ALS PROJECT

THE ART OF STORYTELLING

CONTENTS
 What is storytelling?
 Historical perspective
 Storytelling techniques
 Elements of compelling story
 Characterization
 Narration
 Theme
 Plot
What is Storytelling
Storytelling is the social and cultural activity of sharing stories,
sometimes with improvisation, theatrics or embellishment. Every
culture has its own stories or narratives, which are shared as a
means of entertainment, education, cultural preservation or
instilling moral values.

Power of Stories
 Connecting with Emotions
Stories have a profound impact on human emotions. They
have the ability to evoke empathy, compassion, and a range of
other emotions in readers and listeners.
 Engagement and Understanding
Stories are powerful tools for engagement and
understanding. They captivate audiences and make complex
ideas and concepts more relatable and accessible.
Historical Perspective
Storytelling, intertwined with the development of mythologies,
predates writing. The earliest forms of storytelling were usually oral,
combined with gestures and expressions. Some archaeologists
believe that rock art, in addition to a role in religious rituals, may
have served as a form of storytelling for many ancient cultures. The
Australian aboriginal people painted symbols which also appear in
stories on cave walls as a means of helping the storyteller remember
the story. The story was then told using a combination of oral
narrative, music, rock art and dance, which bring understanding
and meaning to human existence through the remembrance and
enactment of stories. People have used the carved trunks of living
trees and ephemeral media (such as sand and leaves) to record
folktales in pictures or with writing. Complex forms of tattooing may
also represent stories, with information about genealogy, affiliation
and social status.
Storytelling Techniques
 Foreshadowing
Foreshadowing is a technique used in storytelling to hint
at future events or outcomes. It creates suspense and anticipation
in the audience, making them curious about what will happen next.
Foreshadowing can be done through subtle hints, symbols, or
dialogue.
 Flashbacks
Flashbacks are a storytelling technique that takes the
audience back in time to provide context or reveal important
information. They are often used to explain a character's backstory
or to show events that happened before the main narrative.
Flashbacks can be used to add depth to characters or to create a
sense of mystery and intrigue.
 Narrative Structure
Narrative structure refers to the organization and arrangement of
events in a story. It includes the beginning, middle, and end, as well
as the overall plot and subplots. The narrative structure can be linear,
where events unfold in chronological order, or non-linear, where
events are presented out of order or in a different sequence. The
choice of narrative structure can impact the audience's
understanding and interpretation of the story.
Elements of Compelling Story
 Strong Characters
Compelling stories have well-developed characters that
are relatable and undergo growth or transformation throughout the
narrative.
 Conflict
A compelling story needs conflict, whether it is internal or
external, to create tension and drive the narrative forward.
 Emotional Resonance
A compelling story evokes emotions and connects with
the audience on a deeper level, leaving a lasting impact.

Characterization
Characterization is the literary technique of representing a
character's traits, motives, and psychology in a narrative. It can also
be described as the process of creating and describing characters
in literature.
Elements of Characterization
Physical:
The way your character looks

 Age
 Appearance
 Clothing
 Accessories
 Physical health
 Distinctive Characteristics
Spiritual:
How your character views the world
 Beliefs
  Values
 Life’s purpose
 Ethics
Emotional:
The way your character feels.

 Emotional security
 Emotional awareness
 Emotional wounds
 Resilience
 Romance
 Backstory
Mental:
The way your character thinks.
 Intellect
 Knowledge
 Self-esteem
 Self-perception
 Thought processes
 Mental health
Environment:
Character’s physical world

 Living environment
 Home
 Work
 Social
Direct and indirect characterization
Direct characterization:

Direct characterization is a technique in which the narrator

directly injects his or her thoughts, comments, and sometimes
feelings into the story. The narrator is like a character within the
story who directs the reader’s attention to the character’s
appearance, behavior, and thoughts. In direct
characterization, the narrator breaks the fourth wall and
addresses the reader. This method is useful in certain
situations—for example, when a story needs to be told from a
specific point of view or a particular character is important to
the plot. We can also use direct characterization for comic effects
by introducing an element of humor into the story. However, direct
characterization disrupts the flow of a narrative and might not
always be appropriate.

When to Use Direct Characterization?

