[ Index ]
A
actors, 166–168, 174–176. See also characters
acts
Aristotle’s three-act structure, 24–25, 26–27, 128–134
Daniel’s Sequence Paradigm, 132–135
Field’s Paradigm, 132, 141–143, 143–144
Freytag’s Pyramid, 27–29
Lavandier’s three-act structure, 131–132
Towne’s Plot Points, 145–146
adopted or expanded universe, 63–64
Aesop’s Fables, 4
AI (artificial intelligence), 47, 70–71, 167, 179–181
Alexa, 73
alternative journey subplots, 272–273
Amazon Echo, 85
AR (augmented reality), 47, 53–55, 76–78
architect analogy, 21
arcs, for characters, 188, 205–207
Aristotle
Seven Golden Rules, 23–24, 159
three-act structure, 26–27, 26–28, 128–134
arousal, role on emotion, 106
artificial intelligence (AI), 47, 70–71, 167, 179–181
Ashwell, Sam Kabo: patterns in CYOA, 304–310
audience. See also users
as protagonist, 53–55
as storytellers, 50–53
augmented reality (AR), 47, 53–55, 76–78
B
Back to the Future movie, 64
BBC Olympics project, 295–296
behavioral level of emotions, 101
Black Mirror: Bandersnatch film, 13
The Blair Witch Project movie, 116
Booker, Christopher: Seven Basic Plots
about, 254
Comedy, 257
Overcoming the Monster, 254
The Quest, 256
Rags to Riches, 256
Rebirth, 258
Tragedy, 257
Voyage and Return, 255
Boy Meets Girl story, 250
Branch and Bottleneck pattern, 306–312
branched journey subplots, 275–276
branching narratives, 312, 319–322
brand
emotions associated with, 90, 93–95
stories used for, , 6
buy-in, stories used for, 18, 357–362
C
call to action (CTA), 16–17, 338, 349–350, 356–357
Campbell, Joseph: The Hero’s Journey, 247–249
central thread
in CYOA structures, 313
in stories. See see red thread; theme
change arc, 188
characters. See also users
about, 23–24
AI as, 179–181
in animations, 195–197
bots and VUIs as, 177–179
brand as, 176–177
changes in (arcs), 188, 205–207
definition of, 199
devices as, 181–183
dynamic versus static, 187
goal or objective of, 187
growth of, 188
hierarchy of roles and importance, 200–202
identifying, 166–175
importance of, 186–188
list of, 166–168
questionnaires for, 202–207
role in product design, 161–166
round versus flat, 188
as scene layer, 335
system/actors as, 174–176
touch points and drivers as, 183–185
in TV and film, 191–193
in video games, 197–199
choose-your-own-adventure (CYOA). See CYOA (choose-your-own-adventure)
chorus (song), 23–24
Cinderella story, 254
circular nature of product experience, 29–32
Comedy plot, 257
complicating subplots, 271
conflict, as scene layer, 335, 336
consumers. See audience; users
content. See also product experience story
below the fold, 331–333
flow across screens of, 346–349
mental models for, 292–293
methods for developing, 288–289
outline and drafts for, 287–288
prioritizing across devices, 345–346
real or fake, 281–282
context and setting
about, 329
context-aware computing for, 217–219
contextual products for, 216–217
in product design, 219–223
context-aware computing, 217–219
context or setting
as scene layer, 336
contextual products, 216–217
contrasting subplots, 271
conversational interfaces, 71–72. See also bots; VUI
Cortana, 73
Creation Story, 252
CTA (call to action), 16–17, 338, 349–350, 356–357
customer journey maps, 241–242
customers. See audience; users
CYOA (choose-your-own-adventure)
about, 296–297
Branch and Bottleneck pattern, 306–312
as branched journeys, 275
Floating Modules pattern, 309
Gauntlet pattern, 304–312
Loop and Grow pattern, 310
modules in. See modular stories
Open Map pattern, 308–312
Quest pattern, 307–312
Sorting Hat pattern, 309–312
structure patterns in, 304–310
Time Cave pattern, 304–312
using in product design, 298–299, 311–324
