institute for public relations # essential knowledge project

Fundado em 1956 é uma das referências mundiais em termos de conhecimento na área de PR. Disponibiliza desde há muito informação sustentada sobre as bases científicas da disciplina. Recentemente lançou o "Essential Knowledge Project" que reúne extraordinárias contribuições. Para consultar aqui

trends # 3 storytelling leituras

Corporate Storytelling

Strategic Stories: How 3M is Rewriting Business Planning, by Gordon Shaw, Robert Brown and Phillip Bromiley, Harvard Business Review, May-June 1998 issue, Reprint 98310

Why Every Company Needs A Story, Edward O. Welles, Inc. Magazine, May 1996, pp. 69
The Story Factor, Annette Simmons, 2000, Perseus Publishing

The Power of Stories When Cultures Merge, Johnny Harben, Journal of Strategic Communications Management, issue 10, pp. 16-26

The Cluetrain Manifesto: The End of Business as Usual, Rick Levine, Christopher Locke, Doc Searls and David Weinberger, 2001, Perseus Publishing.

Telling Stories, Beth Ann Holden, New Age’s Body & Soul, 1999, pp. 31-36

Tell Me a Story, Beth Ann Holden, Incentive, Feb. 1999, pp. 65-66

Storytelling in Organization: Facts, Fictions and Fantasie, Yiannis Gabriel, 2000, Oxford University Press

Managing by Storying Around: A New Method of Leadership, David Armstrong, 1992, Doubleday Dell Publishing

The Leadership Engine: How Winning Companies Build Leaders At Every Level, Noel M. Tichy, 1997, Harper Business

Corporate Legends and Lore: The Power of Storytelling as a Management Tool, Peg C. Neuhauser, 1993, PCN Associates

The Springboard: How Storytelling Ignites Action in Knowledge-Era Organizations, Stephen Denning, 2000, Butterworth-Heinemenn

The Dream Society, Rolf Jensen, The Futurist, May-June 1996 issue

The Nike Story? Just Tell It!, Eric Ransdell, Fast Company, Issue 31, p. 44

trends #2 storyteling quick checklist

Why use stories:
􀂉 To break barriers
􀂉 To put information into context
􀂉 To be persuasive
􀂉 To make an emotional connection
􀂉 To enliven a presentation of facts and figures
􀂉 To keep you foremost in people’s minds
􀂉 To give you control of the spotlight

How to use stories:
􀂉 Spark transformations
􀂉 Build community
􀂉 Ignite innovation
􀂉 Learn (and unlearn) from experiences
􀂉 Share values
􀂉 Create and promote culture
􀂉 Build organizational capacity
􀂉 Shape and speed action

Where to use stories:
􀂉 Corporate histories
􀂉 Business plans and proposals
􀂉 Product development and launches
􀂉 Product messaging
􀂉 Case studies and success stories
􀂉 Customer and employee profiles
􀂉 Executive profiles
􀂉 Sales and training materials
􀂉 Newsletters
􀂉 Magazine articles
􀂉 Advertising copy

Qualities of a story:
􀂉 Narrative—a beginning, middle and end
􀂉 Suspense—something that holds our interest and makes us want to find out what happens next
􀂉 Visual details—we can picture what takes place
􀂉 Emotional content—such as fear, greed, anger, happiness and love
􀂉 Credibility—a trustworthy voice or narrator
􀂉 Optimism—faith in the ability to triumph over obstacles

Some kinds of stories:
􀂉 Legend
􀂉 Fable
􀂉 News
􀂉 Humorous
􀂉 Anecdote
􀂉 History

trends #1 storytelling

Mais do que nunca na história dos negócios, as narrativas são um elemento estratégico central da vida empresarial. Contar histórias, ou no original "storytelling", está cada vez mais a entrar no léxico dos gestores, e cada vez mais executivos utilizam as histórias para conseguir alavancar alguma área de performance específica das suas empresas. Há anos atrás, ouvia eu pacientemente o grande professor Viegas Soares (hoje professor na ESCS) falar sobre semiótica do texto, e perguntava-me sobre a utilidade futura "da coisa". Por mero acaso achei piada à matéria, entusiasmei-me, e a certa altura dei por mim nas salas de cinema a analisar os filmes que via usando os modelos sabiamente leccionados por Viegas Soares. De facto as narrativas tinham uma estrutura, e contar uma história obedecia a certas regras. Passados quase 20 anos posso confessar que nunca foram tão actuais aquelas longínquas aulas de semiótica.

clássicos # 1 aristóteles retórica

Rhetoric may be defined as the faculty of observing in any given case the available means of persuasion. This is not a function of any other art. Every other art can instruct or persuade about its own particular subject-matter; for instance, medicine about what is healthy and unhealthy, geometry about the properties of magnitudes, arithmetic about numbers, and the same is true of the other arts and sciences. But rhetoric we look upon as the power of observing the means of persuasion on almost any subject presented to us; and that is why we say that, in its technical character, it is not concerned with any special or definite class of subjects.

Of the modes of persuasion some belong strictly to the art of rhetoric and some do not. By the latter I mean such things as are not supplied by the speaker but are there at the outset -- witnesses, evidence given under torture, written contracts, and so on. By the former I mean such as we can ourselves construct by means of the principles of rhetoric. The one kind has merely to be used, the other has to be invented.

Of the modes of persuasion furnished by the spoken word there are three kinds. The first kind depends on the personal character of the speaker; the second on putting the audience into a certain frame of mind; the third on the proof, or apparent proof, provided by the words of the speech itself. Persuasion is achieved by the speaker's personal character when the speech is so spoken as to make us think him credible. We believe good men more fully and more readily than others: this is true generally whatever the question is, and absolutely true where exact certainty is impossible and opinions are divided. This kind of persuasion, like the others, should be achieved by what the speaker says, not by what people think of his character before he begins to speak. It is not true, as some writers assume in their treatises on rhetoric, that the personal goodness revealed by the speaker contributes nothing to his power of persuasion; on the contrary, his character may almost be called the most effective means of persuasion he possesses. Secondly, persuasion may come through the hearers, when the speech stirs their emotions. Our judgements when we are pleased and friendly are not the same as when we are pained and hostile. It is towards producing these effects, as we maintain, that present-day writers on rhetoric direct the whole of their efforts. This subject shall be treated in detail when we come to speak of the emotions. Thirdly, persuasion is effected through the speech itself when we have proved a truth or an apparent truth by means of the persuasive arguments suitable to the case in question.

There are, then, these three means of effecting persuasion. The man who is to be in command of them must, it is clear, be able (1) to reason logically, (2) to understand human character and goodness in their various forms, and (3) to understand the emotions-that is, to name them and describe them, to know their causes and the way in which they are excited.