There are several situations in which using direct characterization

can be an excellent tool. When direct characterization is used
effectively, it can make for very clear storytelling. In direct
characterization, the story requires that you tell it from a specific
point of view, such as first-person or second person. Incorporate the
thoughts and musings of a character directly into the text because
they are integral to the story. Or maybe you want to use direct
characterization for a comic effect by introducing an element of
humor into the story. Using direct characterization for any of these
reasons is permissible, but it’s important not to overdo it, as it could
disrupt the flow of your narrative. If you plan on using direct
characterization throughout your piece, make sure your voice is
strong enough to carry the entire story and that you don’t end up
repeating yourself too much through multiple characterizations.
Indirect characterization:

Indirect characterization is a literary device that reveals details

about a character without directly stating them. Instead, the author
shows a character's traits through their actions, speech, thoughts,
appearance, and how other characters react to them.
Why is indirect characterization important?

Characterization in general is not only necessary to narrative

writing; it’s part of the fun! Getting to know realistically portrayed
characters adds to the entertainment value of literature, and we
often develop attachments to certain stories because of how we
relate to specific characters.
Characterization is not something an author does just once. Rather,
characterization is the culmination of many different character
details at different times—when you put them together, you have
a multifaceted character who feels realistic.

To establish a character, indirect characterization has some

advantages that direct characterization does not. Specifically,
indirect characterization requires the reader to engage with the
text more than direct characterization does; instead of spoon-
feeding your reader, you help guide them to their own conclusions.
When the reader has to think for themselves and put the pieces
together on their own, the character and the story become more
personal.
However, in some situations, you may choose to be clearer and
state character traits more bluntly, so in those cases direct
characterization is better.
Literally me characters:

Literally me characters are fictional characters that some people,

especially young men, identify with strongly because they
represent a status of “lone wolves,” outsiders, and rebels who have
charisma, Machiavellianism and cynical philosophical views. Some
examples of literally me characters are Patrick Bateman from
American Psycho, Ryan Gosling in Drive, Tyler Durden in Fight Club,
Travis Bickle in Taxi Driver and the Joker from The Dark Knight. The
psychological aspects of literally me characters are complex and
often problematic. Some of the reasons why people love these
characters are:

They offer a form of escapism from the boredom, alienation, and

dissatisfaction of modern life, as they challenge the norms and
expectations of society and create their own rules and values.

They express a sense of power, control, and superiority over others,

as they manipulate, deceive, and dominate their environments
and adversaries, often through violence and intimidation.

They appeal to a dark and twisted sense of humor, as they mock,

ridicule, and subvert the conventions and clichés of mainstream
culture and media, often breaking the fourth wall and addressing
the audience directly

Protagonist and antagonist

The conflict between a protagonist and an antagonist—a
story’s two most essential characters—is an age-old storytelling
trope. Writers of films, plays, and literary works have a long history of
using the tension created by the protagonist and antagonist
competing against each other toward conflicting goals to drive a
story forward, evolving and developing the definition and
characteristics of both types of characters.

What Is a Protagonist?
In storytelling, a protagonist is the main character or principal
character or group of characters in a story.

Writers use the protagonist to drive the story forward—the

protagonist’s goals reflect the overall story goals, the plot moves
forward based on the protagonist’s decisions, and their character
arc is what the readers follow throughout the story.
While in many narratives, the protagonist is synonymous with “the
good guy,” the word “protagonist” is simply from an Ancient Greek
word meaning “one who plays the first part, chief actor.” The
definition of protagonist has nothing to do with a character’s
internal moral compass: a protagonist can be both a “good”
character (i.e. full of moral integrity) or a “bad” character (i.e.
lacking moral integrity).

Protagonists are often thought of as the “point-of-view” character,

because readers follow them and their exploits throughout the story.
However, writers don’t always tell their stories through the
protagonist’s eyes—they can also tell stories through a third-person
point of view, or through the eyes of a supporting character.
Types of Protagonists
There are three main types of protagonists. The different types can
refer to either one person or to a group of characters fulfilling the
protagonist role:
1. A hero:

A heroic protagonist is the traditional “good guy” of the story.

They try to embody strong morals and make the right decision for
themselves and for the other characters. Well-known heroic
protagonists from literature include Beowulf, Harry Potter, and Luke
Skywalker.
2. An antihero:
Some protagonists subvert the traditional “hero” trope.
These are called antiheroes, and they can either be unlikely or
unwilling heroes, or in some cases villains. Even when antiheroes are
villains, they’re protagonists—rather than antagonists—when
they’re in stories where the author treats them as the main
character, rather than the main conflict working against the main
character.
Why do readers like anti-heroes?