D
Daniels, Frank: sequence paradigm, 132–135
data-driven storytelling
about, 57–59
interpreting data, 364–365
KPIs, 367
types of data, 365–366
visualizing data, 367–368
daydreams as stories, 11
decor, 23–24
design. See product design; UX design
details, importance of, 35–37
devices. See also technologies
content flow across screens for, 346–349
IoT (Internet of Things), 74–76
multidevice design, 45–47, 68–69
prioritizing content across, 345–346
dialogue, as scene layer, 336
diction (speech), 23–24
Disney
magical wristband by, 68
Smart Home movie, 74
storyboards, 231–232
storytelling lessons from, 35–37
dominance, role on emotion, 106
dramatic action, as scene layer, 335
dramatic question, 33–34, 34–36
dramaturgy. See also shapes of stories
about, 25–26
acts in, 140
Aristotle’s three-act structure, 24–25, 26–27, 128–134
Daniel’s Sequence Paradigm, 132–135
Field’s Paradigm, 132, 141–143, 143–144
Freytag’s Pyramid, 27–29
Lavandier’s three-act structure, 131–132
plot points in. See plot points
role in product design, 29–33, 128–131, 143–144, 146–148
role in product experience, 150–154
role in stories, 25–29, 127–128
scenes in, 140
sequences in, 132–135, 134–135, 136–139, 140
shots in, 140
Towne’s Plot Points, 145–146
dreams as stories, 10
dynamic characters, 187
dynamic of story. See theme
E
emotional arcs, 259
emotional journey, 260–264
emotions
categorizing, 108–113
characters’ role in, 163–164
effect on brand perception, 93–95
effect on decision making, 89–92
effect on taking action, 93–94
empathy, characters creating, 163–164
focus on outcomes evoking, 118–120
focus on user evoking, 120–121
happy moments, 109–110
importance to character development, 160
levels of, 100–101
levels of needs affecting, 95–99
motivations for sharing, 104–107
neutral moments, 110–111
personality evoking, 117–118
in product design, 85–86, 88–95
reflective moments, 111–113
as scene layer, 336
in stories, 87–88
types of, 101–104
unhappy moments, 108–109
“what if” question evoking, 121–123
ending, as scene layer, 336
environment. See context and setting; dramaturgy; product experience
examples
animation characters, 195–197
Disney’s storytelling, 35–37
Pixar’s storytelling, 37–39
from public speaking, 42–44
Star Wars, 134–135
TV and film characters, 191–193
video game characters, 197–199
video games, 40–41
expanded or adopted universe, 63–64
experience goals
about, 245–246
mapping emotional journey using, 260–263
experience maps
about, 229–231
storyboards in, 242–243
F
Field, Syd: Paradigm structure, 132, 141–143, 143–144
five-act structure
by Freytag, 27–29
circular application of, 29–32
flat characters, 188
floating modules, 316–317
Floating Modules pattern, 309
fold
content above the, 325–326, 330
content below the, 331–333
free-flowing content, 66–68
Freud, Sigmund: pleasure principle, 89
Freytag, Gustav: Pyramid structure, 27–29
Friedman, Jane: layers in a scene, 335
From Bad to Worse story, 251
G
Gauntlet pattern, 304–312
Google searches, 81
Grand Budapest Hotel, The (movie), 216
growth arc, 188
H
happy and unhappy journey, 263–264
happy moments, 109–110
The Hero’s Journey, 247–249
history of stories
mediums of, 6–9
role of, 4–6
House of Cards TV show, 57
I
imagination
role in story, 1
immediacy, 79–80
immersive storytelling, 13–14, 40–41, 55
Index card method, 151–154
information architecture, 21
inspiration, stories for, 362–364
Instagram IGTV, 51
Instagram Stories, 59
interactive storytelling, 53, 56–57. See also CYOA books
interfaces. See devices; platforms; technologies
IoT (Internet of Things), 47, 74–76, 182. See also devices
J
