.

  • So when he's trying to get people

  • to his side, when he's trying to win people over,

  • he tells a lot of stories.

  • They're very short stories that reinforce his central theme.

  • And they're typically personal stories.

  • You don't have to always do the personal.

  • It could be a case study.

  • But for him, he finds that when he

  • connects with people personally, it makes a difference.

  • I want to show you a video clip from a now-famous TED Talk.

  • He received the longest standing ovation of any TED speaker

  • in TED history after this talk.

  • Bryan Stevenson was talking about the loss of identity

  • for many people in underprivileged communities.

  • And he talked about his grandmother.

  • He told a story about his grandmother

  • who, when he was 11 years old, pulled him aside

  • and had him make a promise to her that he would never

  • drink alcohol in his life.

  • He said, I was only 11 years old.

  • What the heck?

  • I agreed.

  • Here's how he picked up the story.

  • [VIDEO PLAYBACK]

  • -I grew up in the country, in the rural south.

  • And I have a brother a year older than me

  • and a sister a year younger.

  • When I was about 14 or 15, one day, my brother came home.

  • And he had this six pack of beer.

  • I don't know where he got it.

  • And he grabbed me and my sister and we went out in the woods.

  • And we were just out there, doing

  • the stuff we basically did.

  • And he had a sip of this beer and he gave some to my sister.

  • And she had some.

  • And they offered it to me.

  • I said, no, no, no.

  • That's OK.

  • Y'all go ahead.

  • I'm not going to have any beer.

  • And my brother said, come on, we're doing this today.

  • You always do what we do.

  • I had some.

  • Your sister had some.

  • Have some beer.

  • I said, no, I don't feel right about that.

  • Y'all go ahead.

  • Y'all go ahead.

  • And then my brother started staring at me.

  • He said, what's wrong with you?

  • Have some beer.

  • Then he looked at me real hard.

  • He said, oh, I hope you're not still

  • hung up on that conversation Mama had with you.

  • [LAUGHTER]

  • I said, well, what are you talking about?

  • He says, well, Mama tells all the grandkids

  • that they're special.

  • [LAUGHTER]

  • I was devastated.

  • And I'm going to admit something to you.

  • I'm going to tell you something I probably shouldn't.

  • I know this might be broadcast broadly.

  • But I'm 52 years old.

  • And I'm going to admit to you that I've never

  • had a drop of alcohol.

  • [APPLAUSE]

  • I don't say that because I think that's virtuous.

  • I say that because there is power in identity.

  • [END VIDEO PLAYBACK]

  • That's quite remarkable.

  • And did you see how comfortable he was in telling that story?

  • And I asked him, do you tell that story all the time?

  • He said, oh yeah, in almost every presentation.

  • And I asked him why.

  • He said, because everybody has a grandmother.

  • I have to get people to like me.

  • It's a very good way of creating empathy.

  • Now watch this.

  • I created a data set here.

  • Doesn't this look like the tables

  • that you use in your own presentations?

  • No?

  • Not exactly?

  • OK.

  • If we use Aristotle's Components of Persuasion,

  • and you take Bryan Stevenson's text of his TED Talk,

  • 65% falls under what Aristotle would have called

  • Pathos, emotion, storytelling.

  • 25% data to support the stories, and 10%

  • establishing credibility for who Bryan Stevenson is.

  • I love this template.

  • If you have a presentation-- story, data.

  • Story, data.

  • Story, data.

  • He told three stories and three data points.

  • Beautiful, very simple.

  • Only 25% data, whereas in most business presentations

  • isn't it completely the other way around?

  • It's 90% data.

  • Sheryl Sandberg is learning this too, over at Facebook, the COO.

  • How many of you are familiar with the movement

  • that she started?

  • "Lean In," right?

  • I argue that you never would have heard of "Lean In"

  • if it had not been for a story.

  • She gave a TED Talk on women in the workplace.

  • That TED Talk went viral, launched a bestselling book,

  • triggered a movement.

  • Never would have gone viral if it had not been for a story.

  • And she acknowledged it later.

  • She said, that she was prepared to give a presentation

  • chock full of data and no emotion, no personal stories.

  • A friend of hers pulled her aside and said, Sheryl,

  • you seem a little out of sorts today.