To understand why readers, love anti-heroes, we first need to define

what they are. An anti-hero is a flawed, complicated character
who thrives in shades of gray. They play the hero of the story, but
rarely, if ever, follow conventional expectations of heroism.

Anti-heroes aren’t new. One of the first to emerge was the deeply
flawed Huckleberry Finn. Marvel’s Wolverine and Hulk also are
deeply flawed anti-heroes. Then came vigilante anti-heroes like
Dexter Morgan, who lives by a code. Even though he’s a serial killer,
he only murders other killers who’ve escaped justice.

Modern media has grown tired of idealized heroes. Pop culture fell
in love with characters who have less-than-heroic traits since they
are more relatable. We can’t see ourselves in a hero who stands on
a pedestal of perfection. Beloved characters like Jack Sparrow
constantly challenge the line between good and bad. Which
makes him more relatable than, say, Superman.
Thus, our adoration of the anti-hero is rooted in self-identification
with their characteristics and backstories. When characters reflect
versions of ourselves, we connect on a deeper level. Our love for
these characters

stems from empathy. Empathizing with a character immerses us in

the fictional world.
Anti-heroes are cool and complex characters that millions of
readers adore. Their morality, or lack thereof, makes readers
gravitate toward them. It is in our human nature to empathize with
people, and what makes anti-heroes so easy to understand is
because they are relatable, and typically well-rounded, dynamic
characters.

When characters are richly detailed psychologically, we connect

to them. If a character is complex enough, it challenges readers’
capacity for understanding others’ beliefs and desires—known as
theory of mind—and that challenge can be a pleasant one for fans
who like to think deeply about the books they read. Characters
who aren’t so black and white, but morally gray, fuel our fascination.
Also, perhaps a small part of us wish we could do what they do. Plus,
they’re fun characters with snarky, witty dialogue.
Anti-heroes act on impulses we all have but cannot act on, which
allows readers to explore what that might feel like. We all have
“shadow sides” that contain forbidden impulses, and we need to
confront and understand those shadow sides to be our healthiest,
most complete selves. Carrying out socially unacceptable things in
real life would bring negative consequences and damage our self-
concepts but reading safely from the sidelines as our beloved anti-
heroes “walk the walk” is immensely satisfying.

Dark characters do what they want, unconstrained by social norms.

These complex and nuanced characters fascinate and provide a
safe way to get in touch with our own forbidden impulses. In short,
we love anti-heroes because they reflect the duality of man. Both
good and bad traits combine to create a relatable, more human
character.
Three types of anti-heroes
Self-interested:

These anti-heroes tend to have a biting wit, sharp tongue, and a

complete disregard for polite society. Their biggest concern is
protecting their own interests, even at the expense of others.
Fortunately, they aren’t actively trying to harm anyone, and they
all have a moral line they won’t cross. If getting what they want
betrays their values, they’ll find another way.
Unwilling anti-hero:
These characters are forced to engage with their story’s conflict by
the Inciting Incident or First Plot Point, much like the typical hero.
However, what makes them an anti-hero is that they spend most of
their journey trying to turn back the clock to get out of their new
obligations and return to their old life.
By the time they’ve completed the quest, they’ll embrace their new
situation and learn to fight for what’s right—even if they continue to
complain about it.
Vigilante anti-hero:
Some, like Jack Reacher, align with the classic “lone wolf. Others
have families and deep personal connections. The vigilante anti-
hero rejects authority, doesn’t trust society’s version of justice, and
has their own nonconventional sense of morality. When they see
evil in their world, they set out to correct it, even if it involves
violence, deception, and murder.

Famous antihero protagonists include Captain Ahab from Herman

Melville’s Moby Dick, Severus Snape from J.K. Rowling’s Harry Potter
series.
3. A false protagonist:

Sometimes, a writer sets stories up with one character as the

protagonist only to switch focus at one point in the story, often by
killing the false protagonist. This is done in order to jar or disorient the
reader. Examples of false protagonists include Llewellyn in Cormac
McCarthy’s No Country for Old Men and Marion in Robert Bloch’s
Psycho.