Jaws movie, 116
Jobs, Steve, 100, 363–364, 237
journeys
alternative journey subplots, 272–273
branched journey subplots, 275–276
customer journey maps, 241–242
emotional journey maps, 260–264
happy and unhappy journey maps, 263–264
The Hero’s Journey, 247–249
unhappy journey subplots, 274–275
user journeys, 267–271
K
King, Martin Luther, 43, 363–364
KPI (Key Performance Indicator), 367
L
Lavandier, Yves: modified three-act structure, 131–132
link to next scene, 336
Loop and Grow pattern, 310
Lord of the Rings trilogy, 268
Lorem Ipsum, 282
Luke, Ali: elements of a scene, 336
M
Man in Hole story, 250
maps
customer journey maps, 241–242
emotional journey maps, 260–264
experience maps, 229–231, 242–243
happy and unhappy journey maps, 263–264
storymaps, 278–280
Marlboro Man, 6
Maslow, Abraham: pyramid of needs, 95, 99
Mass Effect game, 63
The Matrix movie, 233
mediums of storytelling
historical, 6–9
technologies affecting, 47–64. See also technologies
mental models, 292–293
metamotivation, 99
mini-stories. See sequences
Minority Report movie, 66, 218
mirroring subplots, 271
modular stories
in BBC Olympics project, 295–296
Branch and Bottleneck pattern, 306–312
branching narratives in, 312, 319–322
central thread in, 313
CYOA books as, 296–297
developing, 302–304
floating modules in, 316–317
Floating Modules pattern, 309
Gauntlet pattern, 305–312
interconnectedness in, 314–315
Loop and Grow pattern, 310
Open Map pattern, 308–312
Quest pattern, 307–312
Sorting Hat pattern, 309–312
state tracking in, 315–316
story nodes in, 313–314
structure patterns in, 304–310
Time Cave pattern, 304–312
moral values, in stories, 4–5
Mosaic app and TV series, 56
multidevice design, 68–69
music. See song (chorus)
N
needs
levels of, 95–99
meeting, in a scene, 341–343
understanding, 164
neutral moments, 110–111
New Testament story, 253
The Night Cafe: A VR Tribute to Van Gogh, 54
O
Old Testament story, 253
omnichannel experiences, 78–79
on-demand experiences, 48–50
Open Map pattern, 308–312
oral storytelling
historical, 7
in presentations, 374–380
outcomes, focusing on, 118–120
Overcoming the Monster plot, 254
P
participative storytelling, 53, 56–57. See also CYOA books
PechaKucha nights, 5
personality, 117–118
personal storytelling, 10–12
persuasion, stories used for, 15–17, 18, 357–362
Pixar
personification of emotions, 87
setting and context, 226
storytelling lessons from, 37–39
platforms. See also technologies
real world as, 77
transmedia storytelling across, 60–62
users creating content on, 50–53, 59–60
plot
about, 23–24
main and subplots, in product design, 269–271
main and subplots, in stories, 268–269
main and subplots, visualizing, 278–280
subplots, building, 276–278
subplots, types of, 271–276
plot points
Index card method for, 151–154
in product design, 143–151
in product experience, 150–154
Two-Page Synopsis Method for, 150
Plutchik, Robert: Wheel of Emotions, 101–104
presentations
buy-in as goal of, 357–362
data in, story behind, 364–368
inspiration as goal of, 362–364
outcome as goal of, 356–357
similarities to storytelling, 355
story for, defining, 371–380
verbal aspect of, 374–380
visual aspect of, 376–380
“who” and “why” for, identifying, 369–371
primary emotions, 102
product design. See also UX (user experience) design
character development for. See characters
content in. See content
customer journey maps for, 241–242
details, importance of, 36–37
device considerations. See devices
dramatic question in, 34
dramaturgy in, 29–33, 128–131, 143–144, 146–148. See also dramaturgy
emotional aspect of. See emotions
emotional journey maps for, 260–264