  • What's going on?

  • And she complained about having to fly there with her daughter

  • still in California, and her own issues

  • with being a working mother.

  • And her friend was patent, said, you really got

  • to start sharing those stories.

  • That's how you connect with people.

  • Sheryl Sandberg acknowledged that she was very uncomfortable

  • with this.

  • But here is how she began her now famous TED Talk.

  • [BEGIN VIDEO PLAYBACK]

  • -Now, at the outset, I want to be very clear that this speech

  • comes with no judgments.

  • I don't have the right answer.

  • I don't even have it for myself.

  • I left San Francisco, where I live, on Monday.

  • And I was getting on the plane for this conference.

  • And my daughter, who's three, when I dropped her off

  • at preschool, did that whole, hugging the leg crying mommy

  • don't get on the plane thing.

  • This is hard.

  • I feel guilty sometimes.

  • I know no women, whether they're at home

  • or whether they're in the workforce, that

  • don't feel that sometimes.

  • So I'm not saying that staying in the workforce

  • is the right thing for everyone.

  • My talk today is about what the messages are if you do

  • want to stay in the workforce.

  • And I think there are three.

  • One-- sit at the table.

  • Two--

  • [END VIDEO PLAYBACK]

  • She's became a real storyteller.

  • In her book too, if you've read "Lean In,"

  • it's full of stories.

  • But she acknowledged she wasn't going to do originally.

  • So look, if you want to learn how to tell a better story,

  • there is a formula.

  • Let's go back to the formula.

  • Let's go to Hollywood.

  • Hollywood knows how to tell transformative stories.

  • All commercially successful Hollywood movies--

  • every single one-- has a three-part storytelling

  • structure.

  • And I'm sure you've seen this.

  • A lot of great books certainly have this too.

  • So the three-part structure of all hit movies

  • begins with the setup.

  • Oh, let's pick an Academy Award nominee.

  • I haven't seen "The Revenant." so I can't speak to that.

  • How about "The Martian?"

  • How many of you have seen "The Martian?"

  • OK, a few of you.

  • We're go with it.

  • Dave, you saw "The Martian?"

  • We'll go with it.

  • So the setup is the hero's world.

  • So here we have Matt Damon, as a botanist.

  • He just happens to be on Mars.

  • But you have to you get to know the team.

  • And the team's working with him.

  • And the team, they really love each other,

  • and they get along with each other.

  • But then something has to happen-- the conflict.

  • On Mars, it's the sandstorm.

  • If you ever watched "Titanic," it's

  • the Titanic hitting the iceberg.

  • I mean, these are very clear delineations

  • between Act One and Act Two.

  • So now the hero's world, literally,

  • is turned upside down.

  • And then, of course, the resolution.

  • How are we going to save Matt Damon?

  • And Matt Damon actually transforms too.

  • He becomes a better person by the end of the movie.

  • Great presentations follow the same structure.

  • Because this is the way people are sort of

  • wired to think in story.

  • So in 1984, Steve Jobs introduced

  • Macintosh, one of the great dramatic presentations

  • in corporate history.

  • It follows the exact same structure--

  • the setup, where he talks about the status quo, the world

  • as it is.

  • And he introduces a villain.

  • All great presentations have to have a villain.

  • The villain, in the Steve Jobs narrative, of course, was IBM.

  • IBM, he said, was bent on world domination.

  • He even used the language of movies.

  • He said, there's only one force to stand in its way,

  • and that's the resolution.

  • The hero unveiled the first Macintosh.

  • But we don't get to the resolution

  • until we go through the other three steps.

  • I've overlaid this structure on so many things-- presentations,

  • also, famous speeches.

  • Malala Yousafzai's beautifully-written Nobel Peace

  • Prize acceptance speech follows exactly the same structure.

  • She doesn't start with talking about the fact

  • that she was shot in that school bus.

  • She starts with Act One, the setup.

  • "In my paradise home--" she said.

  • She even starts with "In my paradise home--"

  • "Everything is great.

  • We-- loved learning." "We had a thirst for education."

  • Then something happened.

  • And she has a very clear distinction. .

  • "But things did not remain the same."

  • So now you know Act Two is going to start.