What Is an Antagonist?
In storytelling, the antagonist is the opposer or combatant working
against the protagonist’s or leading characters’ goal
(“antagonizing”) and creating the main conflict. The antagonist
can be one character or a group of characters. In traditional
narratives, the antagonist is synonymous with “the bad guy.”
Examples of antagonists include Darth Vader from the original Star
Wars trilogy, and Lord Voldemort from J.K. Rowling’s Harry Potter
series.
Types of Antagonists
There are four main types of antagonists.
1. A villain:

The traditional definition of antagonist is a villain—a “bad guy”

in the story, often working for evil purposes to destroy a heroic
protagonist. While there can be villainous protagonists, villains are
antagonists when they’re not the main character of the story, but
instead the main source of conflict for the main characters.
Examples of villain protagonists include Darth Vader and Captain
Hook.
2. A conflict-creator:
An antagonist doesn’t have to be a “bad guy.” Sometimes,
they’re just a character whose goals are in direct conflict with the
protagonists, like Mr. Darcy in Jane Austen’s Pride and Prejudice or
Javert working to arrest Valjean in Victor Hugo’s Les Misérables.
3. Inanimate forces:

An antagonist doesn’t have to be human—the main antagonist

can sometimes be a force, like nature. A good example of this is
the sea in Robinson Crusoe.
4. The protagonists themselves:
The main source of conflict in a story can be from within the
protagonist themselves—their shortcomings or insecurities are
keeping them from reaching their goal. A prime example of this is
Holden Caulfield in J.D. Salinger’s The Catcher in the Rye. While
Holden comes into conflict with many characters in the novel, the
ever-present antagonizing conflict comes from his own obsessions
and insecurities.
What Is the Difference Between a Protagonist and an
Antagonist?
Protagonists and antagonists are both essential characters in a
story, but they propel the plot in different and usually opposite
ways:
The protagonist works toward the central story goals, while the
antagonist works against the goals.
The words “protagonist” and “antagonist” are antonyms. In
storytelling terms, this means that protagonists and antagonists are
opposing forces in a story.
Narration
Fundamentals of Narrative Structure:
Narrative structure is the backbone of a story, providing a
framework for the plot and shaping the way a story unfolds. This
structure typically follows a three-act format, which divides a film
into a beginning, a middle, and an end.

Human beings have always liked the number three. It’s the number
from which our brains begin to recognize patterns, and so over the
centuries that number has gained a lot of sacred significance in
cultures all over the world. We see it in Christian mythology’s holy
trinity, in the triquetra and three sacred trees of the Celts, in three
wishes, in three crossroads, in the three witches of Macbeth, and in
the three stages of life. “Three” feels complete. This is why the three-
act structure has remained such a powerful part of our storytelling
consciousness for so long.
Act One: Introduction and Setup

Despite being a third of the plot’s structural blueprint, the first act
only takes up about a quarter of the plot. However, it packs in
quite a lot of important information for such a small section.
The first act does three very important things from which our story
can emerge: firstly, it introduces us to the world of our characters.
In fantastical settings this includes our worldbuilding—our
understanding of the world’s mechanics, politics, systems,
beauties, and struggles. Much the same can be said of historical
fiction; the first act helps the reader understand the story’s time
and place, along with the strengths and limitations that come with
that time and place.

Even in contemporary settings we’ll see the world of our

protagonist, where they spend their time, who they spend it with,
and their relationship to the world around them. This is called
exposition, and without it as the foundation of our plot our story
can’t exist.
The first act establishes the film’s setting, characters, and tone.
Here, the audience gets acquainted with the protagonist and
their world. This act also introduces the central conflict, which
drives the plot forward, and sets up the main goal for the
protagonist to pursue.
Act Two: Rising Action and Complications

In the second act, the protagonist faces various challenges

and obstacles that emerge from the central conflict. This lends
depth to the narrative, as characters make decisions and react to
changing circumstances. The tension between the protagonist and
the antagonist escalates, engaging the audience and pushing the
plot steadily toward the climax.
The second act is our major player; it takes up about half of the plot,
or the second and third quarters. Once your main character has
been thrown into a new set of circumstances by the first act, the
second act will raise higher stakes and throw more obstacles in the
protagonist’s way. This is where most of your story’s major events will
occur.

