CA 2012 STORYTELLING FOR COMMUNICATION STORYTELLING AS COMMUNICATION

CA 2012 STORYTELLING FOR COMMUNICATION STORYTELLING AS COMMUNICATION

CA 2012 STORYTELLING FOR COMMUNICATION STORYTELLING AS COMMUNICATION David Berlo’s SMCR Model Source (Sender) Encodes Message Channel Feedback Decodes Receiver

CA 2012 STORYTELLING FOR COMMUNICATION STORYTELLING AS COMMUNICATION David Berlo’s SMCR Model Source (Sender) I Communication Skill I Attitudes I Knowledge I Social System I Culture Encodes Message Channel I Content I Treatment I Code I Seeing I Hearing I Touching I Smelling I Tasting Decodes Receiver I Communication Skill I Attitudes I Knowledge I Social System I Culture

CA 2012 STORYTELLING FOR COMMUNICATION A Basic Model of Communication _ Person A / Person B (Sender / Receiver) _ Stimulus and Motivation _ Encoding and Decoding _ Frame of Reference _ Code _ Channel _ Feedback _ Environment _ Noise STORYTELLING AS COMMUNICATION

Environment Stimulation; motivation Encoding Internal noise External noise (Code; channel) Internal noise Stimulation; motivation Decoding (Feedback) Decoding Frame of reference (Code; channel) Encoding Noise Frame of reference Environment

CA 2012 STORYTELLING FOR COMMUNICATION A Basic Model of Communication _ Person A / Person B (Sender / Receiver) Person A in the model could be the sender (the source of the message) or the receiver (the interpreter of the message). Person B also could be either the sender or the receiver. Actually, during most of their communication, they will both send and receive simultaneously. STORYTELLING AS COMMUNICATION

CA 2012 STORYTELLING FOR COMMUNICATION A Basic Model of Communication _ Stimulus and Motivation Two things must happen before the sender even wants to send a message. First, the sender must be stimulated. Some type of stimulus triggers a thought, which in turn triggers the desire to communicate. STORYTELLING AS COMMUNICATION

CA 2012 STORYTELLING FOR COMMUNICATION A Basic Model of Communication _ Stimulus and Motivation A stimulus alone is not enough to trigger communication. The second requirement to send a message is sufficient motivation. Think of the times a leader has asked a question, and some of the people present were fairly sure they knew the answer (were stimulated) but did not respond. Why didn’t they respond? Probably because they were not sufficiently motivated – that is, they saw no personal benefit in answering. STORYTELLING AS COMMUNICATION

CA 2012 STORYTELLING FOR COMMUNICATION A Basic Model of Communication STORYTELLING AS COMMUNICATION _ Encoding and Decoding After being stimulated and motivated to communicate, the sender must decide how best to convey a message to the specific receiver. The process of putting a message into the form in which it is to be communicated is called encoding. When the encoder’s message is picked up, the receiver tries to make sense out of it, that is, to decode it. Decoding is the process the receiver goes through in trying to interpret the exact meaning of a message. Everyone tends to read between the lines in an effort to interpret what the sender means by the message.

CA 2012 STORYTELLING FOR COMMUNICATION A Basic Model of Communication STORYTELLING AS COMMUNICATION _ Frame of Reference Although encoding and decoding may seem to be fairly simple process, they are often responsible for major communication breakdowns. As a sender, you use your own background and experience to encode messages. But receiver use their own background and experiences to decode those message. Unless the backgrounds and experiences – the frame of reference – of both sender and receiver are identical, problems may develop in accuracy encoding and decoding messages.

CA 2012 STORYTELLING FOR COMMUNICATION A Basic Model of Communication STORYTELLING AS COMMUNICATION _ Code The code is not the message but the symbols that carry the message. There are three basic communication codes: _ Language (verbal code): either spoken or written words _ Paralanguage (vocal code): tone of voice, pitch, rate, volume, and emphasis _ Nonverbal (visual code): facial expressions, eye contact, gestures, appearance, posture, size, location and time

CA 2012 STORYTELLING FOR COMMUNICATION A Basic Model of Communication STORYTELLING AS COMMUNICATION _ Channel In many instances, the success of your message may depend on the channel you select. A channel is the medium selected to carry the message. Some examples of communication channels are face-to-face discussion, memos, magazines, newsletters, radio, telephone, and television. When selling merchandise or ideas, you should select the channel that (1) is the least expensive but (2) reaches the target audience with (3) the appropriate codes needed to sell the item or idea.

CA 2012 STORYTELLING FOR COMMUNICATION A Basic Model of Communication _ Environment The effective communicator plans and controls the environments as much as possible. The environment includes the “time, place, physical and social surroundings” in which the communicator find themselves. STORYTELLING AS COMMUNICATION

CA 2012 STORYTELLING FOR COMMUNICATION A Basic Model of Communication STORYTELLING AS COMMUNICATION _ Noise Anything that interferes with communication by distorting or blocking the message is noise. External noise includes distractions in the environment, such as the speaker’s poor grammar, papers being shuffled, phones ringing, people talking, cold air in the room, or lights that are too bright or too dim. Internal noise refers to conditions of the receiver, such as a headache, daydreaming, lack of sleep, preoccupation with other problems, or lack of knowledge on the topic.