  • And now the conflict begins.

  • "I was in Swat, which was a place of-- beauty, suddenly

  • changed into a place of terrorism.

  • 400 schools destroyed, people killed, beautiful dreams

  • turned into nightmares."

  • Conflict, and finally, the resolution.

  • Hero conquerors villain.

  • "The terrorists tried to stop us and attacked

  • me and my friends-- but we're still here today

  • because neither their ideas nor their bullets can win."

  • And now she is a voice for the 60 million young girls who

  • are deprived of an education.

  • This is a structure.

  • There is a formula.

  • So tell transformative stories, you

  • can do this easily in your very next business pitch.

  • You have an idea.

  • Start with Act One, the status quo.

  • Here's the status quo.

  • Here's the problem.

  • That's the villain.

  • Here's the problem that you may not even know

  • is around the corner.

  • And here's the resolution.

  • Here's how my idea is going to fix that problem.

  • It's sort of a natural way that we like to hear stories.

  • And finally, just in the last five minutes or so,

  • let me talk to you about the three steps

  • to making a presentation great.

  • Number one-- always sharpen your presentation skills.

  • Practice makes good storytellers great.

  • Very few people practice public speaking.

  • They don't practice, even their presentations,

  • before they're actually going to launch one.

  • Martin Luther King gave 2,500 speeches

  • before his Dream speech.

  • That's what I mean by when you see a great communicator--

  • whether it's a historical figure or just

  • somebody you know here at Google--

  • they weren't born that way.

  • They probably worked at it.

  • There was a very famous TED Talk-- Jill Bolte-Taylor,

  • she was the woman who had a stroke.

  • And she lived to tell about it.

  • I don't know if some of you remember that one.

  • She told me she practiced 200 times.

  • 200 times.

  • So practice your presentation skills.

  • Always try to get better.

  • Second, illustrate your story as much as you can.

  • People like pictures more than words, especially on slides.

  • So you can have a few words.

  • But also try to balance the words and the pictures.

  • This is a balance.

  • Some of you may remember Chris Hadfield.

  • He was the singing astronaut.

  • He was the guy who sang "Space Oddity," floating

  • in space, the David Bowie song.

  • He's a great presenter.

  • He delivers 35-slide presentations

  • with no words, just pictures.

  • And when I asked him why he does that, he goes,

  • Carmine, I'm telling stories.

  • I'm telling a narrative.

  • Why do I want words to interfere with that?

  • I want people to listen to my words.

  • The slides just complement the story.

  • Let's take a look at Elon Musk.

  • Elon Musk is doing a lot of this lately.

  • His presentations are beautiful, but very minimalistic.

  • This slide only has three words on it.

  • The next slide has no words on it.

  • So this is definitely a trend in presentations, a little bit

  • more visual.

  • I'm not asking you to completely blow up

  • the way you do presentations.

  • But try to balance words and visuals.

  • I like this.

  • After this presentation, a blogger said,

  • "Dude's selling a battery and he still managed to be inspiring."

  • Of course, because it's more about storytelling.

  • And finally, unleash your best storytellers.

  • Let's say, you're a manager, where you have a team,

  • and you have to deliver an idea or a pitch.

  • It's not all about you.

  • Give everybody else a voice too.

  • In fact, if you go to a Broadway play, or if you go to a movie,

  • there's different characters.

  • Introduce different characters.

  • It's not just about you as the storyteller.

  • Make sure that everybody on that team

  • has a part of the narrative, has a part of that pitch.

  • This is what they're doing at SAP.

  • At SAP, the big software company,

  • they hired not a VP of marketing.

  • They hired a chief storyteller.

  • She's in the marketing department,

  • but she's a Chief Storytelling Officer.

  • And her role now, her mission is to unleash the stories

  • of 65,000 salespeople at SAP.

  • So she's giving them tools to be able to capture

  • customer stories so other sales people can share them too.

  • So when it comes to storytelling,

  • make sure that you unleash the best storytellers on your team.

  • And finally, let me just end with this.

  • I love this quote from Walt Disney.

  • "Storytellers instill hope again, and again, and again."

  • And that's why we need people to be more inspiring storytellers.

  • You're story can change the world.

