them. These words don’t arrive in a vacuum; they can be based on real beliefs, founder visions, and organizational philosophy. But the words alone fall short for several reasons:

• Often this language is aspi-rational, describing what the organization wants to be rather than who they currently are.

• From company to company, the language all sounds alike (for example, most advertising agencies say they value creativity). So the language does not help differentiate the organization or brand from any other.

• This language doesn’t seem to help the people internally make decisions, respond, and act.

• Last, the customer knows the difference between talk and action. Consumers in the information age are more knowledgeable and savvy, and they have access to more information than ever before. The wall between consumers and the brand has become much more transparent. Consumers do not experience the intention of the brand no matter how honorable; they experience what the brand does. So if a company says they are caring but then underpay their employees, the public will find out. Today a brand is as strong as its relationship with its customers. To create a strong relationship, there must be alignment between what an individual, brand, or organization says and what it does, In the end (as the saying goes), actions speak louder than words.

 

Story Plotter We developed Story Plotter to help the handful of our clients who had realized fat words are not enough. We worked with a professional basketball organi-

zation that wanted to bring its brand values to life by finding distinctive actions to exemplify these values throughout every level of the organization. A few years ago we helped a global advertising agency that was interested in finding other ways for its clients to communicate who they are to their consumers, looking beyond brand communication and focusing on internal actions. We worked with our friend and collaborator Arnie Jacobson and his research firm, QRC (they bring to life a whole other set of stories, that of the consumer), to help a Hollywood studio find new actions for its character-based consumer products division.

To assist these clients, we asked them to tell stories of things that happen in the company. We heard stories of gritty reality, stories illustrating failure, communicating learning, and acting as a warning. As these stories emerged, we asked ourselves a question: Could there be a simple, sensible way of organizing and classifying stories that could be useful in helping organizations live their brand, find alignment, discover new actions, and look beyond language? The Story Plotter, a taxonomy for organizing stories, emerged from this inquiry. We identified four kinds of stories and designed the Plotter to help organizations and brands do the following:

• Talk about who they are by telling stories of what they do.

• Learn to be more of a listening organization, by incorporating consumer stories and input into company communication.

• Share knowledge internally and externally.

• Find meaningful new actions for exemplifying values.

IMPROVISED STORIES

Our take on stories comes from the world of improvised theater, where stories are made with no script, plan, rehearsal, budget, or, on occasion, talent. The job of the improviser is to instantly create stories and scenes that engage and enthrall the audience. One of the many skills that help an improv actor survive under these seemingly impossible conditions is an ability to create vivid and authentic characters. It is vital that the audience knows as much as possible about these instant characters so they can become immersed in the story.

When I was first studying to be an improviser, I was convinced the best way to tell a story was to tell the audience all about my character; what was important to him, what he wanted, and so on. I might start a scene with another performer by proclaiming: “Hello, I am the honest baker,” speaking more to audience than to the other actor. “Welcome to the Honest Bakery. Do you like our new uniforms with ‘HONEST’ written across the chest?” I figured if I simply told people who I was, then I could get on to the funny stuff. One of my acting coaches pulled me aside and said:

“It’s not like your characters are an ad for floor cleaner or running shoes. It’s not convincing or very engaging to say you are honest, or reliable, or nimble, or inspiring. Your characters need to communicate who they are through what they do. If you are an honest baker, then behave honestly, tell people what’s in the muffins, return the wallet that was left on the counter. Let the customer know that she has a piece of spinach in her teeth. You don’t have to tell the audience anything. They are smart. Simply be it.” —G.H.

STORIES OF ACTION

While waiting for luggage at the Phoenix airport, a friend of mine had an encounter that inspired our quest to find more stories of alignment. Here is what he told us:

“At baggage claim I patiently watched the empty carousel go around when I suddenly heard a ‘clunk’ behind me. I turned around to see a large surfboard being unloaded at the oversize-baggage area. A surfboard in a landlocked desert state? A gray-haired older gentleman in a suit walked up to claim the oblong baggage, and I asked him what he was doing with the surfboard. He smiled at me and answered in a thick Australian accent, ‘Oh mate, not sure where I’ll surf but I’ll find someplace. I have to… it’s in my contract.’ He went on to explain that he was the CFO of an Australian surfboard company and it is written into every senior executive’s contract that they must surf at least once a month. This gentleman was on a three-week business trip, so he took his board.