In a way, the second act almost functions like an entire story arc
unto itself. The protagonist spends the first half of the second act
reacting to their altered world and being forced to make new
choices that will power the direction of the rest of the plot. Around
the middle of the second act (the middle of our plot) we reach the
midpoint—a false climax that forces our characters into a new kind
of action. In The Wizard of Oz, for instance, the midpoint comes
when the central characters finally reach their ultimate goal of
seeing the Wizard to ask for his help—only to find that the Wizard is
not at all what they expected, and they now have a whole new
journey ahead of them.
After the midpoint of your plot, into the second half of the second
act, your characters will begin to shift from simply reacting as best
they can to what they have been given to taking action against it.
The choices they make in this third quarter of your plot will bind them
to their fates for good, even if they don’t know it yet. Things start to
happen much quicker as the characters gain the strength to fight
for everything they stand on the precipice of losing.
Act Three: Climax and Resolution

The climax of the film is the turning point of the story, where the
protagonist confronts their main challenge or antagonist. This can
be a physical, emotional, or mental confrontation, marked by a
resolution of the central conflict. The third act also wraps up any
loose ends and shows the consequences of the protagonist’s
actions.

Contrary to the first act, which starts off gentle and slow-burns its
way towards the second one, the third act erupts with a roar. In this
final quarter of the plot, all the writer’s carefully arranged pieces
are falling into place. The point of no return for your characters has
come and gone like an exit in a rear-view mirror, and now there’s
nowhere to go but forward full force towards the plot’s climax.

Where the first and second acts have been a series of choices that
your protagonist has made, the third act focuses on the protagonist
owning the consequences of these choices and fully committing to
seeing them through. This takes us to the climax of the plot—the
final piece that will have readers clinging to the edges of their seats,
the moment that answers the dramatic question once and for all.

Within the three-act structure, additional components help to

shape a film’s narrative. These include:
Exposition:
Presenting the background information necessary for the
audience to understand the story. The exposition’s role is to
immerse your readers in the world of your story. This means
establishing your main characters and setting and giving them a
clear idea of what your protagonist’s “normal” world looks like.
How they spend their days, the struggles that they face, the things
they take for granted. What they have to lose.
This section shouldn’t take up a huge amount of real estate in your
plot, but it’s essential in snagging your reader’s interest. Exposition
is the foundation on which the rest of your plot, themes, and
character arcs are built.
Inciting incident:

The event that sparks the protagonist’s journey or pursuit of

their goal.
This is the moment where an external force careens into the
protagonist’s everyday life (which we introduced in our
exposition). In the Harry Potter series, this is the arrival of an
innocent-seeming letter written in vibrant green ink. In Pride and
Prejudice, the plot kicks off when an eligible new bachelor moves
into the neighborhood. The inciting incident is the nudge that gets
the plot rolling towards a storm your characters will never see
coming.
After the inciting incident the events of the plot begin to gain
momentum as the characters react to the new circumstances
they’ve been thrust into. Sometimes called “progressive
complications,” this portion of the plot is about building up the
stakes for your characters within the story’s conflict. Its role is to
force the protagonist to make increasingly difficult choices in
order to achieve what they want—and what they want might
very well change over the course of the plot.

Throughout these progressive complications your character

becomes more and more invested in the events of the plot and
begins making active choices rather than reactive ones. It’s these
choices that lead us to the plot’s climax.
Crisis:
 The moment when the protagonist encounters their
greatest challenge or obstacle.
Denouement:
The final outcome or resolution of the story, showing the
changed world after the conflict is resolved.

Ultimately, a well-crafted film narrative structure ensures that a

story is engaging, cohesive, and satisfying for the audience. By
carefully weaving plot elements and character development,
filmmakers can create poignant and memorable cinematic
experiences.

The denouement is the resolution, or closing, of the plot. It’s the

final scene, moment, or idea the readers see before they finally
close the book. In Shakespearean work, this is often when the last
character standing faces the audience and shares with them one
final pearl of wisdom. This is a small moment, but it should leave
the reader feeling that the plot has been tied off effectively.
Theme
The theme of a story is the underlying message or concept
that the author conveys to the reader. It is the main idea, message,
or moral that a story conveys to its readers
A theme in a story is the is the deeper message or central idea. It
comments on human experience, and more often a story relates to
real life situations. All stories have at least one theme.

A theme gives the general view of the story. It gives the reader
insight into how the story characters live to pursue something good,
the results of conflicts and how all these choices come to pass in
their lives. In a story, there can be major and minor themes.

• A major theme is an idea the writer keeps on repeating in his

work, portraying it as the most significant idea.
• The minor theme is the idea that appears briefly in the story.