  • It can change a career.

  • It can change an industry.

  • I believe that storytelling is not something that we just do.

  • Storytelling is who we are.

  • And all of you have stories inside of you.

  • So please, share those stories.

  • And inspire the people around you to live a better life.

  • Thank you very much for coming out this afternoon.

  • I appreciate it.

  • [APPLAUSE]

  • By the way, if you enjoyed it, tweet me.

  • I'd love to keep up the conversation.

  • Just go Carmine Gallo.

  • Or go to my website and sign up for a newsletter.

  • You'll get content every week on this topic of communication.

  • DAVE MARX: To start, I'd actually

  • like to kind of bring it to us, and how we might be

  • able to tell our own stories.

  • And one of my favorite lines in the conclusion

  • is a quote you put in from Robert Stone.

  • It says that "Storytelling is almost as necessary as bread.

  • We cannot imagine ourselves without it,

  • because the very sense of self is a story."

  • I really like that.

  • CARMINE GALLO: I wish that was my quote.

  • That was nice.

  • DAVE MARX: Right?

  • It is a great one.

  • And what I wonder is I know some people,

  • sometimes, have trouble telling their own narrative.

  • So what advice do you have to us,

  • to help identify our own narrative

  • and tell it in a better story?

  • CARMINE GALLO: Definitely what we're seeing,

  • especially in leadership today, we

  • are seeing more transparency, more authenticity,

  • where people do seem to be a little bit more comfortable

  • sharing those back stories, the back stories

  • of struggle and triumph.

  • And there's a reason why people like to hear those stories.

  • So it doesn't always have to be the skeletons in the closet,

  • OK?

  • It can be something as simple as having

  • a very big, major business challenge, or a failure.

  • I mean, this is a culture here, in Silicon Valley,

  • where we celebrate failures.

  • So if you've had a failure, if you've had a challenge

  • and you overcome it and you learn something,

  • that's one of the most powerful stories you can tell.

  • But you don't have to tell the personal stories either.

  • Remember, a case study is a story.

  • Very few people are using case studies anymore.

  • But they don't have to be boring.

  • If you're going to use a case study,

  • still put it into the context of narrative

  • with conflict and resolution and struggle and triumph

  • over struggle.

  • DAVE MARX: That makes a lot of sense.

  • Look to our own struggle, and then look to outside stories.

  • Our narrative doesn't always need to be stories about us,

  • right?

  • CARMINE GALLO: Yeah.

  • You know, I brought up that slide of the Vinod Khosla.

  • He actually delivered that quote at a Khosla Summit,

  • where he gathers the CEOs from all of his portfolio companies.

  • Sergey Brin and Larry Page were both there as well.

  • And that was the conference where

  • Vinod Khosla walked on stage.

  • And he said, all of you are brilliant.

  • He wasn't talking to Sergey and Larry.

  • He was talking to his CEOs.

  • But they were there on stage.

  • And he said, all of you are brilliant.

  • But none of you are good storytellers.

  • So that's where I got that quote.

  • You have to learn to tell better stories.

  • We can't invest in you unless we understand the story.

  • That's actually why I wrote that book.

  • If he had not said that, I'm not sure

  • if I would have had the topic in mind.

  • Hey, how are you?

  • AUDIENCE: Hi, thanks for coming.

  • I had a question about actual stories.

  • CARMINE GALLO: Yeah.

  • AUDIENCE: You mentioned some Hollywood movies.

  • But can you mention some stories from literature

  • that are your favorites?

  • And why are those stories your favorites?

  • CARMINE GALLO: Like Oedipus, and some of the Greek stories.

  • I'll tell you, I don't read a lot of fiction.

  • But I love biographies.

  • So I am immersed in those kind.

  • Because biographies, what I have found--

  • and this actually reinforced some of the literature

  • that I've found-- it's important to tell family stories.

  • And it's important to tell tales of heroes.

  • Because they inspire us to be better people,

  • which is why the whole Horatio Alger type of stories

  • are actually very important for people to hear.

  • And I never realized why I loved certain historical books.

  • Right?

  • Anything on George Washington, is in my library.

  • I read everything on George Washington or Thomas Jefferson.

  • I love hearing all those stories.

