Storytelling is not simply narrative. It is an opportunity to communicate values in a way that is resonant and memorable, allowing the people taking it in to position themselves in the story, see its relevance to their current situation, and then play forward a narrative about their own role in the story of now. It’s a way of uncovering the complexities of a person’s world and designing within that context.
How does this happen? It happens through stories in which a human protagonist is presented with an unknown and has to make a choice. At this moment of choice, the listener feels the tension of what might go right and wrong, projects herself into that situation and, in so doing, experiences the values with which the protagonist wrestles.
So how does it relate to development and design? Story art and craft is one of the best and oldest ways to engage an audience. We approach every project, regardless of its size or scope, from this perspective. Not just story-first, but structure first. Just like screenwriters do or authors do. There are, of course, countless books on story art and craft, typically for writers, filmmakers, game designers and artists, but they’re rarely, if ever, written for the people who build websites, software, tools, services, etc. that are not necessarily art or entertainment.
Designers, product managers, developers, content strategists, they can all benefit from taking on a storytelling approach in the process of creation. Take for example the use of experience maps. The maps try to represent an actual example of how a person (or persona) went through and did something they wanted to do. The maps are generally chronological, moving forward through the hours of the persona’s actions one stage at a time. The phrase “experience map” came about because we tend to want to create tools most relevant to the job we’re assigned, but in practice we need to be agnostic of whether the persona is using digital tools or not, or a combination to tools. The map represents the journey a person takes from the idea of accomplishing something to having accomplished that thing in the end. We want to see how it all hangs together from the persona’s perspective.
There can be as many experience/journey maps for a particular persona as there are deviations in the way they do that thing. For example, if a persona was taking a commercial flight, there might be different maps for a business-related flight than a leisure-oriented flight. There might be different maps based on whether it’s a last-minute or urgent flight. There might be different maps for long versus short flights, flights where the persona has to get work done before landing, flights where the persona is scared of flying, etc. The relevance is that the mental model represents a set of states of mind (mental spaces) that a person might pop into and out of during this journey toward accomplishing a goal. The states of mind might proceed in a nice linear fashion. Or they might represent a more cyclical approach, where the person revisits a previous state of mind again to re-evaluate something, to continue something, or to address something new that has come up. And therein lies the power of storytelling. We are designing with the notion that the goal and the steps to achieving it are front and center. Taking this approach not only allows for better design, it ensures that the things we construct are tied into the broader ecosystem in which people operate.