Importance of a Theme in a Story:

Getting to know the theme of a story is very important. This is
because a theme gives a story life. The theme can be called the
backbone and the essence of the story. The theme is usually
connected to the main character’s internal journey. If the reader
fails to get the plot of the story, they lose interest. Thus, it is very
important to know the theme of a story. The importance of theme
in a story includes:

A theme gives a story meaning and hence creates an emotional

impact. A theme creates a difference between a great story that
readers can relate to and a mediocre one. The theme adds an in-
depth and creates a connection to the story. It is necessary for an
author to have a good and clear understanding of the theme as
this is the key to crafting great and awesome stories that readers
will love. A theme helps readers to understand the story. Reading
makes the reader understand several aspects of life. All humans,
whether old or
young seek the meaning of life. If your story has a light theme or
other theme doesn’t resonate, it tends to leave your readers
unsatisfied.

Theme creates a focused story. Theme acts as a guide to a story. It

guides the story line, hence prevents the writer from veering off the
main idea and hence helps the story not to lose its focus.
Plot
What is the plot in a story?
In writing, plot is the sequence of events that guides a narrative
such as a novel, short story, play, or film. Every time a character
makes a choice or reacts to the consequences of a choice, the
plot of the story moves forward. This pattern of cause and effect
hurtles the protagonist and everyone around them towards the
climax.

There are a few different ways to map out your plot, but in the end
most stories follow a pattern of action and reaction. The protagonist
takes a step forward, makes a choice, creates something, or puts
some new energy into being—this is the action. Then, the reaction:
the protagonist’s action triggers an effect that they didn’t expect,
or an effect they did expect but that has unintended
consequences. In response, the main character takes another
action. And the plot pushes back, again and again and again.

How these actions and reactions progress will naturally fall into the
rhythmic patterns of storytelling that we call story structure.

What’s the difference between plot and story?

Plot and story are two literary elements that are inextricably
entwined, but are they the same thing? Not quite.

The most important difference is that the story establishes a

framework of events that supports a larger theme, while the plot
explores the cause-and-effect relationship of how these events
inform one another. To put it another way—story is about the who,
where, and when while plot is about the how and why.
For example, the fable “The Tortoise and the Hare” is a powerful
story with a strong plot. The story is: “The tortoise and the hare
agree to race. Because of the hare’s arrogance, the tortoise wins
and learns a valuable lesson about tenacity and commitment.”
The plot is: “The hare challenges the tortoise to a race. The hare runs
so fast and is so certain of his victory that he takes a nap before he
reaches the finish line. When he wakes, he discovers the slow
tortoise has finished the race before him.”

The story gives us a picture of the work as a whole including its

character development and theme, while the plot shows us how
the story comes to be. You need both in order to create a coherent
narrative work that resonances with your readers.

Elements of a plot
For any plot to work—whether it’s a short story, novel, screenplay,
or any other narrative form—it needs a basic plot foundation. You
can think of these essential elements as the “Three Cs” of plot
structure: character, causation, and conflict.
Character:
Character is the backbone of any good narrative. The most
important element of plot structure, a character’s choices are what
drive the story forward and encourage readers to empathize with
their journey (we’ll talk a bit more about the “Hero’s Journey” story
archetype below).
For a reader to care about what your story is trying to say, you need
engaging main characters.
Causation:

Causation is the pattern of factors that influence the events of the

plot. This begins with the inciting incident—an external factor that
instigates a change in the lives of your characters—and continues
with every choice your characters make.
Every turning point in your plot is directly caused by the events that
have come before it.
Conflict:
Conflict is what drives your characters to make the choices that
they make. One character wants something, and another
character wants something, and the plot happens because those
desires can’t exist at the same time. Each character takes steps to
pursue their goals, and in doing so, unleashes an unexpected
maelstrom of story.

Sometimes the conflicting goal might come from something like an

impersonal organization, or even a force of nature.
Conclusion
This presentation has shown how storytelling can enhance
communication, connection, and persuasion. Storytelling is not only
a skill, but an art that can be learned and improved with practice
and creativity. Storytelling has also evolved over time, from visual
stories to oral traditions to written narratives to multimedia formats,
reflecting the changes in culture and technology. As the renowned
storyteller Stephen King said, “Stories are a uniquely portable
magic.” Therefore, the speaker invites the audience to unleash their
magic and share their stories with the world.
Thank you
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https://youtu.be/Nj-hdQMa3uA?si=B9FP50ASOu7aA7n5