  • And what happened during my research,

  • I found out that people like Elon Musk

  • said that they became more courageous because their youth

  • was spent reading stories of mythical heroes

  • and true heroes.

  • John Kennedy was laid up in bed for many, many months--

  • a lot of people don't know that history-- when

  • he was very young, in college.

  • He was laid up in bed.

  • He had terrible back problems.

  • He had a lot of illnesses.

  • During that time, he read books.

  • And he read mythical stories of King Arthur.

  • And when it came time for him, in World War II,

  • to play the hero in his own journey,

  • it all came back to him.

  • And so I was really curious as to why.

  • You know, why are all of these great leaders inspired by books

  • and inspired by stories?

  • There's a reason for it.

  • There's actually science that says

  • you are braver when you hear stories of people who conquer

  • seemingly-insurmountable odds.

  • Malala said, that her father was a storyteller,

  • and always told her stories of folk heroes,

  • of young women who could lead armies.

  • So eventually, the reason why those books are important--

  • and I tend to lean toward history books--

  • is because it actually inspires you to be a better person.

  • DAVE MARX: And I just wanted to read another quote

  • from the book that related to that.

  • CARMINE GALLO: Yeah.

  • DAVE MARX: From Greek philosopher, Plato, "Come then,

  • and let us pass a leisure hour in storytelling.

  • And our story shall be the education of our heroes.

  • Plato meant that the stories themselves

  • would aid and inspire and guide others

  • to play the hero in their own life narrative."

  • It's been around forever.

  • CARMINE GALLO: They knew that back in ancient Greece, right?

  • But I don't think a lot of people

  • put those two and two together.

  • So if there's any questions?

  • Think about your next pitch.

  • Think about a presentation that you've delivered.

  • If you want to ask a question about that, because it

  • should be in narrative form.

  • And we could do that.

  • Yes?

  • AUDIENCE: So I can completely appreciate

  • the need for storytelling.

  • Now, when it comes to the business world,

  • you gave us a great example about Apple.

  • CARMINE GALLO: Yes.

  • AUDIENCE: And yes, that was in the kind of three-point format

  • that you described.

  • But is that very common?

  • Because when I was thinking about some examples,

  • it seems like the conflict just won't have the same punch.

  • Because there's not a lot of cases

  • where you can set up an enemy or a tremendous pain of some

  • sort, in that kind of three-point framework

  • that you were discussing.

  • CARMINE GALLO: Yes.

  • I should add the caveat that what I'm showing

  • you are pretty extreme examples.

  • When it comes to just a basic pitch, basic idea,

  • just sharing your idea with the team,

  • the reason why I bring up the three-part narrative

  • is because anybody can start with the status quo.

  • So you can tell your team, or you

  • can tell the person, your client, your customer,

  • who you're trying to convince.

  • All this comes back to, we have to convince

  • people of something.

  • We have to convince people of our idea.

  • So if you can get people to start nodding in agreement

  • and saying, yeah, yeah, OK.

  • So that's the way things are happening now.

  • But there's a problem here.

  • And how are we going to resolve the problem?

  • In a basic business presentation,

  • the villain-- there has to be a villain in order

  • for a good story to take hold-- doesn't

  • have to be a competitor.

  • It doesn't have to be this big villain

  • bent on world domination.

  • It could be a problem.

  • Problem, solution.

  • You know who's doing this really well?

  • Is Elon Musk.

  • That presentation that I showed you was brilliant.

  • And he was introducing a battery.

  • So now we're talking about something that isn't that sexy.

  • It's a home battery that takes sunlight, converts it

  • to energy.

  • But the way he structured it, it was a narrative form.

  • And he started with a problem.

  • And he showed pollution being spewed in the air

  • by those smokestacks.

  • And he used very simple language.

  • He said, this is real.

  • This is happening.

  • It's not good.

  • And then the next slide was the sun, just a picture of the sun.

  • And he said, this is also a real.

  • It works.

  • It happens to be on every day.

  • Why aren't we harnessing this?

  • Let's take a look at today's batteries

  • to see what the problems are with today's batteries.

  • So now he's introducing a problem.

  • Now, how are we going to take the sun

  • and convert it to energy?

  • How do you do that?