CA 2012 STORYTELLING FOR COMMUNICATION STORYTELLING AS COMMUNICATION Nonverbal Message Codes

CA 2012 STORYTELLING FOR COMMUNICATION Nonverbal Message Codes _ Physical appearance (clothes etc. ) _ Kinesics (gestures) _ Oculesics (eye contact) _ Proxemics (personal space) _ Haptics (touch) _ Olfactics (smell) _ Chronemics (time) _ Vocalics (voice) STORYTELLING AS COMMUNICATION

CA 2012 STORYTELLING FOR COMMUNICATION Nonverbal Message Codes _ Physical appearance - Size, body frame, height, hairstyle, body ornamentation, clothes and accessories - Culture-specific - Can lead to stereotype STORYTELLING AS COMMUNICATION

CA 2012 STORYTELLING FOR COMMUNICATION Nonverbal Message Codes _ Kinesics - Facial expressions, body movements, gestures, conversational regulators - Extremely culture-specific STORYTELLING AS COMMUNICATION

CA 2012 STORYTELLING FOR COMMUNICATION Nonverbal Message Codes _ Oculesics - Eye contact - Blinking - Eye movements - Pupil dilation - Averting eye contact STORYTELLING AS COMMUNICATION

CA 2012 STORYTELLING FOR COMMUNICATION Nonverbal Message Codes _ Proxemics - Interpersonal space and distance - Extremely cultural-specific - Highly contextual; e. g. can change at rush hour - Divided into: Intimate distance, Personal distance, social distance, public distance STORYTELLING AS COMMUNICATION

CA 2012 STORYTELLING FOR COMMUNICATION Nonverbal Message Codes _ Haptics - Tactile communication (touching) - Highly culture-specific (Amount, Location, Type, Public or private display) STORYTELLING AS COMMUNICATION

CA 2012 STORYTELLING FOR COMMUNICATION Nonverbal Message Codes _ Olfactics - Communication through smell - Conscious and subconscious - Pleasant and unpleasant - Seriously neglected in research STORYTELLING AS COMMUNICATION

CA 2012 STORYTELLING FOR COMMUNICATION Nonverbal Message Codes _ Chronemics - The study of meaning, use and communication of time - Cultural time differ dramatically - Things can be experienced - Simultaneously and polychronically - Monochronically and sequentially STORYTELLING AS COMMUNICATION

CA 2012 STORYTELLING FOR COMMUNICATION Nonverbal Message Codes _ Physical environment - Factors influencing communication (seating arrangement, color, lighting) STORYTELLING AS COMMUNICATION

CA 2012 STORYTELLING FOR COMMUNICATION Nonverbal Message Codes _ Vocalics / Paralanguage - Tone - Pitch - Tempo - Singing - Other forms of aesthetic communication STORYTELLING AS COMMUNICATION

CA 2012 STORYTELLING FOR COMMUNICATION Nonverbal Communication Functions Emblems carry exact verbal meaning Illustrators add or clarify meaning Regulators control the flow of conversation Adaptors habitual gestures used in stress Affect displays show emotions STORYTELLING AS COMMUNICATION

CA 2012 STORYTELLING FOR COMMUNICATION Levels of Communication 1. Interpersonal communication 2. Small group communication 3. Organizational communication 4. Mass communication STORYTELLING AS COMMUNICATION

Steps for Storytelling

CA 2012 STORYTELLING FOR COMMUNICATION Steps for Storytelling 01_ Analyzing the Target Audience 02_ Crafting the Theme 03_ Selecting the Media 04_ Narrating the Story STEPS FOR STORYTELLING

CA 2012 STORYTELLING FOR COMMUNICATION Steps for Storytelling 01_ Analyzing the Target Audience Who is your target audience? What media do they consume? What are their personalities? What are their likes & dislikes? What are their needs & desires? STEPS FOR STORYTELLING

CA 2012 STORYTELLING FOR COMMUNICATION Steps for Storytelling STEPS FOR STORYTELLING 02_ Crafting the Theme What would you like to communicate to your target audience? Match your theme with the target audience.

CA 2012 STORYTELLING FOR COMMUNICATION Steps for Storytelling STEPS FOR STORYTELLING 03_ Selecting the Media Which media would be best to reach your target audience? What are the media elements and codes available for narration?

CA 2012 STORYTELLING FOR COMMUNICATION Steps for Storytelling 04_ Narrating the Story How are you going to tell the story? Which point of view do you choose? STEPS FOR STORYTELLING

CA 2012 STORYTELLING FOR COMMUNICATION STEPS FOR STORYTELLING Source Idea (Sender) Encodes Narration Message Channel Media Decodes Audience Receiver

CA 2012 STORYTELLING FOR COMMUNICATION STEPS FOR STORYTELLING Idea Encodes Narration Media Decodes Audience _demographics _psychographics _media consumption

CA 2012 STORYTELLING FOR COMMUNICATION STEPS FOR STORYTELLING Idea Encodes Narration Inspiration? _theme Purpose? _to persuade _incidence _character _to express _to inform _to educate _to entertain Media Decodes Audience

audio-visual Idea print Encodes Film Television Radio Music Stage Narration CA 2012 STORYTELLING FOR COMMUNICATION STEPS FOR STORYTELLING Media Decodes Magazine Newspapers Comics Photography Advertisements Posters/Billboard/Flyers VHS/DVD/CD covers ICT-based Video games Website Interactive communications technology Audience

CA 2012 STORYTELLING FOR COMMUNICATION STEPS FOR STORYTELLING Idea Encodes Narration Media Decodes Audience Styles and techniques for telling the story

CA 2012 STORYTELLING FOR COMMUNICATION STORYTELLING AS COMMUNICATION References: Hamilton, Cheryl and Cordell Parker. Communicating for Results. Belmont CA: Wadsworth Publishing, 1997. Hyde, S. Idea to Script: Storytelling for Today’s Media. Boston MA: Allyn and Bacon, 2003.