examples and lessons for. See examples
experience maps for, 229–231, 242–243
happy and unhappy journey maps, 263–264
plots and subplots in. See plot
presenting. See presentations
role of stories in, 17–19. See also stories
scenes in. See scenes
setting and context in. See setting and context
storyboards for. See storyboards
storymaps for, 278–280
technologies supported. See technologies
theme in. See theme
user considerations. See users
user journeys for, 267–271
product experience
categorizing emotions in, 108–113. See also emotions
circular nature of, 29–32
dramaturgy in, 150–154. See also dramaturgy
shape of, 259–266
product experience story
developing, 288–289
main and subplots for, 270
mental models for, 292–293
methods for developing, 288–289
modules for. See modular stories
real or fake content in, 281–282
product life cycle, 136–139, 148–149
protagonist’s goal, as scene layer, 336
prototypes, 334–336
public speaking, storytelling in, 42–44. See also oral storytelling; presentations
Q
Quest pattern, 307–312
The Quest plot, 256
R
Rags to Riches plot, 256
Rail Europe Experience Map, 229–230
Ready Player One movie, 76
Rebirth plot, 258
Reddit, 105
red thread. See also theme
in product design, 286–287
reflective level of emotions, 101
reflective moments, 111–113
robots, 182
rock art, 7
round characters, 188
S
scenes
content flow across screens for, 346–349
CTAs for, 349–350
elements of, 335–339
as pages or views, 330–331, 333, 338–351
prioritizing content for, 345–346
in product design, 141, 328–335
purpose of, 339–341
user needs met by, 341–343
user time spent on, 343–345
wireframes and prototypes for, 334–336, 339, 340
search and information access, 81–82
secondary emotions, 103
sequences
Daniel’s Sequence Paradigm, 132–135
Index card method for, 151–154
in product design, 141
Star Wars using, 134–135
Two-Page Synopsis Method for, 150
in UX design, 136–139
setting and context
about, 329
context-aware computing for, 217–219
contextual products for, 216–217
in product design, 219–223
as scene layer, 335
shapes of experiences
about, 259
defining, 259–264
visualizing, 265–266
shapes of stories
about, 246–247
Booker’s seven basic plots, 254–258
Campbell’s The Hero’s Journey, 247–249
Vonnegut’s shapes of stories, 249–254
Sherlock Holmes, 64
Skam TV show, 61
smart home, 74–76. See also devices; IoT (Internet of Things)
Smart Home movie, 74
smartphones, 45–47, 69, 79, 100, 182
song (chorus), 23–24
Sorting Hat pattern, 309–312
sound. See song (chorus)
spectacle, 23–24
speech. See diction
speeches, storytelling in, 42–44. See also oral storytelling; presentations
Star Wars movie, 134–135
state tracking, 315–316
static characters, 187
stories
Aristotle’s Seven Golden Rules for, 23–24, 159
Aristotle’s three-act structure for, 24–25, 26–27, 128–134
characters in, 159–161. See also characters
Daniel’s Sequence Paradigm, 132–135
data-driven. See data-driven storytelling
dramatic question in, 27, 33–34
dramaturgy in, 25–29, 127–128. See also dramaturgy
elements of, 1–3
emotional aspect of, 87–88, 115–124. See also emotions
expanded or adopted universe, 63–64
Field’s Paradigm, 132, 141–143, 143–144
formats for, 59–60
Freytag’s Pyramid for, 27–29
The Hero’s Journey, 247–249
historical role of, 4–6
Lavandier’s three-act structure, 131–132
mediums of, current, 13–14, 45–64
mediums of, historical, 6–9
modular. See modular stories
moral values in, 4–5
participative and interactive, 53, 56–57
personal storytelling, 10–12
persuasion using, 15–17, 18, 357–362
plots and subplots in. See plot
for presentations. See presentations