  • Well, there's a problem with today's batteries.

  • But rest assured, I have a solution.

  • That's part three.

  • And here's my solution.

  • So within that three-part structure,

  • you could have a lot of fun.

  • Some screenwriters in Hollywood--

  • and I've talked to a lot of screenwriters, which

  • is why I have fun with this stuff-- they

  • don't like the formula.

  • But when they veer from that formula,

  • they got a flop on their hands.

  • So producers now, they actually go to a certain page

  • to find the beginning of Act Two.

  • Within the structure though, you can have a lot of fun.

  • You do a lot of crazy things within the structure.

  • But it seems as though people like a structure.

  • It's just something that we're kind of wired to do.

  • We like a logical structure.

  • What do most of us do what we create a PowerPoint?

  • Or when we create any type of presentation,

  • regardless of the tools you use?

  • We just put a lot of facts and data on there.

  • We don't even think about a structure.

  • We just load it up.

  • That's the biggest problem I've seen.

  • AUDIENCE: I'll admit the neuroscience

  • of this really fascinates me.

  • Think of it this way.

  • You described how it's all kind of this formulaic

  • conflict-resolution thing.

  • If you think about it, most of us,

  • we deal with conflict in our own work lives, personal lives.

  • It stresses us out.

  • We're frustrated.

  • And then we go home, we turn on TV, we read a book,

  • and we love seeing that conflict resolution play out.

  • We immerse ourselves in other people's conflict resolution.

  • CARMINE GALLO: That's true.

  • AUDIENCE: So a buddy of mine, he's

  • come from a neuroscience background.

  • We were at a party recently.

  • And we were trying to theorize what

  • about our brains enjoys that.

  • He started talking to me about dopamine,

  • which I understand, as we think of it often,

  • is sort of a pleasure-reward thing.

  • We're hungry, we eat something.

  • Dopamine gets released.

  • He told me something I didn't realize, which is dopamine's

  • also part of seeking.

  • And so it's sort of like, when the outcome isn't predictable,

  • dopamine gets released a lot more.

  • So I'm wondering if that's kind of what's

  • going on with stories.

  • Like, when we don't know what the outcome is going to be.

  • We're kind of on edge.

  • When the resolution happens, we get, like,

  • a hit of dopamine or something.

  • Is that kind of what's going on?

  • CARMINE GALLO: Yeah, yes.

  • That's part of it.

  • Dopamine plays a lot of different roles.

  • But dopamine's also the feel-good chemical.

  • Right?

  • So if you can empathize with someone

  • to feel really good about that person,

  • then it releases dopamine too.

  • So it's all part of it.

  • But dopamine also forces you to pay attention.

  • And again, I'm not a neuroscientist.

  • But what I'm very good at-- because I'm a trained

  • journalist-- I enjoy speaking to neuroscience,

  • and studying it, and then trying to articulate it

  • in plain English.

  • So I've talked to John Medina at the University of Washington.

  • Great book called "Brain Rules-- How Persuasion Works."

  • And he introduced a lot of these concepts, where

  • he talks about how dopamine is like a stamp on your brain

  • that makes you pay attention.

  • So when you have this rush of chemicals,

  • cortisol, mostly though, dopamine put and oxytocin--

  • and Paul Zak is studying oxytocin-- it forces your brain

  • to pay attention.

  • This is important.

  • There is a reason why you remember

  • where you were during certain big events, like a 9/11

  • or someplace like that.

  • You remember things because there's that rush of chemicals.

  • And so it's easier for you to remember.

  • So how do we take that kind and hijack the brain's processing

  • system so that they remember our ideas?

  • You can take this in almost any area.

  • People remember ideas for a specific reason.

  • There is a formula to this.

  • Just like Max Martin knows how to write a song that

  • gets stuck in your head, we know why ideas are memorable

  • and others are forgotten.

  • Of course, you got to have a good idea.

  • Right?

  • That's what Richard Branson said.

  • It's got to be a good idea.

  • So that is number one.

  • But if you can't communicate it, then it becomes a problem.

  • Sergey and Larry had a good idea.

  • AUDIENCE: I really liked when you

  • touched upon the modes of persuasion stuff.

  • CARMINE GALLO: The what?

