Storytelling: Many companies want it, few know what it looks like.
They want it because they’ve realized its value. They used Claude and ChatGPT to turn all their copy sleek and straightforward, and now the general population is bored to tears. No one wants more data. They want purpose. They want vision. They want feelings.
Storytelling can achieve that. But I’ve discovered that telling corporate stories is tough…and not always C-suite approved. Here’s why.
What is a Story?
To start, it helps to understand what a story is.
First, all good stories have a clear structure. Various structures exist, but the overall foundation remains consistent: a protagonist (or main character) experiences some kind of event (or crisis) that disrupts their normal routine. They then undertake a journey (physical or emotional) to resolve the crisis and reach a new equilibrium. The protagonist is usually transformed by this process, discovering something unique about themselves or the world at large.
The main driver in every story is conflict, usually more than one kind. In general, the more conflict a story has, the more interesting it becomes. People don’t just love drama; they’re drawn to it as a learning experience. Socially and cognitively, stories function as problem-solving templates.
Challenge 1: Mapping the Journey
Before one can tell a good corporate story, one must map the journey. For example, where does this journey start? Where does it end? What if it ends in failure instead of success? All these factors must be defined.
Mapping the journey often proves a challenge for major enterprises, because they’re notoriously bad at pinpointing the start and end of…well, name a thing. Few initiatives launch with a clear finish line. They stretch on for so long, hovering indefinitely in the footers of office posters and slide decks, that employees start to assume they’ve always existed.
That’s not just bad for storytelling; it’s also bad for measuring outcomes.
All great stories have a clear beginning and end. Companies need to set these goalposts, preferably not too far apart. Shorter stories draw more attention and deliver higher impact.
Challenge 2: Assigning Character Roles
The next step in storytelling is deciding who the characters are and how they evolve throughout the journey. Just as every great story has an identifiable structure, they also have a common cast of characters:
- protagonist (or hero)
- antagonist (or villain)
- supporting / relief character
- wise guide
- foil (or contrasting character)
Which entities get assigned to these roles matters a lot. Too many companies err in placing themselves in the protagonist role when they are far more operationally (and narratively) suited to the supporting or guide roles.
I solved this problem several years ago upon analyzing my nonprofit employer’s brand story. They had inadvertently placed themselves in the hero role with an outside entity occupying the guide role. This narrative arc completely excluded their donors—the very people they depended on to fund their mission. Once we placed donors in the hero role and the organization in the guide role, revenue tripled.
To put it bluntly, enterprises should almost never be the heroes of their own stories. Audiences find it egotistical—and, worse, boring.
Doing a big internal change campaign? Employees should probably fill the protagonist role. Marketing externally? Make customers and clients the hero. A foil could be a competitor. A difficult situation or operational problem could be the antagonist.
Companies must assign these roles strategically and stick to them.
Challenge 3: Adding the Conflict
I’ve worked in corporate long enough to know that companies hate conflict. It feels antithetical to all their goals. They want to assure clients, staff, and shareholders that everything is smooth sailing—no hiccups. We’re on an upward spiral, baby. Look at our beautifully designed roadmap with evenly spaced milestones and zero potholes. All we need to move forward is everyone’s constant nod of assent.
First problem: That’s eye-watering levels of boring. If the challenge is presented as already solved or non-existent, there’s no reason to engage. There’s no journey to take or transformation to experience. (I suspect this is a big reason why many corporate change initiatives fail.)
Second problem: It’s not believable. Achieving goals requires work, and changing habits is uncomfortable. Staff, especially, know the road ahead won’t be smooth. The plan calls for Finance to adopt new software, and Treasurer Gladys has been glued to Quicken since 1987. Where’s the plan to handle that?
Third problem: Minus conflict, there is no story. The disruption, the crisis, starts the hero on their journey. It’s the impetus for every event within the narrative and every action the characters take. Without conflict, you end up with the corporate version of Goodnight Moon. Which is a baby book. And probably why staff and clients feel like they’re being talked to like toddlers in a daycare.
Mature listeners anticipate conflict. Companies must address it.
Getting it Right
Ten years ago, Andy Raskin, a master in corporate storytelling, outlined the five elements of a brilliant sales narrative. I turn to it often when working on pitch decks for clients. It’s critical to note that the first step involves highlighting a big change in the world and showing how it impacts the audience. In other words, conflict. He writes:
“But when you highlight a shift in the world, you get prospects to open up about how that shift affects them, how it scares them, and where they see opportunities. Most importantly, you grab their attention.”
His point #2, showing winners and losers, is character assignment. Point #3 identifies the desired end point of the hero’s journey. Points #4 and #5 position the company and its product as the wise guide.
See? Story structure.
It can be tough to figure out. But when companies get it right, amazing things happen—usually around profits and growth.
Could your company use some brilliant storytelling? Contact me.
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