role in product design, 17–19. See also product design
role in UX design, 2–3, 21–23. See also UX (user experience) design
setting and context in, 212–213, 224–225
shape of. See shapes of stories
Towne’s Plot Points, 145–146
transmedia, 60–62
used by Disney, 35–37
used by Pixar, 37–39
used in branding, , 6
used in public speaking, 42–44
used in video games, 40–41
writing, 287–289
storyboards
creating, 238–239
in customer journey maps, 241–242
in experience maps, 242–243
for film and TV, 231–234
problems and solutions from, 235–237
for product design, 234–235, 240–243
storymaps, 278–280
story nodes, 313–314
storytelling profession, 5
structure of story. See dramaturgy; shape of story
subplots
defining and building out, 276–278
in product design, 269–271
in stories, 268–269
types of, 271–276
visualizing, 278–280
surprise, role in story, 2
T
talks. See public speaking
technologies. See also devices; platforms
adopted or expanded universe, 63–64
AI and machine learning, 47, 70–71, 167, 179–181
CYOA books. See CYOA books
data-driven storytelling, 57–59
expanded or adopted universe, 63–64
IoT and smart home, 47, 74–76, 182
omnichannel experiences, 78–79
on-demand experiences, 48–50
participative and interactive storytelling, 53, 56–57
transmedia storytelling, 60–62
ubiquitous experiences, 66–68, 167
thematic significance, as scene layer, 336
theme
about, 23–24
in product design, 286–287
in product experience story, 290–292
in UX design, 3
thread. See red thread; theme
three-act structure
circular application of, 29–32
time and setting, as scene layer, 335
Time Cave pattern, 304–312
touch points and drivers, 167, 183–185
Towne, Robert: plot points, 145–146
Tragedy plot, 257
transmedia storytelling, 60–62
Twitch, 51
Two-Page Synopsis Method, 150
2001: A Space Odyssey, 70
Typeform tool, 112
U
ubiquitous experiences, 66–68
unhappy journey subplots, 274–275
unhappy moments, 108–109
user journeys
about, 267–268
alternative journey subplots, 272–273
branched journey subplots, 275–276
main and subplots, role of, 268–271
main and subplots, visualizing, 278–280
subplots, building, 276–278
unhappy journey subplots, 274–275
users. See also characters
emotional considerations for. See emotions
expectations of, 164
message focused on, 120–121
outcomes for, focused on, 118–120
as protagonist, 53–55
as storytellers, 50–53
user stories, 245–246
UX (user experience) design. See also product design; product experience
architect analogy for, 21
sequences in, 136–139
similarities to stories, 2–3, 21–23
V
valence, role on emotion, 106
verbal aspect of story. See oral storytelling; presentations
virtual reality (VR), 47, 53–55, 76–78
visceral level of emotions, 100
visual aspect of presentation, 376–380
visualization
of data, 367–368
of experiences, 265–266
of main and subplots, 278–280
personal practice of, 11
voice user interface (VUI), 47, 73–74, 167, 177–179
Vonnegut, Kurt: shapes of stories
about, 249
Boy Meets Girl story, 250
Cinderella story, 254
Creation Story, 252
From Bad to Worse story, 251
Man in Hole story, 250
New Testament story, 253
Old Testament story, 253
Which Way Is Up story, 252
Voyage and Return plot, 255
VR (virtual reality), 47, 53–55, 76–78
VUI (voice user interface), 47, 73–74, 167, 177–179
W
Walking Dead video game, 63
Walter, Aaron: pyramid of user needs, 95–99
WAP (Wireless Application Protocol) browser, 45
“what if” question, 121–123
Which Way Is Up story, 252
“who” and “why” of story, 369–371
wireframes, 334–336
Wireless Application Protocol (WAP) browser, 45
worlds, creating. See context and setting; dramaturgy; product experience; video games