  • AUDIENCE: The modes of persuasion, Aristotle, ethos,

  • pathos, and logos stuff.

  • I was wondering whether you could elaborate on it.

  • You said that the goal is to do more [INAUDIBLE]

  • and less of the other stuff.

  • But I was just wondering whether you could elaborate.

  • Because I found that was really interesting.

  • CARMINE GALLO: Well, apparently, years ago, up until 20

  • or 30 years ago, most people assumed

  • that we're rational beings.

  • So it was more about the data and the logic.

  • Whereas in the last 20 years or so, they're finding--

  • and Jonathan Haidt is doing a lot of research

  • into this-- that we think we're rational.

  • But our emotional side of the brain is much more powerful.

  • Which is why, when you have to persuade somebody of something,

  • you want to convince them of something,

  • you need to have both.

  • That's why I think Bryan Stevenson, go watch his TED

  • Talk.

  • It's phenomenal.

  • Because what it does, is he's very persuasive.

  • By the end of 15 minutes, you're ready to buy into his idea,

  • even if you're pretty defensive about it.

  • It's amazing.

  • He's very persuasive.

  • And he wins cases before the US Supreme Court.

  • He knows how to persuade.

  • But 65% % of his public presentations are more heavy

  • on emotion, 25% data.

  • So you got to have a balance.

  • And I think we're seeing that in our political campaigns too.

  • There's some people who are really

  • good at getting your attention and triggering emotions.

  • Right?

  • So I think it applies in everything,

  • from political campaigns to business.

  • AUDIENCE: Could you talk a bit more about what emotions

  • you appeal to, and how you set up a story so it

  • flips that switch, if you will?

  • CARMINE GALLO: Apparently, in storytelling, tension

  • is everything-- tension and conflict.

  • There has to be some kind of conflict.

  • Titanic has to hit an iceberg.

  • Right?

  • So you need to have the conflict in Act Two.

  • If there isn't a conflict, then the audience

  • doesn't have anyone to rally around.

  • We want Jack and Rose to be saved.

  • And we want them to be saved in "Titanic,"

  • only after we get to know them.

  • So that's the structure.

  • You need to be able to get to know the characters so you

  • feel empathy for the characters involved.

  • Then you have to introduce a conflict.

  • And that conflict better have a happy ending and a resolution

  • afterwards.

  • So it's a pretty basic structure.

  • But those are the two things that you absolutely

  • need in every good story.

  • You need a back story.

  • We need to get to know the characters

  • a little bit so that we feel empathy for the characters.

  • And then there has to be a pretty significant--

  • what Paul Zak calls the-- trigger

  • event, which is that conflict.

  • And so if you can get your audience nodding in agreement,

  • going yeah, yeah, that's the problem I have.

  • I have that problem.

  • Then you're going to hook them.

  • That's what we call the hook.

  • Just like the chorus in "Cheerleader."

  • That's what we call the hook.

  • It works remarkably well, remarkably well.

  • I cannot tell you over the years,

  • of how many business presentations I've either seen

  • or I've worked with at a lot of major companies-- LinkedIn,

  • Microsoft, SanDisk, Intel, many--

  • where when we create something like this and then we go back

  • and we see what was the most memorable part of that

  • presentation, what resonated with people.

  • People come back, like, two years later

  • at the same conference and tell the executive,

  • I liked that part in that presentation

  • you gave two years ago.

  • It's always the story.

  • Always the story.

  • Nobody ever remembers oh yeah, I loved that slide 32.

  • Excellent.

  • That was great.

  • Yeah, and the chart on slide 32?

  • Unbelievable.

  • But they always remember the story, always.

  • That's why I'm getting into this idea, where

  • I am very emphatic about it.

  • I'm saying, this is the hook.

  • A songwriter knows what works.

  • That's why he can keep turning out hit after hit.

  • We know what works too.

  • We know what works when you're delivering a presentation.

  • AUDIENCE: I have a question about telling

  • personal stories--

  • CARMINE GALLO: Yes.

  • Now, your father is a data scientist, right?

  • AUDIENCE: Computer science professor.

  • CARMINE GALLO: Computer science.

  • And he tells stories?

  • AUDIENCE: He does.

  • CARMINE GALLO: I love it.

  • I love that.

  • AUDIENCE: Telling stories in the classroom

  • is very important to him.

  • CARMINE GALLO: Great.

  • AUDIENCE: I've noticed that when people tell personal stories,

  • they generally fall into one of two frames.

  • There's the this-is-how-I'm-special angle.

  • And then there's the this-is-how-we're-alike angle.

  • Can you comment on which of those-- is one of them

  • superior to the other?

  • Do they both have a place?

  • CARMINE GALLO: Well, let's not get too

  • hung up on the personal stories.

  • AUDIENCE: I guess any stories?

  • CARMINE GALLO: Yeah.

  • Because for TED, the personal stories work pretty well.

  • Because it is a more intimate environment.

  • In business, I like the case studies.

  • You know, real stories of real people who are helped

  • or whose world is made better by your idea, by your service.

  • Those are the stories that resonate in business.

  • And very few business presentations-- at least

  • that I see- are heavy in narrative.

  • They don't tell those stories.

  • It's all fact without being supported by the stories.

  • You know who's really good at this now,

  • is Bill and Melinda Gates.

  • They're fantastic storytellers now.

  • Like, every time they have the new Gates newsletter, which

  • comes out every year and talks about their philanthropy

  • efforts, Melinda is a better storyteller than Bill.

  • Bill's still a little factual.

  • He's very simple though.

  • He does a good job.

  • But Melinda likes going into the stories.

  • So she uses the data.

  • But she always starts with very personal stories.

  • And sometimes they're personal.

  • But they're more about other people.

  • It's more of a personal experience she had.

  • But let me tell you about a woman in this part of Africa

  • who I spent a few days with, and her and her family.

  • So it's kind of about Melinda, but not really.

  • She kind of shifts it off and talks about the other person.

  • So I think the case studies, but inserting yourself into a case

  • study is very powerful.

  • AUDIENCE: Do you have any advice on how to use storytelling

  • in job interviews when you have very little time,

  • and you have to kind of sell yourself?

  • CARMINE GALLO: Yes.

  • You have to do it in job interviews.

  • I have so many interesting stories

  • of people who have emailed me.

  • One young man emailed me not too long ago, just

  • a few months ago, working at a startup in San Francisco.

  • I'm sure you're all familiar.

  • They do the coding classes now, right?

  • Those coding programs.

  • DAVE MARX: The boot camps.

  • CARMINE GALLO: Yeah, the boot camps.

  • So that was his first coding boot camp.

  • And so he didn't have a lot of technical experience.

  • But he was a really good communicator.

  • He studied the science of story.

  • And how to tell better stories.

  • So he walked into an interview.

  • And he told stories about his previous job,

  • of where they had a particular problem.

  • And he told those stories of how he overcame those problems.

  • And then he applied what he had learned to that company,

  • and what he had learned about this new company.

  • So that doesn't take long.

  • Even in a 15-minute job interview,

  • that took about two minutes.

  • But here's the end of that story.

  • Here's the conclusion.

  • The reason why the young man emailed me, he said,

  • Carmine, you wouldn't believe it.

  • I doubled my salary.

  • They hired me two days later.

  • He interviewed on a Friday.

  • They hired him on a Monday.

  • Doubled my salary.

  • And they told them specifically, you

  • don't have the technical experience.

  • Because you just took this one coding class.

  • There are plenty of job candidates

  • who have more technical experience than you do.

  • But nobody could communicate our story,

  • our company story, as well as you can.

  • So to me, what we just talked about, that's big.

  • This is really important for career advancement.

  • Yeah, really important.

  • Thanks for asking.

  • Well, look, I'll be around.

  • And I'd love to sign some books and meet you, if you'd like.

  • Great, thank you.

  • DAVE MARX: One more round of applause for Carmine.

  • CARMINE GALLO: Thank you.

  • Yeah, thank you.

  • [APPLAUSE]

DAVE MARX: Carmine's a highly-regarded author

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卡明-加洛:"講故事的人的祕密"|在谷歌的演講 (Carmine Gallo: "The Storytellers Secret" | Talks at Google)

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    Amy.Lin 發佈於 2021 年 01 月 14 日
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